There are so many sub-genres of metal that it is hard to keep up with them. German MOLLUST claim to play something that they like to call opera metal. Check it out for yourself by reading this interview to begin with. Anders Ekdahl ©2013
Is there a difference to German goth metal compared to Norwegian or British or Italian? How do you tell the difference apart?
-To be honest, I am not a fan of dividing music along country borders. For example, our band has members from three different countries – can you tell our group is typically German? I doubt it. Many other bands also have members from different regions of the world – so in my opinion, it’s more a matter of which musical projects influenced you personally.
How do you find a style that is all you own when almost everything already has been done at least once?
-This wasn’t difficult at all. I couldn’t find a band that combined classical music and metal the way I’d love to combine it. In most projects, classical elements are just decoration or a help to get a more bombastic sound. I wanted to work with classical structures and all the nuances classical music has to offer instead. Therefore, we automatically did something new without trying to be different.
When you write lyrics in German does that limit the potential of the band or do people not really care about lyrics anymore?
-My main reason to write lyrics in German is that I want to create profound lyrics on a language level I can’t handle in English. We already started working together with translators to make our lyrics available in a translation on our website. I love to work with metaphors and ellipses, this isn’t that easy to translate without losing a part of the meaning. For the local audience, the mother tongue is clearly an advantage. But for an international audience, English lyrics would make it easier, yes.
Why are you in a band? What is it that you want to get out of it?
-I have a musical vision and I want this vision to become reality. This is my main motivation. But, in addition, a band also offers many more great experiences. I love these moments, when we are making music together and we all get full of joy because of our music. In these moments, you get somehow close to the other musicians in a way that is really hard to describe. As a result, it is much more exciting than just playing alone. And I really love to play concerts and to share this musical dream to the world. My goal is to make my living just in working for this dream together with my band mates.
How would you like to describe the progress you’ve gone through from that very first rehearsal up to the album “Schuld”?
-The beginning wasn’t easy at all. It took pretty much time to find the right musicians for the project. It meant more worries than joy. But I believed in a better future – and, well, I was right. When we were complete finally, our project started to grow quickly. At first, we recorded a demo – but the quality was so bad that we weren’t confident at all. But how could we show the world how our music really sounds? Therefore we decided to record “Schuld” pretty early in our career. We searched for a good studio and a good producer who would be able to keep the classical soul and to present the power of the metal parts at the same time. We were really lucky to find Andy Schmidt (Disillusion) as the perfect person for this job. The recording took a bit more time than expected – mainly because Andy really tried everything to get the perfect sound for the album. All of us learned much in this really intense time of working together. As a result, “Bach con fuoco” was recorded very quickly.
Is being in a band a never ending progression curve? How do you know when you can’t take it any further?
-I think there are always things to improve or to try out. As long as you have fresh ideas concerning the music you are not done. In the beginning, you are even limited by money – I couldn’t pay a whole orchestra for example. I am still full of ideas for the future. As long as they are with me, I’ll continue.
What would you say has been the greatest part in the life of MOLLLUST so far?
-There are different milestones. The moment when the recording for “Schuld” was done and we all knew: This would become a great album. The first time we hold the finished recording in our hands. The great concert in the main station of Leipzig where we won the BachSpiele. The positive feedback of the audience was really overwhelming.
Is it important to have local bands to look up to? What kind of national/international bands have been a source of inspiration to you?
-I think you shouldn’t try to copy another band but find your own style. In the contrary, to collaborate with other bands is rather important. To exchange experiences, to give each other helpful tips, to play concerts together… this really helps to manage your own band’s progress. Fortunately, most people don’t only like one band but are open to other acts. So you have no disadvantage to share your fans with another band. Inspirations for me were early Nightwish with Tarja and Therion when I started to develop my vision. Transsiberian Orchestra also caught my attention. But to be honest, my roots are the works of classical composers like Rachmaninow, Brahms, Beethoven, Puccini, Dvorak and I still appreciate their music.
Would you say that you are alone in sounding the way that you do or do you feel a kinship with other bands?
-Of course we are not the only band that combines classical music and metal. Therefore you can find similarities, especially in the symphonic metal genre. But I don’t know a band that works exactly the same way we do.
What would you like the future to bring to you?
I would like to see Molllust grow. This means to spread our music around the world. To work together with additional great musicians. To be accepted from the classical world and the metal world at the same time. And not to waste time with a job without music but to be able to make our living only in working on our vision.