Don’t you hate the noise from the HISS FROM THE MOAT, unless it comes in music for that is? Anders Ekdahl ©2018

Was it hard to come up with a name? What does the name mean to you? How important is it to have the right name?
-It was hard to give a name to the band, especially that had a meaning, sounded good, wasn’t the usual ‘brutal Google researched word’ but that had something somehow poetical and that would stick out from all the other names. For us it is important to have the right name because it’s like the title of a book. It has to give to whoever reads it an image in their mind. It doesn’t matter what the name means to us, it matters what puts in other people’s imagination and feeling for us. What do you think of when you read Hiss From The Moat? What do you expect? That’s what we thought of when we’ve been studying the image of the band, the sound and everything we create.

Who would say have laid the foundation for the kind of sound you have? Who are your heroes musically and what have they meant to you personally and to the sound of your band?
-Jack and Me (James), have mainly wrote Misanthropy and the new upcoming album. We had a few lineup changes and we all live pretty far away from each other and that pushed us to being the ones to work on the songs. Jack came out with most of the riffs for the album and then I wrote all the structures of the songs, lyrics, drums, percussions etc… then Carlo and Max worked on the details of the bass and the vocal metrics.

When you play slow do you have to think differently arranging the music than if you play faster and vice versa?
-Well, it’s definitely different when you write a slow song compared to a fast one, but we always try to keep all the elements of the music alive: if we write a fast song with many Blast Beats, we don’t want the rhythmic section to be flat and just fast, so we try to be creative on that side, when we write a slower part we don’t want to sound like a completely different band, so we try to still maintain our angry and furious sound working on the right notes and atmosphere of the slow song

Will your music work in a live environment? What kind of stage environment would best suit your music; a big stage or a small club?
-We have wrote our music based on many different points of view and one was surely live situations. Many parts are crescendo that explode in furious blasts or more open and rhythmic parts so that during the live show people can feel those explosion and get into our songs. During live shows you have 30/45 minutes to really impress people and have them involved in your music and performance so we worked a lot on that and also on our presentation having a small production of lights and fog machines that’s all synced up with the music so that we have both a musical and visual impact. This would work on small and medium stages. For bigger stages the music would still work because we have many percussions and fx in the songs that keep the sound huge, but the light production on big stages would require a light engineer and more powerful lights for sure.

It is very hard to be 100% satisfied. Everybody seems to be disappointed with something they have released. Is there something that you in hindsight would have done differently on this your latest recording?
-I usually am 10% happy of anything I do. I am pretty miserable on judging my works, this time, although I still see a great margin of growth for the band in writing music and we already have many new ideas, as far as the album and the recording I am 99% happy, and it’s the first time ever in my life that I feel so good about something I do! I can’t wait to share the new music with all the people out there.

Promotion can be a bitch. Even today with all different platforms it can be hard to reach out to all those that might be interested in your music? What alleys have you used to get people familiarized with your band?
-It surely is hard, the hard part is to stick out among all the bands and artists that come out everyday on social medias. On the other side, it’s very easy to reach out to people now and if you find the right way to communicate, then the ball will just roll. Art usually works that way, so we tried to work with an artistic mentality as much as possible. Another side is for sure going through our instrument and skills, many people listen to certain bands because of a specific musician that plays in that band, so we also work on our own followers and people that appreciate what we do singularly to then redirect them not only to our technical and instructional skills but also to our artistic activities. Hiss From The Moat in this case.

To me art work can be the difference between bust or success. What to you is a great front cover? What should a cover have to make it great?
-I agree in what you say, and, as I was saying in the first question, we work on that a lot because everything we do has a meaning and the art work is as important as the music for us, it’s the visual aspect of what we do musically and it has to really bring someone in our atmosphere and put them in a place while they listen to our music. I really like Slipknot’s self titled album cover because when you look at that you think of a group of serial killers, then when you listen to the album, it is just what you expect, then when you see them live, they just confirm they were 9 crazy motherfuckers that rip every stage apart. I also like Mechanical Animals cover. It has the same impact on me, you see that cover and you think about all kind of crazy stuff and then when you listen to it it’s the sound and the vibe you expect from a cover like that. Then there are many others, but it gets boring to name them all.

Do you feel that you are part of a national scene? Is a local/national scene important for the development of new bands?
-We mainly are part of the Italian scene for sure. We were all born there and have spent most of our lives there, so that’s for sure! I think it’s good to have a national scene if you come from the UK or from the US, because usually when you’re from there and you’re successful in those countries then it spreads worldwide almost automatically because there’s no language barrier with the rest of the world. Germany also have a very strong live scene for metal bands, but if you are in a national scene from Italy for example, that doesn’t really benefit the band, it doesn’t bring the band very far.

I could just be me but I got the feeling that the live scene is not what it used to be. Could be that more and more people use the net to discover bands instead of going out and supporting new bands live. What is you experience with the live scene?
-Yeah, it seems like people discover more bands on the Internet rather than from live shows. Once a band creates a hype on the web then people go to see them live. On the other side I think that now the headlining bands are always the same and I don’t see many new bands coming out and I don’t know where this will lead. For an opening band to give a very good impression live and make new fans is hard because the conditions are very miserable most of the times, they spend a lot just to be there and have no money left to invest in production and to have their show so it seems to me that is more important to have the name of the band on the flyer of the tour rather than the show of the band it self.

What does the future hold?
We’re getting ready for this release and are excited to see what will be the response of the people. In the meanwhile we will start putting down new ideas for new music already and will try to get on the road as much as possible to make the band grow as much as possible!

Bookmark the permalink.

Comments are closed.