I guess that with a name like LOU QUINSE you are prone to the occasional misunderstanding. But make no mistake of thinking that this is some weak as stuff. Anders Ekdahl ©2018

You have one of these names that do not really tell what kind of metal you play. How hard was it to come up with the name?
-It wasn’t too hard! but of course, whoever you say this name to, no matter which language he/she speaks, misunderstandings are always possible. Especially back in the first years, we read it on flyers in many funny ways, the “Lu Queens” guess was the best, and many other you can imagine (or go beyond imagination!); however, we guess it’s pretty functional to describe something in an archaic language you don’t know.

How do you introduce the band to people that are new to your music?
-Tags and labels are always useful to summarize, but, as all summaries, are limited; so when we introduce Lou Quinse to anyone, first we try to explain the traditional origin of the songs we play, then the eclectic but always extreme metal influences that we insert on the folk base. It’s difficult for us to say just “folkmetal”: that means something more specific than what it seems, something close to German/Nordic Medieval Epic/hard rock, sometimes with black metal influence. We prefer a definition of extreme metal-folk, or folkcore, to highlight our different approach.

We all carry baggage with us that affects us in one way or another but what would you say have been the single greatest influence on your sound?
-Absolutely the first album of French band Hantahoma, “Malombra”, a mix of Occitan culture and black metal, listened to thousands of times, very important for us to understand how we could begin something that was present but confused in our wasted heads.

What is the scene like in your area? Is it important that there is some sort of local scene for a band to develop or can a band still exist in a vacuum of no scene/no bands?
-Torino’s scene of “guitar&drum based extreme/independent music” seems a bit suffering in this moment, there’s not so many bands, not so many ideas and very few places to play in, very different from the years we began the Lou Quinse adventure. We are a band conceived in the scene, a combo of people from four other bands (only one still in activity, Kynesis) that had a studio together, and very active on the territory.
So in our experience, the scene is essential, however it could be that people can express their own creativity without any local scene, perhaps the absence of other musical expressions could be an engine for an individual/group work of high level as well.

Something I have often wondered about is if you feel that you are part of something bigger and greater when you play in a band, that you are part of a movement sort of?
-Of course we feel it, we are an homage to Satan.

When you play the sort of music you play I guess you cannot have birds and bees on the cover of your album? What is a great album cover to you?
-We have marmots and goats on our cover, not so far from birds and bees!
There are thousands of beautiful artworks in the music history, impossible to quote all we love, but we can say that we really admire artist works by Jacob Bannon, Converge’s singer, artist and writer, for his unique and creepy style.

What is your opinion on digital verses physical? Is digital killing music?
-In play and production, digital is an essential part of modern music, it has opened almost infinite new possibilities of art and work; on distribution, it injects in the world a massive number of new bands and a lot of free music; at the very same moment, vinyl has some sort of rebirth, and if together digital and vinyl will end CDs, probably human beings will gain something.
On another level, digital is probably killing human interaction, in many sad ways, and some kind of phone-voyeuristic participation at concerts is one of its worst clues.

What kind live scene is there for bands like yours?
-We love to play in many and very different contests, from straight metal and metal-folk concerts, to linguistic minority gatherings, village celebrations and happenings in support of political and DIY causes.
So any live scene less the boring, selfish or fancy ones.

When you play live is it a happening or do you see it more as a party?
-Neither of the two, it’s a Sabbath; dark, magic, wild.

What would you like to see the future bring?
-After four years in studio, recording, mixing, mastering, post producing, etc. etc. our only wish is for four years of concerts at least!

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