astralbondpro · 9 months ago
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Carach Angren // Charles Francis Coghlan
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andrew-the-accursed · 10 days ago
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Dennis is so unserious
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sinponiccblaccmeatal · 1 year ago
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Which one of these do you think is more likely to be Ardek's foot in real life?
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endlich-allein · 2 years ago
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Hänsel und Gretel theater play April - December 2018
EN: In the unique reinterpretation of the Estonian directors Ene-Liis Semper and Tiit Ojasoo and the musicians Peter Tägtgren - Official (Pain), Jakob Juhkam, Clemens Wijers Music Productions and Till Lindemann (Rammstein) the fairy tale definitely remains one: disturbing.
Two children are abandoned by their parents in the forest because there is not enough food left for the whole family. The well-known fairy tale of the Brothers Grimm, which picks up topics such as fear, hope, poverty and abundance, cannibalism or death, is one of the most exciting but also disturbing bedtime stories told to children for several hundred years.
Huge phantom faces, distorted bodies or latex monsters appear on gigantic projection surfaces as complex realities between perversion and poetry, humor and emotion. It is a fairy tale for adults, on the one hand the economic need as a major theme of our time as a starting point, and on the other lures and enchants the audience, only to scare him to death - just like the witch in her sugar house.
Photos: Matthias Matthies / thalia-theater.de
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Rammstein/Lindemann where you least expect it 😊
Sometimes you stumble upon a reference to Rammstein or in this case Till's solowork where you least expect it 😊
In this case dutch local newspaper 'De Limburger' 2023-09-02, in an article about dutch 'satanist' band Carach Angren (the interview is with two of their members Dennis Droomers and Clemens Weijers)
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Quote about Till is in the 2nd/3rd column, translation:
"Music also lead to special friendships. With Till Lindemann for instance, singer of Rammstein. 'Somewhere around 2014 I worked with Peter Tägtgren (Pain). He loved my orchestral pieces and wanted to know where I recorded them. Well, that was at my home in the bedroom.' Wijers learned that Tägtgren in the deepest secret worked on Lindemann's solo-debut. That needed a ballad which Wijers could write. 'Till stayed with me for two days. That's where we recorded the vocals for That's my Heart. Also for the later Wer weiß das schon i did the arrangements'. A friendship grew through the collaboration. 'It's a top guy who works really hard. I know the stories that are going around (an investigation into sexual misconduct was held, proof hasn't been found), but I'm going to judge no one'. Unlike a band like Rammstein Carach Angren plays a smaller circuit."
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morgana-lefay · 1 year ago
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NSL Let's put the trilogy all together. I liked the idea of a three part video all in one, but these are far from my favourite songs. Even the video(s). It's a not a bad concept idea (though I still struggle with fully understanding it all, to be honest, again), but it just feels a bit like Platz Eins and all that, all over again. He's really good in the Nass part of the video, though, specially with the panic/distress face expressions (see example below).
7. Nass Weird lyrics like all three in NSL, but in little less weirder way, as in, I can take some meaning from it (I guess...). Musically, it's my favourite from the three, although I'm not 100% fan of the effects he uses on his voice at some point. Otherwise, really like the bass line in it.
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9. Schweiss Well...never thought a day would come where I would be jamming to a song about a guy's sweat, but here we are.
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10. Lecker My least favourite from the NSL saga, I'd say. The lyrics are weird and I can't say I'm a big fan of the way he sings it either. It's one of those that, even so, sounds good in German, but I'm afraid would be terrible in any other language. (All I can see in my mind is the little "guy sitting in the burning house" meme and I know I'm not the only one 😅) And the thing with the bear...nope.
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Watch the video until the closing credits to hear the piece composed by Clemens Wijers, metal guy and keyboardist from a horror metal band called "Carach Angren". Didn't knew about this or about this band, up until I found his Instagram page by accident, but it's worth checking them out.
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metalshockfinland · 1 month ago
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CARVED MEMORIES Launch Video for 'Raven' from Upcoming Album, Ft. Carach Angren’s Ardek
Berlin-based symphonic death metal band Carved Memories has dropped the music video for “Raven,” the second single off their debut full-length, The Moirai, set for release on November 01st on CD and digital via Black Lion Records. The album features orchestration crafted by Clemens “Ardek” Wijers from Carach Angren. According to Carved Memories, the track “Raven” is “a description of death, the…
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concerthopperblog · 2 years ago
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Under Our Black Cult: North American Tour 2023 - Rotting Christ Returns to The Masquerade!
Well-known and legendary Greek black/gothic metal juggernauts Rotting Christ (and personal favorites of mine) were back touring stateside on their Under Our Black Cult North American Tour with opening support from Carach Angren, UADA, & Gaerea. Originally named Black Church (c. 1984) and renamed later to Rotting Christ in 1987 when brothers Sakis Tolis (vocals/guitars) and Themis Tolis (drums) joined the band. Rotting Christ is considered one of the first black metal bands to come from the Mediterranean Region. They are also responsible for influencing the black metal community in Greece during the onset of their career in the 1990s. Currently, the band consists of Sakis Tolis (vocals/guitars), Themis Tolis (drums), Kostas “Spades” Heliotis (bass/backing vocals), and Kostis Foukarakis (guitar/backing vocals). They have released thirteen (13) LPs, one (1) EP, and numerous demos/compilations/DVDs over their historic musical career.
Their latest release, The Heretics (2019), is an incredible album and deserves more attention even years after its release. The underlining theme for this album focuses on renowned literary icons, poets, and authors who were considered “heretics” during their lifetime, such as Mark Twain, Friedrich Nietzsche, Thomas Paine, and Edgar Allen Poe. You can also check out my first review of Rotting Christ from last year’s Devastation of the Nation Tour live from The Masquerade in Atlanta exclusively on Concerthopper.com by following this link. Anytime Rotting Christ makes the trip to the United States to tour, make sure you attend one of their shows. You will thank me afterward. Non Serviam!
The set list from Rotting Christ’s triumphant return to The Masquerade is below:
·         “666”
·         “Kata Ton Daimona Eaytoy”
·         “Fire, God, and Fear”
·         “Dub-sag-ta-ke”
·         “Apage Satana”
·         “Elthe Kyrie”
·         “Demonon Vrosis”
·         “Societas Satanas” (Thou Art Lord cover)
·         “Non Serviam”
·         “In Yumen-Xibalba”
·         “Grandis Spiritus Diavolos”
·         “The Raven”
Encore:
·         “Noctis Era”
Follow these two separate links to Rotting Christ’s Official Bandcamp and to the Bandcamp page run by their label Season of Mist and listen for yourself. If you are going to listen to Rotting Christ for the first time, I suggest listening to their live album, Lucifer Over Athens, as your starting point. I believe this highlights Rotting Christ’s ability to create a symphonic journey through their melodic yet often very shadowy lyrics. The set list used for this album will make any fan of Rotting Christ salivate to witness live, especially seeing them live at a hometown show in Athens, Greece. You can order lots of merch (including vinyl variants) from Rotting Christ over on Season of Mist’s website.
Carach Angren is a symphonic black/horror metal band from Landgraaf, Netherlands that formed as a band in 2003 by Dennis “Seregor” Droomers (lead vocals/guitars) and Clemens “Ardek” Wijers (keyboards/backing vocals). While on tour, Bastiaan “The Butcher” Boh joins the band to play guitar as well. The band has released six (6) LPs, one (1) EP, and one (1) demo. Their latest album, Franckensteina Strataemontanus” was released in November 2020 and retells the age-old story of Johann Konrad Dippel, which inspired Mary Shelly’s novel ‘Frankenstein’.
You can see Carach Angren’s set list below:
·         “The Ghost of Raynham Hall”
·         “The Carriage Wheel Murder”
·         “The Necromancer”
·         “Bitte Totet Mich”
·         “Operation Compass”
·         “Franckensteina Strataemontanus”
·         “A Strange Presence Near the Woods”
·         “Monster”
·         “Bloodstains on the Captain’s Log”
You can hear Carach Angren by following this link to their Official Bandcamp page today!
UADA (Latin for “haunted”) is a melodic black metal band from Portland, Oregon that formed in 2014. UADA consists of James Sloan (guitars), James Superchi (vocals/guitars), Nate Verschoor (bass), and Josh Lovejoy (drums). UADA has released three (3) LPs with Djinn being the latest release from 2020. As the only stateside black metal act on this tour, UADA proved to everyone why Rotting Christ invited them to perform on the Under Our Black Cult Tour. What started to be a difficult stage setting to photograph with the low lights and heavy smoke, turned into an exquisitely, dark, and intimate performance by UADA.
You can check out UADA’s set list below:
·         “Djinn”
·         “Retraversing the Void”
·         “Cult of a Dying Sun”
·         “Black Autumn, White Spring”
Want to check out UADA? Follow this link to UADA’s Official Bandcamp page today!
Fellow Season of Mist label mates, Gaerea is a post-black metal band from Porto, Portugal that formed in 2016. The band consists of Guilherme Henriques (vocals/guitars), Lucas Ferrand (bass), and Diogo Mota (drums). Gaerea has released three (3) LPs, one (1) EP, and three (3) singles. They are touring in support of their latest release, Mirage (2022). Also, something worth noting is that the Under Our Black Cult Tour was Gaerea’s first time playing in the United States and Canada. The stage presence of Gaerea is something to behold and had this Concerthopper enthralled as soon as they took the stage. I was not that familiar with the music of Carach Angren or Gaerea before this tour. That would change very fast once the lights went out before Gaerea’s formidable and stunning opening set.
Gaerea’s set from this night at The Masquerade is below:
·         “Deluge”
·         “Salve”
·         “Mirage”
·         “Urge”
·         “Laude”
Follow this link to Gaerea’s Official Bandcamp page and show them some support today!
Unfortunately, the last show for this North American tour was on March 14th (the night after this show in Atlanta) at The Haven in Orlando, Florida. Now the countdown begins for the next North American tour for Rotting Christ. You can still see Rotting Christ on tour in Europe on the following dates:
24 Mar 2023-Capital Death Fest-Galve-(SWEDEN)
25 Mar 2023-Thunder Metal Fest-Antwerp-(BELGIUM)
9 Apr 2023-Dark Easter Metal Meeting-Munich-(GERMANY)
28 Apr 2023-Black Hole Festival-Wetzikon-(SWITZERLAND)
29 Apr 2023-Gothoom Festival-Zemberovce -(SLOVAKIA)
4 May 2023-Karmaggedon Festival-Kopervik-(NORWAY)
12 May 2023-Durbuy Rock Festival-Bomal-sur-ourthe-(BELGIUM)
13 May 2023-Incineration Festival-London-(U.K.)
23-25 Jun 2023-Rock Imperium Festival-Cartagena-(SPAIN)
22 July 2023-John Smith Festival-Peurunka-(FINLAND)
4 Aug 2023-Saarihelveti Festival-Tampere-(FINLAND)
17 Aug 2023-Frantic Fest-Francavilla al mare-(ITALY)
18 Aug 2023-Kaltenbach Open Air-Spital am Semmering-(AUSTRIA)
02 Sep 2023-Rethymno Rocks Festival-Rethymno-(GREECE)
Curious about Concerthopper? You can find more music related articles, interviews, various photo galleries, indie music reviews, our very own ‘Bars & Bites’ section, our exclusive “She Said, She Said” column, or become a Concerthopper at www.concerthopper.com. Sign up for our monthly newsletter by following this link: The Setlist! Please ‘Like’ our page on Facebook and follow us on Instagram to stay up to date in 2022, on all music related events/festivals such as: Long Time Going Tour: Sierra Ferrell at Georgia Theatre, 20th Anniversary Tour: August Burns Red (Rapids Theatre), Pitch Black Forever Part 2- Hawthorne Heights & Armor For Sleep: Live at Town Ballroom (Buffalo), Mental Awakening: Spafford, The Orange Constant, Spaghetti Western, Airshow, Mountain Grass Unit, & The Fixin’s Live at Steady Hand Beer Co., Spring Tour (2023): BongZilla with Wizard Rifle @ Grantski Records, Beartooth & Trivium: Live at Buffalo Riverworks, AmericanaFest (2023), Ghost RE-Imperatour U.S.A. with Amon Amarth: Ascend Amphitheater, The 5th Annual PorchFest, 12th Annual Papa Joe’s Banjo-B-Que Music Festival, Souls of Mischief: 93’ til Infinity 30th Anniversary Tour @ City Winery (Atlanta), Yob and Pallbearer: Live at the Masquerade, and Morbid Angel: The 40th Anniversary Tour (The Masquerade) by following us on all social media formats: Concerthopper on Facebook, Twitter, and Instagram.  Also, you can follow my personal concert hopping on Facebook and Instagram for even more photos not available on Concerthopper.com.
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trentsleatherboots · 4 years ago
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Carach Angren, interview translation Dutch > English
Published in the magazine Rock Tribune, edition June 2020, nr. 192.
Text by Morbid Geert. Fotos: Stefan Heileman.
WILL THE REAL FRANKENSTEIN STAND UP NOW?
At the end of last year you could already read about how we kept close watch on Carach Angren. Back when they were still heavy in the production process, on Halloween Day we went over to Ardeks homebase and studio to see the first glimpse of their new work and later Rock Tribune got invited to listen to the album in Germany. Now it's almost time for 'Franckensteina Strataemontanus' to be shown to the world and that's why we wanted to take an even deeper look. Weaponed with an oil lamp and shovel we went onwards towards the graveyard to uncover the soul stirrings of Ardek. (Text: Morbid Geert)
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Ardek, the last time I talked to you the songs were still in a very early stage and what we heard was more of a pre production. Did you tinker more afterwards to come to an end result or did you purposely keep your hands off to avoid overproduction?
"In terms of song structures and lyrics not much changed on the premature songs that you heard. What followed however was another production-finish, where especially the mix and mastering made a big change. That last stadia really lifted it all to another plane and you can really hear that."
A FRESH LOOK.
As far as I knew, Patrick Damiani was still fully onboard working on the songs at Tidal Wave Studio in Germany. How important was it for you to pull an extra producer into the process? After all, you are very much at home with that as well? Or maybe not as much as you'd like?
"Back then he worked on drumediting and played the basslines, but his role is way bigger than that. We've worked together a lot and now we're doing something for L'Âme Immortelle, where we vibe together perfectly and know exactly how to handle such a project.  When he takes on production for Carach Angren however, I notice how much better he controls it. He has so much knowledge about drum sounds, mixing,... and he's really specialised in it. It is nice to add that knowledge, it brings a lot of added value. These days a lot of bands record at home and that all makes it a lot cheaper, but a good producer brings a lot of experience and equipment, it ends up with a whole different result. Besides, we left the mix and mastering to Robert Carranza."
That last one is a pretty big name, who among others worked with Marilyn Manson. I can imagine that has a big impact on your budget, but was it worth it?
"I think so. When I listened to 'Killing Strangers' by Marilyn Manson on headphones and heard the bassline, it went so deep that it turned me upside down. Apparently Robert Carranza mixed that album.  Furthermore he does a lot of different things such as make latin music and win grammy's, but in the extreme metal scene he is totally unknown.  However, he wanted to help himself to our record and yes, the price was steep, but I managed to convince both the band and the label… even though that wasn't without some doubts, since all eyes were on me for a bit. I had a good feeling about it and shared it, with the result being having a record now that doesn't sound like the others.  He had a fresh look on our work and thus we could avoid the recognisability of the average metal producer.  There are too many records that when you hear them you know exactly who had their hands on them and in which studio they were recorded.  Contrary to what you might think, there was constant contact with him (Robert) and a lot of talking about how we wanted it to sound. In particular the clarity of the sound is massive and gives it a bit more of a cinematic effect. There was no compression applied where everything sounds constantly loud and where as a listener you'd get easily tired, but the dynamics were preserved."
DIDN'T FEEL LIKE IT ANYMORE.
To refer back to Patrick Damiani: if he does so much and even plays the basslines, do you see him as sort of a 4th band member or is that just a bit too much credit?
"That's not how we see him. He's an amazing producer and musician, who gives us his opinion and helps us out. On the other hand he is not part of the creative process and he isn't on stage with us… but it is a relationship that's been going on for 12 years and something we get a lot out of."
Now I'm saying '4th band member', but after the recordings of your new record ended, your brother and drummer Namtar left the band. Can I ask what happened and if you saw this coming, or whether it was a bolt from the blue?
“In November he recorded his drum tracks and back then everything went fine, but then there came an offer to play at '70000TONS OF METAL'. Since we always looked at the financial side of the band together, we talked about the offer and he was immediately against it.  I thought that was strange and to me it seemed better to sit around the table with three to talk about it. Then it became apparent that he'd been wrestling with it for sometime and in brief didn't feel like it anymore.  We offered him to take a break of a few months instead of just throwing away what we've worked for the last 20 years, but that wasn't a solution.  It wasn't an easy decision, but afterwards we saw it had been an issue for a long time and at that point you rather put a stop to it.  That hit us hard, but you can never force somebody to stay in a band.  To keep our motivation high we played '70000TONS OF METAL' after all with Michiel van der Plicht of God Dethroned as replacement. That pleased us all and he's willing to help us out in the future."
Michiel van der Plicht in indeed an amazing drummer. Are there any plans to keep him in the band permanently or is this an emergency solution and is there an offer still standing?
"I discussed that extensively with Seregor, but together the two of us stay the core of the band. We already have an extra guitarist live and in the studio we will definitely have those people join again, but all decisions will be made by us two in the end.  We want to avoid that other people leave a mark on the band, causing us to lose our individuality (personality). It's about so much more than just making music: the stage decor, our own stage outfits,... for us it is very clear and it's going well, so we only need help to fill in with the music in the studio and during lives."
MILKED OUT?
Let's get to the core of business. At the end of this month is the release of your 6th album, 'Franckensteina Strataemontanus'. Now lends the Frankenstein story itself perfectly for a horror metal band, but I wondered if the story isn't too milked out by other bands… unless you do it with a completely new vision. After all, that's what you did with 'This Is No Fairytale', where Hans and Gretel were transported to the now and the horror became bigger than ever. 
"When we started, I had the same feelings about the Frankenstein story, but there's a twist to it. Everything started for me as a dream, where I flew through an old house. There, I heard dissonant piano tunes and I got sucked into a room where a portrait of an old man hung on the wall. Later I made a drawing of that portrait and it got stuck in my head. When I began doing research for the album months later and even read Mary Shelley's amazing book 'Frankenstein', I found out that there is a theory that when she wrote her book she was influenced by Johann Konrad Dippel, an 18th century alchemist.  Then when I looked him up, he turned out to look like what I had seen in my dream, which personally motivated me to dig deeper. Dippel is an unknown figure for the masses and that's why it seemed fascinating to us to do something with it.  There is fiction and truth mixed in our story. By the way, Dippel lived in Frankenstein Castle near Darmstadt, where he was looking for the elixir to eternal life. He was also a theologist, but he clashed with the church and was therefore cast away. Because he also did experiments on cadavers and sought life extending resources, he would've inspired Mary Shelley for her story. What we did was make a concept around the source of her story instead of following the clichés.  That monster with screws in his head, we've seen it already before…"
Yet it doesn't seem like a concept album, because I notice that you address very diverse subjects.
"It is definitely a concept, since all stories are connected to one another, even if it's not noticeable. 'Operation Compass' is about the North-African desert war between the Brits and Italians. In official documents the Brits were ordered that if there were to be a fallback, to make all sources unusable for the enemy with 'Dippel's oil' (a nasty substance that made water undrinkable but did not poison it, so it was in battle with the Geneva protocols).  In our story it leads to a demonic outburst that went towards the soldiers. So you see, Dippel comes back throughout different moments in history. 'Der Vampir von Nürnberg' is about a real figure that is still alive. He committed necrophilia, killed people and drank their blood, … but is now at large. In our story he lost his ways after reading Dippel's books, which once again links it with the core story. 'Here In German Woodland.', the opening song, is about a boy that gets lost and dies in the forest surrounding Darmstadt, but later comes back and eats his parents. In the closing song 'Like A Conscious Parasite I Roam' it all comes full circle: Dippels life elixir only works for his soul, and his body rots away, so he searches for a guest body and his spirit creeps into that little boy." 
In a few songs, some German lyrics show up. Is that besides the concept also because of the grim sound of the language or is it simply because you live so close to Germany and it has a certain impact? 
"The subject lends itself to it of course and Seregor speaks German very well, which made things easier. And yes, the sound does play a certain role. 'Der Vampir von Nürnberg' sounds way better than the English translation, it immediately sets the right tone."
Some of these stories are the result of reality, but are often at least as gruesome as many fantasy stories: such is the bonus song 'Frederick's Experiments' about the sick science experiments of emperor Frederick II, a man who apparently was not inferior to the Nazi doctors?
"Yes, you can say that he set a good example! Seregor came with the idea and somewhere the story did fit within the total picture, even though we couldn't fit it into the big story. Our label Season Of Mist however asked for a bonus track and that's how we managed to include the song after all."
CROSS-POLLINATION.
What I noticed with the first sneak preview, but what has become clear now, is that Carach Angren this time worked very innovative musically.  Watch out, it is immediately clear that it is from Carach Angren, since you already have your own sound, but at the same time there are noticable things we haven't heard from you before. The title track has a considerable industrial touch and we also hear something from Laibach in it, just like 'Monster'. Is that something you've only recently been getting into or have you maybe secretly been an industrial fan for years?
"It is more recent, even though I've always been appreciative of it. By also collaborating with Till Lindemann for his project Lindemann, I also came into contact with it more and started taking it up unconsciously. Afterwards I got to experiment with it for my solo project and that's how I came up with the song 'Monster'. Seregor tested some things out for singing for that song and it just made sense.  It was very cool to experiment like that, which you should when you're making a record based on Frankenstein…"
It became a musical experiment instead of scientific experiment, but you do create a parallel, yes.
"Inside Carach Angren we like to put a lot of variety in the songs and if you can also give that a different look, then that is something you should try. We ourselves are absolutely crazy about it! Some fans will have to swallow when they hear those songs, but for them there are plenty of old school songs on it."
To come back to Lindemann: he and Peter Tägtgren got you involved since you are so good with classical orchestras and arrangements, but in the end it seems to have become two-way traffic, doesn't it? Have you learned a lot from it and developed other visions? 
"We worked together in a very awesome way and you do learn a lot from that. You grow as a componist, as musician and as producer. It made me compose more compactly and I sometimes pursue slightly less complex songs, like the two more industrial based songs. Always great to be able to take a different approach."
Both those songs have an easier buildup, but in the other songs you go back to the complexity that you left out purposefully 'Dance And Laugh Amongst The Rotten'. Is it a way to generate more contrast?
"In some ways yes, but it depends on how it works out in a song. We tried to make the title track a bit longer, but then the effect fell away and it didn't feel right anymore. But strangely enough I write a complex song like 'Der Vampir von Nürnberg' easier than a less complex piece like 'Monster'.  With less arrangements it quickly becomes hard to keep it exciting(engaging), but seeing as you want to keep the concept to level, you need to have enough variation. The industrial songs sound a bit less complex, but there is a lot happening in the background and they are full of tiny details that make the difference."
MIXING COLOURS.
With the new approach you have opened some doors to maybe do more experimenting in the future. Is that actually your goal or is there nothing reasoned behind it and do such new influences pop up sooner when they seem to be able to improve the song?
"It all almost comes down to what the concept of the album requires. Back when we wrote 'Death Came Through A Phantom Ship' we added swirling waves and custom/adapted sounds to it. With the new record the 'marching' of the pulsing industrial beat seemed to work the best with our Frankenstein theme. You have to see it like a painter who is mixing colours to make a new colour to fit his vision. We don't do any different and we would love to experiment more in the future. If we see what we've already tried with singing now … in the long run we were completely out of control trying to do crazy things."
The singing is indeed a very remarkable part of 'Franckensteina Strataemontanus'. We always thought Seregor had a good black metal voice, but we were very impressed by the way he twisted his voice this time around and helped set the mood.
"We are very happy about that ourselves. He delivered an excellent job and we really pushed everything to get to that point. We actually took several weeks to make sure my home studio was in perfect condition and sometimes Seregor had to redo a certain part up to 10 times to get the result we wanted, but he did it without struggling. A lot of singers that ask so much from their vocal chords are dead on their feet after an hour, but then there is Seregor who gets through the day without complaining, even while screaming his lungs out.  While recording 'Operation Compass' we did however find out it is better to record a deep grunt in the early morning, since your voice is still a bit slow and heavier from sleep.”
MUSIC AS A BOOST.
The whole corona crisis made it so that as a band it is way more difficult to promote an album now, since all concerts got cancelled. Did that have a big impact on Carach Angren or can you make it?
"I myself am very concerned with the people who are really affected by the disease and that is why I can partially ignore the inconveniences for ourselves. Nevertheless, it has a serious effect on the music industry, although that is secondary to me. We are dealing with a pandemic, people are dying and we all have to work to keep everything under control. In addition, it is strange to release an album in a full crisis, but we decided to go for it anyway. It's a cool record and we already started the promotion, so we just keep going. For now, tours are not planned, but that does not mean that we will now stream all kinds of performances to attract attention. We are not that type of band… what is a shame is that our plans for a very cool video clip are now also being abandoned. We had to go to Germany and there are also the social distancing rules, which make such a recording impossible.  But should we really want that and turn it into drama? Of course it sucks to have to promote the release like this, but the whole world is just not what it was a few months ago."
Do you have any alternative ideas to bridge that gap? I know that you guys always have enough visual ideas and there already is a lyric video for 'Monster', but I can imagine that there is more to come.
"We are working on that yes, because last month we made one for 'Der Vampir von Nürnberg' and next month we might take another song in hand. We will keep doing those sorts of things together with some 'making of-' videos that we recorded in the studio, that way we can give the album some extra promotion.  Nothing for us to worry about so… by the way, there is something about releasing a record in times like these. The people have been stuck at home for months and have nothing to do, so if we can give them a new piece of music to listen to to get through the day, then that is awesome too. It would be disappointing for the fans if we just put our new work on the shelf because of this pandemic. Every band should do what they think is best, but we had already started our press campaign anyway and we would also be a lot less driven if we only had to arrive 'with old stuff' within six months or later."
Carach Angren already has a few beautiful video clips which are build up with a real story and don't only have something musical to offer. In addition, there are also the lyric videos, where certainly those for the complete album 'This Is No Fairytale' with comic images by Costin Chioreanu stand out from the crowd. Have you never thought of bundling everything on a DVD?
"We've honestly never thought about that, but that's actually a really great idea! I think it would be nice to bundle everything together and that way we immediately remove some (away) from youtube. That can always be a good idea for the future."
LEARNING SCHOOL.
As songwriter of Carach Angren you may have previously absorbed a lot of influences that shaped you into the musician and songwriter you are today. Can you list the five most essential records or artists that shaped you personally and what exactly were their interests?
"That is a good question that doesn't let itself be answered very easily. In the classical field and orchestras I think Tchaikovsky and Stravinski are very important. They both had a lot of influence on me as a componist. Another important inspiration to me in that respect is John Williams (modern componist famous for his film scores for Star Wars, Jaws, Jurassic Park..) They helped shape me even more when it comes to layered composing, although I don't come close to what they do. As a child I followed keyboard lessons for 8 years, I did a year of conservatory and studied a year of music and media, as well as cinematic orchestration. Those last two were online, but on a serious level and you really had to write pieces for an orchestra. I learned a lot there, but ever since then I kept learning by actually doing it myself, looking through books and analyzing musical pieces.  But if I hadn't gotten the theoretical basis I had as a child, I would've never been able to do this today. On production level I have to mention Nine Inch Nails and, something you'd might find strange, Michael Jackson! If you see how well their albums are produced, and how many layers are incorporated, it's amazingly well done! You can say about Michael Jackson's music what you want, but the way the songs are built up and how much dynamics are in there thanks to the arrangements by Quincy Jones, it is absolutely astounding.  There is no lack of bells and whistles and sometimes, for example, the snare drum comes in in four layers, something you don't hear so loudly even in extreme metal. I mainly listen to those albums as an audiophile to analyze them and see what I can get out of it as a producer. Last week I checked the solo record of Roger Waters, in which I heard effects that seemed to be situated outside the loudspeaker field. Then I want to know how that is done and whether I can integrate it with Carach Angren. That kind of thing is the reverse of the compression they use too often today and you wonder why we don't all go in that direction anymore."
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Translated by Jeordie/Trentsfishnets.
(For the record, if this interview already exists in English, I will just see this as translating practice C:)
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eldritch-metal-squirrel · 4 years ago
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Carach Angren - Franckensteina Strataemontanus
Synopsis: So... a couple of horny dudes in loincloths brutally murder this lady and then bring her back, creepy bow chikka wow ensues. Good times.
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nofatclips · 4 years ago
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Knebel by Lindemann from the album F&M - Dir: Zoran Bihac
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astralbondpro · 6 months ago
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Carach Angren // Franckensteina Strataemontanus
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my-space-and-all-within · 5 years ago
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Carach Angren 2020 (photos by Stefan Heilemann)
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brunnamm666-blog · 6 years ago
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Ughhh!! They are so beautiful 🖤🤘
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leaflife · 6 years ago
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Forever shook n in disbelief that I met Carach Angren????
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deep-down-trauma-hounds · 6 years ago
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considering getting life alert or smthn for this carach angren show in october cuz a bitch really might go into cardiac arrest just seeing ardek like I might actually die so please direct your prayers towards my gay ass !!!
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