FUTURE STATIC

With so many cool bands out there to check out I offer you some minor guidance by introducing you to FUTURE STATIC. Anders Ekdahl ©2019

A band name says more than thousand words, or does it? How important is a band name to get people interested in your music?
-The most important thing is making it memorable, regardless of genre. If it’s punchy, concise, and recognisable, people will remember you, and even better if you can find meaning in it. The good thing about Future Static is, even though we initially just thought it sounded cool, we’ve found a lot of different meanings for us through the years, and hopefully it has for listeners too.

When you finish a recording and then sit back and relax, what kind of feelings do you get? Are you glad it is finished? Does the anxiety grow, not knowing if everybody will like it?
RQ – I have a really bad habit of overthinking after we finish tracking, my mind always goes to the worst case scenario, e.g. “No one will like this record because we didn’t add x and y”. To combat that, I usually just force myself to think about the amount of work and love I’ve put into a project, that usually gets me through that anxious period.
BM – I always start with feeling this huge adrenaline rush. I hate sitting on things, so I’m immediately wanting it to be released. I listen back to it a lot and get way too excited when we plan a release date. Then about a week before the actual release, I start letting my anxiety creep in and get the best of me. Release day itself is exhausting, simply because I’m feeling so many things all at once. Relief usually comes about a week in, but even then I still find a way to keep overthinking everything I know.
KN – I think for this record especially, having had Bri and Ryan do most of the writing, it’s mostly just excitement rather than anxiety. I know they’re incredible musicians, I know they work hard to make our music the best it can be, and so by the time we’ve all recorded it and are happy with the final product, I just want it to be out in the world so all the work can be heard and hopefully appreciated like we appreciate it.
JT – For me it’s a mix of relief, anxiety and impatience. I’m relieved it’s done but I’m anxious for everyone to hear it, though at the same time I can’t wait to release it all and start the campaign to push it to the masses. Ultimately I’m never completely satisfied with the final product which feeds into the anxiety of the release, but I use that to drive me when we start working on the next release.

What is it like to be in a studio recording your music? What kind of feelings and thoughts race through your heads?
RQ – Being in the studio is kind of a robotic experience for me, the songs have already been written in pre production so it’s all about getting the cleanest, best takes you can. The key with that is to go in knowing your stuff back to front and coming in with a sense of confidence. While it’s awesome getting to play guitar for 8-12 hours a day, it does get pretty mentally taxing, obsessing over your technique and playing as opposed to the more creative choices associated with pre production. Mostly it’s just straight up focus and confidence.
BM – I’m always a mixed bag. I have no doubt in my mind that I drive everyone else mental because I go from being excited and full of inspiration one minute to doubting my voice and my lyrics the next. It feels kind of like emotional whiplash, but in the end the final product is well worth pushing through all the doubt. I tend to be really hard on myself while tracking vocals, but I think that just comes from wanting to create the best record possible.
KN – To be honest it’s a bit of imposter syndrome. I was a latecomer to the bass, and a lot of the basslines on this record echo Ryan’s incredible guitar riffs, so recording is mostly hoping that I can reach his level technically. That being said, I definitely enjoyed the challenge and felt the difference it’s made to my playing since then. The main thing is allowing myself to take my time, as anxiety can creep up on me at that stage of the process.

Today I get a feeling that the promotion of a band lands a lot on the bands themselves so how does one promote oneself the best possible way in order to reach as many as possible?
-I feel the best possible way to promote yourself and your band is to be constantly interacting with other people involved in and around the music industry; bands you’ve played with, bands you like, the fans and punters you see at your shows and the people buying your merch. The best way to promote yourself is to have small but genuine conversations with these people because when you start to push your new material these people are more likely to help you push it.

Today we have all these different sub-genres in metal. How important is it that you can be tagged in one of these? Why isn’t metal enough as a tag?
-I think it is more important for the listener than the band. A band doesn’t set out to write a collection of songs that must fit within one small box of a genre, they just create the music that feels right for them and it naturally comes together. The genre that you’re tagged as is merely a search tool for listeners, not a pigeonhole for a band.
For the listener, however, everyone has specific scratches that need to be itched. Someone out there has an itch for Southern Death Metal that plain old Metal won’t scratch – and that’s where the genre label matters. They need these genre labels to more specifically find what they need.

What importance is there in being part of the local/national/international scene? Does playing in a band make you feel like you are a part of something bigger? I know it does to me knowing that in some slight way I was a part of the Swedish death metal scene in the 90s.
-Your local scene plays a huge part in anyone’s band. The other bands and people in your immediate area can form partnerships that can last forever, and you can work with each other to develop your bands beyond where you might have been able to make it if you didn’t have these people around you.

Ever since I first got into metal the art work has been a main motivator in buying a record. What part does artwork for album covers play in the world of the band
-The artwork is an extension of the music. It’s the visual identity that is tied to you and your songs. It’s what might make someone listen to your music in the first place – or if handled poorly, choose to never listen to at all. People judge books by their covers and music is no different, so it is vital to us the opportunity wisely to make something creative that wraps up your music thematically and definitively.

How important is having a label to back you up today when you can just release your music on any sort of platform online? With the ability to upload your music as soon as you’ve written it the freedom to create has become greater but are there any negative consequences to music being too readily available to fans now that every Tom, John and Harry can upload their stuff?
-Honestly, we don’t feel having a label behind you is a really make-or-break thing if we’re just talking about the local/national scene. If a band works smart enough they can self manage and self-promote themselves successfully enough to have a healthy career in their home country. Obviously having a label will be an advantage, but it’s not something I think will be the reason for someone’s success.
We don’t see the issue with anyone having the ability to release whatever they create in their bedroom. If anything I think this will breed a better and more refined generation of musicians. If someone releases music that really isn’t any good then it won’t gain traction and it’ll bomb, causing them to improve on their writing skills.

What is a gig with you like? What kind of shows do you prefer to play?
-A Future Static show is definitely a high energy one, and especially with our new, heavier tracks, we throw our all into it. We’re very lucky that at a lot of our recent shows, especially our recent single launch show for Choke, the crowd’s had that same energy- that’s really the most important thing for us.

What lies in the future?
-More music, exploration of new and exciting sounds. We’re not a band that likes doing things twice in a row, comfort is complacency, and we’d rather be pushing ourselves outside our comfort zones in terms of our capabilities in a live or a studio setting.

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