Every once in a while I stumble upon a band name that is so out there that I just have to get to know about it. That was the case with SVOID. Anders Ekdahl ©2016

As I am not at all familiar with your band perhaps you could introduce it?
S: Svoid was born as a one-man project at the beginning of 2010. A way before that I decided to enter stage for an individual eve, dedicated to the crawling years before. For that event we had been playing under the name of Svoid, and later on I used to start this term to label my work in the early days. So actually this was done for a reason, and the explanation was given by the dark times hereafter.
The core members of Svoid are Dániel, Gergő and myself, which also includes all creative commitments that we are responsible for. On stage apparently we perform with guest musicians, which is happening for the reason that our world is formless, and we open enough to adjust the presence of the band to a certain eve.
The band itself is a bearing context of the shinings stars, the faceless void and the resonances of sorrow.

How hard was it for you guys to pick a name? What had that name have to have to fit your music?
S: It is always hard to label something what you are really into, but in our case it went so quickly. Of course at that time I was not aware of the overall purpose of the name, since it was a label at that time, as I mentioned. But I think it perfectly fits our mental model about the things to say, to express.

What band(s) was it that turned you on to the kind of prog/rock/metal you play? What inspires you today?
Daniel: If we have so-called progressive attitude, it doesn’t come from an urge to use instruments in an ego-based way to expose ourselves as musicians. It’s not about making complex and flashy songs. Instead we touched more simple, clear melodies and song-structures for our new album ‘Storming Voices of Inner Devotion’. Although the source inside is the same as in our previous works.
As we finished Ars Kha EP and then To Never Return full-length releases, I felt we did what we wished to reach inside the borders of metal. So it was a natural evolution as we moved.
If I think about Svoid, in these times I am influenced by two major streams. First of all the unnamable atmosphere of old Black Metal, it’s always the base point of my creations. Then comes the pop approach. It means there are interesting vibes in today’s most popular artists’ music what would be a fault for me not to recognise and use. It can be a certainly new level in making songs and reaching ears. Svoid wishes not to take part in the flow of thousand extreme metal albums repeating the same again and again after decades. Darkness has more inside. Black Metal is finished in its original form, we are rather the children of its legacy.

S: Recently we had a talk about the pioneers of Black Metal, where we have our roots starting from, but the end, the result is limitless from our point of view. I mean this inevitable context that Black Metal paints is unique, but it is not the only way to reflect the offensive stagnation of the multidimensional void. Our aim is to utilize and transform the traditions into something unseen and yet unknown what we believe in.

What came first; the band name or the sound? How did you settle on a sound?
S: The band name, as it was already answered. The development phase is always different, as the method, the approach evolves with the band as well. In the early days it was so simple, as I was responsible for the outcome. During the creative phase of the first full-length album we started to work together closely with Daniel, and that was a start of changing. We have experienced a lot about ourselves, about our music, and this was an entering to something new which was never expected.
The roots of the music, the vibrations are composed on the same way as at the very beginning, because we have to keep the substance of Svoid of course. The only difference is in the result, the way how we transform the elements into structure.

Is digital killing the album format? Is there anything good with releasing single tracks only?
Daniel: It doesn’t matter how to reach publicity. Conditions and opportunities always change. Of course I understand if someone prefers the formulas used in ‘80s or ‘90s: tapes, booklets or vinyls have their own feeling. But in fact, in the ‘50s artists came up mainly with singles because that was the common used format.
By viewing the ‘whole’ as outsiders, we believe in not to depend on strict rules. Don’t stick to the time you live in. Think beyond. Artists lived hundreds of years ago also used the possibilities which were available in those times. So if today the best way is to release single tracks then it has to happen.

What part does art work and lay out play when you release new recordings? How do you best catch people’s attention?
S: I think the most important is to differentiate the artwork and the music itself. People may not forget that at the end the artwork illustrates music, not the other way around. The artwork shall gain the experience, the images shall add those little things from the back of the mind through the eyes. The cover and all the things put together shall compress the essence to be able to speak without words in order to conceive the most appropriate first impression, to “connect the dots”, so to say. This is our objective with our illustrations.

Has social media re-written the rules on how to promote a cd? Or do you go about doing promotion the same way? Touring, word of mouth, paper ads etc?,
S: Not necessarily the social media has re-written these rules. As it was mentioned, the world is constantly changing, and promotion is an aspect that a band need to take care about. We were not yet there when ONLY touring was the opportunity to promote music, so this modern way of thinking is not something new. But according to my experiences, most people buy records and merch when we are there to perform. The personal inspiration outside of the digital world gains the sense and participation which brings the audience closer.

Do you feel like you are a part of a scene, locally, nationally and internationally?
S: There is no scene actually, there are bands doing their own work and this has no influence on what we are doing. We are individual enough with the creative commitments that we do, and there is no reason to change that to limit our presence to a genre or anything else. This is already shocking to see the emotional change of our music, which is timeless, and we respect the forces within this prevailing system we live in. For us, our art is just aesthetics, built in a dedicated context which fits, however it sounds, and this is applicable for being part of a scene or genre as well.

How much of a touring band are you? Is touring/gigging still a great way of spreading the word of the band?
S: Well, as mentioned, the most important presence is to be there and perform live to your audience, because a live act becomes a tool for spiritual direction at the end, which is inevitably there. Like Ghost said, if you want to it seriously, you have to put this with full bandwidth. Tour and enter stage as many times as possible. It can be a discomfort at a certain period of time, but this is not really about us as persons, it is about Svoid. We are not into people to know anything about guys behind the band, except for what we want them to project about the context, not but the ego. I am not interested in presenting myself as an ego, and to link the aim together with the dedication to be there is deadly important when you start it from skratch. As Ghost, they have thrown off themselves for being able to lead the world ablaze in their shapeless flames. So for the forthcoming aeon this will be one of our most important aspect: to appear and to dissolve in order to find an eternal place at the crossroads.

What will the future bring?
S: We’ll march towards on this aimless path of existence until we arrive to Universe B.

Dániel – drums, vocals,
Gergő – guitars, vocals,
S – bass – vocals

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