VOX LVCIFERI

I met the mastermind Osgilliath behind VOX LVCIFERI in 2016. A man with a lot of opinions. Read what he has to say about his musical endeavor. Anders Ekdahl ©2018

Do you notice that there is an anticipation for you to release an album? Have you built a large enough following for people to eagerly await a new album?
-Not really actually, the debut EP “Ov Lacerated Soil” was more about releasing it as fast as possible into the world to just put the flag pole down. Since I haven’t had a project of my own for a couple of years, I think there were no super high expectations.
But right now I think I’ve amassed a bit of a following, eager to stick their teeth into new material.

Is it important for you that a new album picks up where the previous left off? How important is continuity??
-It is, but in another sense. The whole idea of Vox Lvciferi is to constantly expand the sound by adding new elements to the music.
But it is not totally unfamiliar for people who’ve heard previous releases.
In a way it is continuity, but I see every record as an ever-evolving piece of art. The canvas is Vox Lvciferi, and the motifs is the music.

Was it hard for you to come up with a sound for this album that you all could agree on?
-It actually was. I’ve wanted a project of my own for a long time and tried out different ideas for a long time. Never got satisfied so started from scratch 2-3 times.
But for this album it was a pretty straight line for me once the wheels got spinning soundwise.

How important are the lyrics to you? What kind of topics do you deal with?
-The lyrics are just as important, because you want to spread a message. The lyrics for the EP “Ov Lacerated Soil” were kind of rushed though, but will do more research for upcoming efforts.
The lyrics deal with pagan religions, the occult and also a lot of philosophical writing by thinkers like Nietzsche and Seneca. Also misanthropy and the human conciousness, the upcoming record has one song that tackles religious fundamentalism and compares it to the overzelaous political climate today.

How important is the cover art work for you? How much do you decide in choosing art work?
-As a collector of records and wanting to find new music, I usually turn to the art work first. If I like an album cover by a band I’ve never I heard I either pick it up or listen to it instantly.
And I believe it should convey the same emotion as the album itself and bind the listener in as well with more senses. As it is my band I also decide the artist I want for album covers, and ask away if I may use it.

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?
-It is in a promotional sense important, because you yourself can’t reach the same amount of people. Eventually yes, but getting backed up by a good label or promotional company is vital. Also you get the opportunity to focus more on the music, because PR-work usually takes just as much time.
It’s both bad and good with availability. I would never find even half of the bands I like if it wasn’t for the internet, and also you lose grip of all new releases after a while. Or you just get bored by how many too similar bands you find.

I guess that today’s music climate makes it harder for a band to sell mega platinum. How do you tackle the fact that downloading has changed how people consume music?
-You’ve got live with the times, I guess. The most positive thing concerning extreme metal as a whole is that people still buy records.
That is a trend I don’t see diminishing, but it is not in the same quantity as earlier.
But it has become positive in a sense too, now you can put up the record on for instance bandcamp. That way you get a bit more of the income straight away without any middle hands.

Does nationality matter today when it comes to breaking big. Does nationality play a part in if or not you will make it big internationally?
-Metal has become pretty globalized, and every country has a unique sound, which is amazing. So I don’t think so at all, I rather see a trend of scenes getting big rather than certain bands from different regions.

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?
-As I earlier mentioned, the extreme metal-scene still has a lot of consumers when it comes to records. And I do the same thing as you. Discovering things through Spotify and then buying the records I like.
I don’t worry too much and maintain a pretty optimistic view by getting with the times.

What does the future hold for you?
-I don’t feel like predicting anything or have any high expectations for that matter. In that way I avoid disappointment. Of course I hope for the best and will work hard for that.
But a lot of exciting things concerning Vox Lvciferi are in motion right now.

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