In a world were there are so many bands to keep track of I want to bring my two cents in presenting you to this interview with CARRION MOTHER. Anders Ekdahl ©2019
A band name sets the tone for the band. With the right name you don’t really need any sort of declaration of intent. Was it hard to come up with a name? What does the name mean to you?
-Well, it’s black and white, warmth and coldness, life and death, man. It’s the fucking dichotomy of life. It’s complementarity. Its fucking yin and yang. The self and the other. You get the idea.
Who would say are the founding stones of the kind of sound you have? Who are your house Gods and how have they coloured your music?
-We were at a festival and saw AHAB live. It was late in the night and we thought to ourselves: Man, we want to make real slow music as well. And so the band was born. It was just Raffael, Julius and Aris back then. The sound that we created turned out a lot different though. Big influences are Neurosis, Saint Vitus, Warning, Yob and others.
When you play slow do you have to think differently arranging the music than if you play faster and vice versa?
-The void, that comes between long held notes has to be filled with energy and atmsophere. A tension has to be built. And we like to contrast that with faster parts. So you defenitely have to plan around that while arranging the songs and we get better at it from song to song. Even though sometimes exactly the unpolished older songs have something special you cannot easily achieve when you get better at writing songs. Thats one reason why a lot of great bands get worse over time and are struggling to reach the feel of their breakthrough albums. They may get better on a professional level but lose originality and uniqueness of their earlier times. People get older and more boring as well.
Playing live is a totally different beast to studio work. How does your music work in a live environment?
-We sound the same on our recordings and live. It’s important for the full concept of what we are trying to do. We are not a studio band. We just play a lot in the rehearsal room and polish the songs by playing them. Although a lot of people find the live sound a lot more brutal and skullcrushing.
How important is having a label to back you up today when you can just release your music on any sort of platform online? Are there any negative consequences to music being too readily available to fans?
-As with all good things, releasing costs money. And also, we all work full time, some of us with families, so we don’t really have time for all the marketing stuff. That’s why we are grateful for Matteo from ORDO MCM who invested a lot of work to help us release our vinyl. Labels have a farther reach than if you start doing your own thing. You need the connections and the (social) infrastructure to spread your message and music. Plus, look at the fucking thing! It’s huge! Digital releases are fine, but we really like holding something with BIG artwork in my hands. Plus, interest gets dilluted online. Too much stuff, too much data, everything looks the same.
I get the feeling that fans that are true to a band, is a lost thing with the easy access to music these days. Do you feel that this is a bad thing or are there any positive aspects of it at all?
-More people = more creativity = more music. The Internet has made it more than easy to reach all this music within a microsecond. There are hidden gems out there and we love the accessability, but, as we’ve stated previously: interest gets dilluted. Especially when everything sounds the same. You have to really stand out these days and get full (social) media coverage if you want your name to be on the top of the list fast. You need to create some kind of myth around you, but most importantly: you have to be the best and work your ass off. We’re lazy promoters and live for creating heavy music without thinking in categories.
What to you is a great front cover? What should a cover have to make it great?
Aris: Everytime, always and without exception I will go for (and I’m going with Wikipedia here) two prominences located on the upper ventral region of the torso of *female* primates.
Do you feel that you are part of a national scene? What is the climate for metal in your country?
-We’re from Bavaria. From the river and the forest. There is some, albeit not huge, scene with people being creative and trying stuff out. I don’t know about the climate for metal, but I see a huge chunk of it compromised by being too docile and commercialized. Take Munich for instance,… but that’s another topic. Metal has turned from a rapid wolf with razor sharp teeth to a boring dociel puppy. There are of course exceptions, but as for me, I’m tired of all the copycats out there that think loud is good and that only follow the rules of certain genres.
I use Spotify and Deezer but only as compliment to buying CDS (it’s easier to just have your phone or pad when you’re out) but I fear that soon music as we know it will be dead and buried. What are your worries as a band? -Everything is changing. We all try to support bands that we like and i think the metal scene is one of the more supportive communities around. Listening via Spotify and co. has a fast food vibe to it.
What lies in the future?
-We will keep on creating the soundtrack to the end of the world. Nothing remains.