Part of its secret (eh) is that dream-like vision in the songs. I thought (and still do) that it’s very exciting to illustrate through music a place, pictures, sensations and feelings that don’t belong to this world and can’t be described in words.Īlthough Tristesse Hivernale is a very good demo, Le Secret stands on a level of its own in my opinion. In fact, the universe of the “new” Alcest has always been present in me, even back then, and I decided at an early stage that I had to use this project to portray my “memories” into music. With the help of Famine (Peste Noire), I wrote four tracks with a theme based on winter and the sad feelings this season conveys. – At the beginning, I created Alcest because I really loved Black Metal and I wanted to play some. What were your first thoughts and aims when starting Alcest six years ago, and what happened between Tristesse Hivernale and Le Secret? As everyone can hear, the leap between these two releases is very wide and progressive. I found Alcest when Le Secret was released two years ago, but I didn’t have the demo Tristesse Hivernale (2001) until just last year. It is based on negative emotions and agonizing urban aesthetics. Unlike Alcest, this project is very pessimistic. – As far as Amesoeurs is concerned, it’s a new wave/post-punk band created in 2004 with the following line-up: Audrey Sylvain, Winterhalter, Fursy Teissier (who is back in the band for some time) and myself. Since then, it has been more like esoteric, ethereal and nostalgic music based on what could be “memories” of former lives. – Alcest is a solo project that I created back in 1999/2000: the first demo was traditional black metal but once it got released, Alcest’s style had already changed. However, maybe the best way to start this chat is to give Neige an opportunity to introduce these two bands to us in your own words. These two entities can be considered as different sides of a same mind – how a modern man is shackled to this rotten society but still his heart pounds for nature and freedom. The artist who has made his career in bands like Mortifera and Peste Noire has also two very important and more personal bands which both are making waves in these days: Alcest and Amesoeurs. If someone had a musical Midas touch, it would be Neige. Also their debut albums are definitely striking pieces of art, but I just can’t forget the impact of Le Secret’s dream-like atmosphere or Ruines Humaines’s heart striking emotion blasts. Both bands had released only their promising EP’s (Le Secret by Alcest and Ruines Humaines by Amesoeurs) so far, but I think these little creatures are the strongest efforts from the both. Also this Alcest/Amesoeurs interview goes to this better part of the issue. Other good interviews were the ones with Hypothermia and Ride For Revenge, and also the more or less improvised face-to-face meet with Primordial’s A.A. Still, the whole process was very nice and sympathetic, and it is a pleasure and privilege to see Current 93 finally performing here in Finland on the 18 th of March. Therefore a part of my questions were targeted to a wrong direction. They both are good inties but in a wrong environment.įor me the most personal and emotional interview was the phone conversation with Current 93’s David Tibet, although my idea him as a mystic or a philosopher was a bit extravagant – Tibet was just an ordinary man and musician who talked about cats and children. Rajala’s material (interviews with Grippiud and Blasphemophager) in this particular issue. Also the contents were one of the most successful in the history of Kaleidoscope: enough variance, enough questions, enough familiarization. The most visible thing was the size: from a bit amateurish A5 this zine grew to the glorious A4 (with a fever red cover!) and there hasn’t been any reason to look back after that. Issue number four (2007) marked the point of changes and evolving.
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