Interview with Deva Silence by Dave Wolff
When you formed your self-named project, how did you intend to have your own sound, and how did you intend to represent it on your debut album “Moon, Misery and a Country Church”?
The sound of the band stems from experiments with other bands I've had in the past; let's say it's the result of those experiences. The sound of the album is inspired by the dark hard rock sound, such as Black Sabbath, Candlemass, the early Death SS, and 70s Italian progressive rock. On the album, I simply wanted to blend all these ingredients to achieve something very “old school”, and judging by the results, I'd say we succeeded!
What drew you in to classic doom bands like Candlemass and Sabbath? Which bands from the current generation of doom, stoner rock, sludge metal, or drone metal would you rank on a level with doom bands from the 1970s and 1980s?
I was definitely attracted to the “heaviness” of the sound and that slow, raw progression mixed with an esoteric and mysterious atmosphere, ever since I discovered it as a child. Currently, there are many valid bands in the genre; I mainly follow classic doom, and in Italy, we have several, like The Ossuary and Messa, just to name a couple, as well as American bands like Pallbearer, Crypt Sermon, and Briton Rites, to mention a few current ones, and I could keep going!
If someone were to hear about Death SS, how would you characterize their brand of “horror metal”?
Death SS has been a very important band for me that defined the “horror metal” genre, which many, including myself, have drawn from. I would consider them essential for doom, especially in the early part of their career because they blended horror themes inspired by old horror films and esotericism with doom. Then, the natural evolution of things and experimentation led them to move away from the genre, understood as doom, while still remaining a cutting-edge band in the realm of “horror metal”!
What distinguishes Death SS from the majority of doom bands and horror-based bands of their era in terms of their approach to horror metal?
Well, when they started, it was very challenging, especially here in Italy, to propose both Doom and have the visual impact they presented and still present. They certainly stand out among the first to evoke a truly "horror" feeling, with theatrical scenes taken from vintage horror films reproduced during their live shows. During their performances, it genuinely feels like living inside an old horror movie! Their musical contribution has been fundamental for the development of horror metal!
Which horror film era did Death SS draw inspiration from for their songs? How did esotericism and that influence contribute to their own atmosphere?
The horror cinema that inspired them came from Hammer Productions and the B-movies of the 70s. Those settings, combined with a strong esoteric component, of which they are connoisseurs, created a uniquely distinctive genre in their music at that time. So I would say that the esoteric element was crucial for the birth of the genre. Before them, others had tried, but not in such a decisive way.
If you’ve seen Death SS live, either in person or on video, how would you describe all the elements they bring to the stage while performing?
I had the chance to see them a few times. The last time was in September of this year when they performed a double show live, which was truly beautiful! I would describe the elements they bring to the stage as certainly original and brilliant! They were practically the first to do it with a really serious attitude; others, a few, had proposed something similar until that moment, but in an ironic way. I believe that the serious approach and the ability to transform the show into an immersive experience can truly make a difference and capture the audience's attention.
I hadn't heard of many progressive rock bands based in Italy. At the moment of writing, which of them are in demand?
Since I was a kid, I have always been drawn to progressive rock, which has a strong tradition in Italy. Regarding the progressive aspect of my album, I have been inspired by bands like PFM, Goblin, Le Orme, Il Balletto di Bronzo, Area, and Banco del Mutuo Soccorso.
I’m familiar with Goblin since they’ve worked with Dario Argento on films like “Profondo Rosso”, “Suspiria”, and “Dawn of the Dead”. How would you rate the soundtracks of those films? Are you familiar with their more recent work?
The soundtracks of Dario Argento's films performed by Goblin are true masterpieces! As a kid, I listened to them a lot, so much so that in my experiments with past bands, there were many influences of this kind: just think of Simonetti's keyboards, which have a unique and unmistakable style, just as every single instrument in their classical lineup is distinctive! Currently, they are all engaged with their solo projects stemming from the name Goblin, where they are revisiting the soundtracks that made them famous. However, I have only had the chance to listen to Simonetti's Goblin, who present their successes in an “almost” progressive metal style, which is nothing short of fantastic! As a fan, I hope for a reunion of the original lineup, although I know it will be very difficult.
In what ways does Simonetti's Goblin compare to the original Goblin that recorded those classic soundtracks?
Simonetti's Goblin differs from the originals in terms of sound but also in style; they are more metal-oriented, and the sounds are modern and less 'vintage!' Being a long-time fan, I really appreciated this version.
What about the other prog bands you mentioned as influences speaks to you? How do they sound different from rock bands in the U.S., and how much influence do Deva Silence take from them?
The difference mainly lies in the cultural context; here in Italy, it was characterized by a strong musical and poetic tradition influenced by classical music, folk, and singing in Italian. Bands like Premiata Forneria Marconi (PFM), Le Orme, and Banco del Mutuo Soccorso integrated these elements while addressing existential and social themes. In America, it stemmed from a fusion of psychedelic rock, jazz, and classical music. Bands like Yes, Kansas, and Genesis, which, although British, also had a huge influence in the USA, focused on complex musical structures and instrumental virtuosity. The lyrics often dwell on fantasy themes.
Moreover, the musical style of Italian progressive rock tends to be more melodic and lyrical, with a strong emphasis on vocals. Acoustic instruments and synthesizers are frequently used, creating a warmer and more organic atmosphere. The influences of classical music are very evident, and a strong theatrical component is often heard in performances. In America, the style often embraced a more “hard rock” approach, with a strong use of electric guitars and heavier rhythms. The music of Deva Silence has had the right weight, inspiring me in various aspects of the album; I intended to give it a progressive imprint, but not only that, so I used it in just the right measure. I hope I succeeded!
If someone is interested in knowing more about Italian progressive bands, what are some good online and social media resources?
I know there are many websites and forums; I think of “Progressive Music Planet”, “Prog Archives”, and various social media pages featuring numerous bands from the present and the past, as well as different playlists on YouTube and Spotify.
Although they’re not based in Italy, did you hear of a band called Coven who played acid rock and proto-doom and started releasing albums about a year before Black Sabbath? If so, what do you think of their contribution to doom and prog?
I know Coven very well! Their bassist was named Oz Osborne, and the first track of Black Sabbath's debut album, you know sometimes I don't believe in coincidences, but I think all of this is crazy! I believe that Jinx Dawson has a fantastic voice that reflects old-school doom. The contribution of Coven to the doom and prog scene is significant for me. With their psychedelic influences and esoteric themes, they paved the way for many of the sounds and aesthetics that would become common in metal and progressive rock in the years to come. Their ability to blend catchy melodies with unsettling atmospheres has influenced later artists and helped define the sound of an era.
From what I see, Coven still performs shows and at underground rock and metal festivals. By to the videos I watched, they exude the same esoteric/psychedelic aura they had in the sixties Would you like to perform on stage with them at some point?
It's interesting to see how the genre of occult rock continues to evolve and influence new generations of musicians. Coven, with their esoteric and psychedelic aura, have left a lasting legacy that is reflected in contemporary artistic practices. The possibility of performing with them would indeed be fascinating, considering their historical impact on music and culture.
I found a number of occult rock bands after hearing Coven. Bands like Astaroth, Bedemon, Black Widow, and Image. If you’re familiar with these or other bands, why do you believe the genre was so enigmatic and is currently experiencing a resurgence with new bands?
Bands like Astaroth, Bedemon, Black Widow, and Image have certainly drawn inspiration from the '60s and '70s, when themes related to the occult and esotericism began to permeate rock music. The resurgence of this genre today can be attributed to various reasons: a nostalgia for an era of musical experimentation, interest in esoteric and spiritual themes, and a desire for artistic innovation. Additionally, the revival of vintage aesthetics and the accessibility provided by the internet allow emerging bands to find listeners who are interested in these sounds.
What are your thoughts on bands like Ghost who have recently been rising in popularity?
As for Ghost, they are a great example of how occult rock can resurface and gain popularity in today's music scene. Their ability to combine catchy melodies with a theatrical aesthetic and dark themes has attracted a wide and varied audience. Their music manages to capture the attention of both rock enthusiasts and those seeking something innovative and provocative.
Back to your career and your experimenting with previous bands, how much have you done? Did the bands you collaborated with play similar or different genres? To what extent did you contribute to the songwriting process for each band, and how did the experience benefit you?
In my musical career, I have had the opportunity to experiment a lot with different bands, ranging from Primus-inspired funk mixed with doom to Italian prog, from classic metal to extreme metal, always maintaining a unique personality. Clearly, this has allowed me to play different genres, which has been a real school and provided me with the necessary background for the development of what I compose now. Each band has added something to my experience, from simplicity to technique to different ways of singing and composing. All this has become a real advantage because it facilitates the process of musical composition as you draw from diverse experiences. I also consider this album important for what I'll be doing in the future, which will undoubtedly be more perfected and mature.
Describe how you developed “Moon, Misery and a Country Church” with the jhelp of your band experience. To what extent did the album match your original vision?
The lyrics for “Moon, Misery and a Country Church” were written in 2010; it was a concept originally planned to be sung in Italian, but it was then shelved. After many years, it resurfaced; I revisited it, revised it, and began writing some riffs. When I recorded the pre-productions for guitar and voice, I contacted Massimiliano Martellotta, who, besides being an old friend of mine, played drums in several bands from my past, and we began recording the drums and reworking some sections. I wanted an album that, in my way, would be first and foremost “personal” and “doom”. Later, purely by chance, I met Alex Nespoli, who completed the album with his lead guitars. Initially, I envisioned it to be more minimal, more stripped down, but then we enriched many parts with arrangements that highlighted the various nuances each of us has. After all, it's normal; every musician contributes to personalize any piece with their own background of influences. I let these two excellent musicians express their best on my compositions. The result, as you can hear on the album, I would say we succeeded!
What was the basis for your idea for “Moon, Misery and a Country Church”? Why was it put on hold for some time?
“Moon, Misery and a Country Church” is inspired by a true crime story from Italy. It was written as soon as I learned about it; it's a concept that addresses pedophilia from both the perspective of the pedophile and that of the victim. The album, I only had the lyrics for it, was casually set aside like many other tracks and albums I've written simply because it wasn't the right time to work on it. However, at a certain point, it came back to me, I revisited it, elaborated on it, and composed the music.
How much more fulfilling is it to write about real-life crimes as opposed to fictional ones? What effects does writing about actual events have on your music?
Writing about real crimes can have a significant impact, both emotionally and artistically, compared to fictional ones. Reality brings with it a certain gravitas and authenticity that can make music more powerful and engaging. Writing about real events can evoke deep feelings and connections with listeners, as it touches on genuine experiences and suffering.
How differently would the lyrics have come across if you had sang them in Italian as originally intended?
In the past, I also experimented with singing in Italian, but it lasted a short time; “Moon, Misery and a Country Church” was written during that period. Over time, I realized that my native language doesn't fit well with the proposed genre, so I opted for English with the intent of crossing foreign borders as well. This is also part of experimenting.
How difficult was it to convert the lyrics from Italian to English while still making sure they rhymed and matched each verse pattern as you wanted them to?
Translating lyrics from Italian to English is always a challenge, especially when trying to maintain rhyme and rhythm. It is essential to find a balance between the original meaning and the sound of the new text. Often, compromises are necessary, perhaps simplifying some ideas or searching for synonyms that better fit the new context, all while keeping the essence of the message alive.
When it came to simplifying ideas or finding words that fit while keeping the original meaning, how much effort did you have to put into telling the tale in English?
In my experience of storytelling in English, simplifying ideas while maintaining the original meaning certainly requires some effort. It’s important to choose the right words and construct sentences that resonate with the audience without losing the intensity and passion of the original message.
From what you heard, what are some other languages that sound difficult to apply to metal (for example, Spanish, Norwegian, Russian, Japanese, etc.)?
When it comes to languages that may be challenging to apply to metal, some might include Spanish, where the musicality of the words can influence the rhythm and cadence of the songs. Norwegian and Russian, with their unique grammatical structures and sounds, can also present challenges. Japanese, while being a very expressive language, has a completely different culture that might make it difficult to convey typical metal themes.
In addition to those languages, what other languages would present similar challenges in terms of communicating feelings and ideas?
Arabic might also present similar challenges. These languages have grammatical and lexical structures that are very different from Italian or English, and they may require additional effort to express complex concepts or emotional nuances. Additionally, different cultures can influence how certain feelings are expressed, making direct translation difficult.
Are there other actual events you would conceptually base upcoming releases on? What sources do you look to for subject matter?
As for real events to base upcoming releases on, there are countless inspirations from history, current affairs, or even personal and social experiences. Sources like documentaries, newspaper articles, history books, and even conversations with people who have lived through specific experiences can provide valuable inspiration. The key is to find a narrative that speaks to you and that can resonate with others, transforming facts into emotions through music.
In your search for new stories to tell through your music, have you referred to any documentaries or printed materials?
When it comes to seeking new stories for the music, documentaries and printed materials are definitely a good source of inspiration. They provide context and depth to historical events or contemporary themes, which can then be reinterpreted through metal.
Are there any documentaries or printed materials you've perused to base new concepts on?
I have recently consulted several documentaries on the doom and hard rock music scene. Furthermore, I am reading articles and specialized magazines in the field that explore the evolution of the genre and historical influences. These materials have provided me with a new perspective on the themes addressed in the album, such as depression and inner struggle, offering me insights for new lyrics and sounds.
Do you have any musical ideas for songs for your next release, or does your focus primarily revolve around promoting the new album?
As for musical ideas for an upcoming album, I'm also dedicating time to promoting the current album. However, inspiration is always present, and I like to jot down ideas for future songs as they come to me. Creativity is an ongoing process, and I find it important to keep the inspiration alive, even while working on current projects.
In what ways do you anticipate Deva Silence to progress and grow in the near future?
I foresee Deva Silence evolving toward an even more mature and distinctive sound, exploring new musical horizons while still maintaining our doom/hard rock roots, in order to offer listeners a unique musical experience. Additionally, we aim to enhance our live presence, as this has not been possible until now due to multiple factors such as the closure of many historic venues and a generational shift that is indifferent and disengaged. We also plan to work on visual productions that accompany our music, creating an immersive experience for the audience. Innovation and connection with fans will be at the heart of our future growth.
-Dave Wolff
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