INTERVIEW: Neter death metal outfit talks about new album Inferus about the end of civilizations.
INFERUS EX INFERIS EXORTUM EST.
SICK AND SOUND has the pleasure to present to its readers an exclusive interview our editor-in-chief Alessandra had with NETER death metal outfit hailing from Seville, Spain.
We are catching up with the band after the track by track review we edited for INFERUS, their last record and one of the top death metal albums in 2018. Inferus was out last January 15th, 2018 via Satanath Records, Cimmerian Shade Recordings, MurdHer Records and Black Plague Records. We are exploring NETER to get to know them better and digging into their latest bashing record.
For our review please check out: www.sickandsound.it/la-coppa-del-male-non-mai-stata-cosi-arroventata-benvenuti-nel-vestibolo-dei-neter-inferus
- Let’s kick this off by talking about the influences which have contributed to shape your sound. What bands and genres have impacted yourselves as individual musicians and your career as Neter?
We listen a lot of music and we listen to many bands which have nothing to do with metal, so each one of us have a long list of bands that have impacted us. But when we are composing, we forget about all of that and we only focus on death metal. Our music has evolved through the years and you can see a big difference of style between Nec Spe Nec Metu and Inferus, but we have always played death metal and we only belong to that genre.
When we read the reviews that the media write about our albums we see they compare us with many different bands, and although some names are repeated, the comparisons are very different. We think that’s something positive, because we have always tried to find our own personal style, and we believe that we have achieved it. Anyway, if we must highlight some bands, we would say Behemoth, Morbid Angel, Decapitated (early albums), Hate Eternal, Nile, Vader, etc.
- Death metal is a very specific genre your band falls into. How do you see this music scenario overall and how hard it is to emerge in death metal in Spain specifically?
We think the current situation of death metal is good. Maybe not as in the 90s, but still good. There are fans of this music all over the world and there are many bands emerging every year, but we can’t forget it is an underground genre. It’s very difficult to be a musician when you play in an extreme metal band. We need to have a job to make a living, and that’s an important handicap because it takes most of our time.
The situation is not the same from one country to another, but unfortunately, we must admit than living in Spain doesn’t help. We don’t know any death metal band in Spain which live off music, and that’s the harsh truth. But it also has a positive point. If we don’t live off music, we don’t depend on our success and we don’t need the money. The only reason we do what we do is because we enjoy it, and that’s great.
- What are some of the craziest and coolest things you have experienced in sharing the stage with such icons as Dying Fetus, Dismember e Avulsed?
It has been an amazing experience to meet in person these bands, and we have a good relationship with Avulsed, but although it may sound surprising, the craziest things we have lived on the stage have happened in small gigs. For example, we will never forget when we played in a cave built under a tearoom. It was in village from the south of Spain, and we didn’t know the place until we got there. When we arrived, we thought it was a mistake, that we couldn’t give a concert in a place such small as a tearoom. But when the owner led us through an underground passage, and we saw the cave, we couldn’t believe it. Without a doubt it has been one of the greatest shows we have ever played.
- Inferus is a powerful record. I have found an excellent technique and a very harmored sound. This is a masterpiece for Neter and your best album up-to-date. Do you set high standards for yourselves and in what measure are your expectations being matched or mismatched?
Maybe we need more time to see things with perspective, but right now we are very happy with the result. We had high expectations for this record, and we agree with you, this may be our best album. We are getting a very good feedback from the fans on Internet, but we must wait until we play the new songs live. That’s when you really know if it works or not. We are currently working on our performance and we have recently announced the first shows, so we will get to know very soon.
- Inferus is your third studio album and following up Idols dating back to 2015 and Nec Spe Nec Metu belonging to 2009. How has the songwriting progressed since your very first full-length, what makes them different or similar and what new elements have been introduced?
We have completely renewed the way we write songs for this album. Parting ways with our last drummer was a big change for us, so we had the chance to try new things, and we did it. This time we have tried to involve all of us in the composition, and the result has been better than expected. Each one has found a way to contribute, and probably that’s the reason why Inferus is so varied. But anyway, Inferus isn’t completely different from Idols, I would say it’s more like an evolution. Nowadays many bands compete to write the fastest and most technical song, but we find it a little boring. Some of the things we like the most from death metal music is the darkness it transmits, so we have tried to evolve in that direction.
- While reviewing Inferus, I have come across multiple features blending into your sound that seem to enrich the typical metal frame. Arpeggios, an opening and closing cursed piano, some evanescent elements are combined with amazing string work, fiery riffing and guitar solos which make the record an intricate collection. Tell us more about this brilliant balance you have found.
We are far from being a progressive band, but we are not afraid to introduce new elements in our music. It happens naturally, it is not something that we have planned previously. While we are writing a song, we try many arrangements to create different atmospheres, and we don’t have any red line. We think adding this type of details can make an album more interesting and prevents from falling into monotony.
- The Eye Of Sirius is the closer track and a microcosm of all these elements you have scattered in the record, starting on a total blast and then finding heaviness dissipating into melodics. What’s your view on the song and what mindset was behind its songrwriting?
This is one of our favorite songs from Inferus, and one of the last we wrote. We have always ended our albums with a song that differs from the rest because we like to reserve the last position of the track list to this kind of songs. Although it isn’t completely different, it has some elements that you don’t see very often in our discography. The main riff is amazing, the song is really heavy and, although the general tempo is low, the blast beat at the end of the song is the fastest one we have ever played. In resume, this is a very complete song and fits perfectly to close the album.
- What were the most challenging aspects faced while working on Inferus and what have you found easier and enjoyed the most?
The biggest challenge we faced during the writing of Inferus was the rush. And it was a self-imposed rush, because we didn’t have any pressure from any label. We got a big success with Idols, and we didn’t want to take a long time to release the next album to take advantage of that moment, so we booked a date in the studio when we had barely begun to compose the first songs. We usually prefer to take our time to do things well and prepare every single detail, but that time we decided to take the risk, and it was worth it. It was a great effort for us, and we feared not the be on time for the recording because we didn’t finish the writing of the music and the lyrics until the very last moment, but without any doubt we made the right decision. We are very proud we achieved it, and we really enjoyed the process despite how frantic it was, and maybe it is also what we enjoyed the most because we had never worked so well together before.
- What themes were discussed in Inferus? Let’s talk about your own approach to them, whether they have been picked from a personal point view or moving on a general direction.
We have used different approaches for each song, but the main subject is the end of civilizations. Inferus is like a journey through history in which we talk about how different cultures have faced their own disappearance and, in other words, their own death. Many primitive religions worshiped death like a god, and we have referred to death the same way on our lyrics. So, it would be like if that deification of death was behind the end of civilizations, and mankind venerates it because they fear it. We prefer not to express these ideas explicitly, so that’s why we use metaphors and symbolism to tell these stories.
- I would love to get deeper into the choice of such evoking and fascinating titles chosen for each track, which are melting into some Oriental textures, magic and arcane rituals of the far East, death and darkness. The Chord of Sheol is a clear reference to the Abode of the Dead in the Old Testament. What’s the inspiration behind them, what scenarios are those titles bringing forward?
Some people wrongly believe that our lyrics are about Egypt because of our logo, but we write about many different cultures, not only one. In fact, we have never written any song about Egypt. We are not avoiding it, and we don’t rule out that we do it in the future because it was an amazing civilization, but Inferus isn’t about the Egyptian culture.
To write the lyrics of this album we have investigated the history of some civilizations focusing on those which disappeared in an abrupt or mysterious way, and we have found some fascinating stories. We have read about the myth of the disappearance of Tartessos, the city called Atlantis of the Sands and the Greek Mythology among others, and you can find many references in the lyrics, even in the song titles. Every song in Inferus tells a different story, all of them with the same background, but the most remarkable story and the one that has inspired the cover is the story of Göbekli Tepe. It is a real archaeological site recently discovered in Turkey built 11000 years ago. The details of the structure’s function remain a mystery, but it appears to be a sanctuary for a cult of the dead. Everything we have read about it has served us as inspiration and has helped us to create the concept of the album.
- Where does Neter fit into this year’s schedule? Let’s give our readers a touch on your upcoming shows and projects ahead.
We have scheduled our first shows this month, and we are going to announce more very soon. We pretend to give as many shows as we can during this year, and we also plan to start writing the next album in the upcoming months. If anyone is interested, you can follow us on Facebook to stay updated.
Thank you for your time and we wish all the best luck with your smashing record. We are enthusiastic for more music to be dropped by Neter and fully support you into Europe and US!
Thank you very much for your support, and thanks for making us this interview. We also want to thank our fans for the support we are receiving, and we can’t wait to see you at the shows.
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