GORY BLISTER

I should be better familiar with GORY BLISTER than I am but better late than never. I’ll start with this interview and then dig my way back through their discography. Anders Ekdahl ©2018

Every band has to introduce their music to new people. What is it that you want people to get from listening to you guys?
— Born in 1991, Gory Blister have been influenced by the bands of the time, such as Kreator, Pestilence, early Coroner, Death. What they had in common was a lively creativity and the longing to search for new arrangements and grooves, along with the desire to show up their skills. This is exactly what we want people to grasp from our music. We have always strived to show that we are creative without ever repeating riffing and arrangements, trying to write down original death metal songs, combining our musical skills and influences.

How hard was it for you guys to pick a name? What had that name have to have to fit your music?
– Honestly the name Gory Blister has not much to do with our music. At that time the best names had already been taken .. LOL, “Gory Blister” sounds better for a grindcore or brutal death band, but the metaphor behind it deals much more with us. The unexploded bubble represents the anger that struggles within us, and that is ready to burst, and when it happens, anger turns into music, our own music. When we formed, we were little more than teenagers, we lived in a place where there was nothing to do if you didn’t like society as it was, so we had a huge rage to express, and we did it by music instead of violence or assuming drugs. Today it is not much different, the flame that feeds our creativity is generated in the same way, but by different troubles, since we all are aged over 40.

Everybody is influenced by certain things. What band(s) was it that turned you on to the kind of music you play? What inspires you today?
– As I told you above, many bands playing between 1986 and 1996 influenced and inspired us. I would rather mention some of the albums that to me artistically and creatively, are still the benchmark of my inspiration, such as Sepultura’s Beneath the Remains, Kreator’s Coma of Souls, Pestilence’ Testimony of the Ancients, Coroner’s No More Colors, Atheist’s Elements, Metallica’s And Justice for All, Megadeth’s Rust in Peace, Death’s Individual through Patterns and of course many others. I consider these albums as timeless, even if today my listens go beyond the Metal. I love listening to Rock and Blues, and to many guitar players with a hot blooded style and not just technical, such as Joe Bonamassa, Michael Schenker , Ritchie Kotzen and many others.

When you formed did you do so with the intent of knowing what to play or did you do so from the point of having a band name and then picking a sound? How did you settle on the name/sound combo?
– Our mood was straight from the beginning, we wanted to play well and we wanted to have our own style. It might sound presumptuous, but we were immediately focused on this goal, we wanted to reach our idols, playing our own songs. Making music has always been fun, of course, but it has never been a joke for us, being our reason to live, and we just wanted to do our bloody job. Our sound and personality came out year after year, step by step, by a lot of work and dedication.

I believe that digital is killing the album format. People’s changing habit of how they listen to music will result in there being no albums. Is there anything good with releasing single tracks only?>
-No! We are old school guys, and we are not in favor of the single track release without having a whole album, that gives you a personal sound. Digital is killing music and changing the cultural habits of the listeners, who enjoy music as they get a supermarket toy. Selling single tracks is just stricking the final blow to the emerging bands and to the underground. This is a luxury that only those who are already famous and live by doing concerts can afford. There’s nothing good for me in releasing individual tracks. Digital media should instead work to improve people’s music culture in a wider sense.

What part does art-work and lay-out play when you release new recordings? How do you best catch people’s attention?
– Colors are essential for a good cover, because if you look at a shop window you hardly notice the single CD at a first sight. We have tried different solutions in the past. The artwork and the lay out are very important, They have to recall the sound of the album, and to prompt the listener’s mind to the beginning of a journey.

Has social media re-written the rules on how to promote your music? Or do you go about doing promotion the same way?
– Yes, they did it! Today you must be on the main social networks if you want to be part of the business. Indeed in the beginning the exposure on the social networks was more effective than now, being them a real jungle. At any rate they continue to be very helpful in order to reach new fans. Gory Blisters today are more known than in the past, thanks to the socials, but unfortunately this does not mean more copies sold, but simply more listeners, they just know that we exist and we hope they like us. The old promotion however continues to have its importance, because there is still a real world.

When you play in a band, does that make you feel like you are a part of a scene, of something bigger and grander?
-Yes, but part of the worldwide scene, with a never-ending desire to grow up. Here in Italy it is not easy to say what is really a “scene”. We just try to make our job and give our contribution to the “scene”, but if the “scene” is made not only of musicians, but also of promoters, labels, dealers and so on, it is more complicated to say “part of the scene”.

How much of a touring band are you? Is touring/gigging still a great way of spreading the word of the band?
-Yes, it is very important, because if you do not sell so many records anymore, you have to sell your merch at concerts. But there is a problem. Going on tour costs a lot of money, and if you’re not in a good bill, it may not be convenient. Often being part of an important bill means paying the main agencies and bands a lot of money, which often covers the live costs of the headliners, and if the agency is not honest, you pay without getting any advantages, it is crazy but it is real, and for the bands who want to build a career it becomes increasingly impossible to earn from their music.

What will the future bring?
-I hope good stuff, and I hope we can promote 1991.Bloodstained with many live gigs. Of course the main thing is that people like our new record!

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