You might have seen the INSIDIOUS ONE movie. This band/project might not be a scary as that movie but the music sure do stir up a frenzy. Anders Ekdahl ©2018

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?
-It doesn’t have any important meaning, it just sounds cool. It fit my project, though: I’m a pretty evil sounding one-man-band, after all. I came up with it after rewatching the Spider-Man cartoon, the one from 90’s. It had the super-villain group called “Insidious Six”, I just altered it a bit and got “Insidious One”.

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?
-I won’t call them “Gods”, I’m not the “worshipping fan” type. The most influential bands for me are probably Strapping Young Lad, Dir En Grey and Utsu-P. The last one is not actually a band, it’s a Japanese guy who makes really crazy metal/electronic music with Vocaloid software doing the vocals. Everyone should check it. I also draw a lot of inspiration from anime/videogame OSTs and old pop music.

When you play slow do you have to think differently arranging the music than if you play faster and vice versa?
-Yeah, the slow songs give you more opportunity to experiment with, and you can put in more instruments without making the sound indecipherable, but the fast ones are easier to make fun. The best thing is to try to alternate between slow and fast parts in one song to make it diverse and unpredictable.

Playing live is a totally different beast to studio work. How does your music work in a live environment?
-My music works great live: I get the gig proposal and I say: “No way, I’m a one-man-band, I can’t play live, you silly!”, and then I sit at home and play Morrowind instead of all those exhausting things, so my “playing live” situation is the best.

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?
-The labels still do some promotion work, so it’s never bad to have one to back you up. And the faster fans can get your music, the better. The digital piracy is a great thing, by the way: without it we’d still have to buy the CDs every time.

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?
-I don’t like the whole cult of personality around legendary artists. People should listen to music, not worship the musiciants. And nowdays anyone can communicate with the musicians via Internet, so the artists are no more unapproacheble celestials, as before. I don’t have a large audience, but some of my listeners chat with me in social networks, I treat them as buddies, and I feel great about it.

What to you is a great front cover? What should a cover have to make it great?
-The front cover is very improtant. When you listen to an album and see the cover, the image is forever bound to the music. And it’s also a part of a creative process: when you put everything you had into a music, you can put something more in a visual side, and it’s great. By the way, the front cover of my new EP is being drawn right now: can’t wait to see the final result!

Do you feel that you are part of a national scene? What is the climate for metal in your country?
-Oh, that’s the difficult theme. You see, there are a significant number of metal fans in Russia, but most of them really hate Russian local scene. We have a lot of very talented artists and great bands, but there exists an old Soviet stereotype, that everything foreign is awesome, and everything local sucks. You know, it was partly true in 80’s and 90’s. when there were very few good recording studios in Russia, and most of the bands couldn’t afford to have a decent sounding album, but nowdays it’s a whole different situation: even the underground bands can record very well, but the stereotypes are not so easy
• to destroy. It doesn’t help that there are very few people who wish to organize metal gigs: the whole metal scene is considered unprofitable, and very few bands can actually leave their home city. Good thing Insidious one doesn’t have to play live.

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?
-The music as a business really suffers nowdays, but I consider it a good thing. The whole “music will bring you tons money and fame” thing is bullshit: the commercial success and the freedom of art never go along very well. The music as an art will not die, since there are always people who love to make music, even if it’s not profitable. The whole scene will become more amateurish, but it’s a good thing too: the chase for “professionalism” often hurts the creativity. Look at the videogames: they were great until the big money came into the industry, and nowdays 90% of them are utter shit!

What lies in the future?
-I hope to release a new EP as soon as possible, it would mark an end of a certain era of Insidious One, because the next full-length album is planned to be a grandiose trip to a whole new direction! Still very metal, though. Stay tuned for the news!

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