WIND ROSE

The first time I heard WIND ROSE they made me think of the Celtic elements of Gary Moore’s hits “Out In The Field” and “Over The Hills” mixed with Nightwish. Anders Ekdahl ©2017

When the band came into creation what was the main purpose for it?
-I firstly met the drummer Daniele in 2004, we were young kids studying at the same school of music. In 2006 my cousin and keyboardist Federico joined us (we were 15 years old) and we started playing some songs of our common favorite band: Dream Theater. Later in 2009 the singer Francesco joined the band and we decided to end the “covers era” and start composing our own songs.

How hard is it to come up with a sound that is all yours? What bits’n’pieces do you pick up from other stuff to make it your sound?
-Nowadays in metal it’s basically impossible to come up with something that’s all yours, unless you are a big-brained genius with a large amount of luck. Anyway in my opinion you can create your own sound by playing your instrument in the way you like it, without trying to copy other artists with something that doesn’t come from your hands; you just have to take your abilities and the ones from the other members of the band, and then try to put everything together in the best way. The result will of course have influences from the artists that the band have listened to in the previous years, but your own sound is made. We personally put together our love for the epic scores/soundtracks, for the “djent” riffing and for the folkloristic and ethnic instruments.

I have no idea what kind of creative process you guys go through but how hard is it to record and release new songs?
-The hardest part in the creative process is to make each piece of music fit with the others with an endearing arrangement. When it comes to the recordings I think that the hardest and longest part is to record the vocals, as each note needs to be perfectly in tune: you don’t have a tuner for the vocal cords! Recording the ensemble choirs also takes a lot of time, as they are done by two singers only, so they need to record the same line many times. Another laborious work is to choose all the keyboards and vst effects, you also need a powerful computer to handle them all together without having a system crash each minute!

Today technology allows you to record at home and release your music digitally. But in doing so is there a risk that you release only single songs because that is what is demanded to stay atop and therefore you end up killing the album for example?
-Nice question, I often think about it; but I think that when it comes to metal music we don’t run the risk to completely remove full length albums from the market, as the greatest part of the metal fans (as I am) want to hear the whole work. I can’t even imagine to put on for example “To Holmgard and Beyond” by Turisas without listening to the whole “The Varangian Way” album, it would make no sense to me! Five minutes are too few to make the listener understand what your brain was thinking about during the songwriting; our duty is to tell stories, and stories are not told in less than 30 minutes.

I for one feel that the change in how people listen to music today, by downloading it and expecting to get it for free, will kill music as we know it. What kind of future is there for music?
-I think that the world is going in that direction, it will be more and more difficult to stop people from downloading free music. Anyway we have to thank the newcomer legal streaming market, like Spotify and Youtube: they pay the artists, and that one is the future of music in my opinion, though the best fans will want to get the physical album anyway. Not so much money will be earned by the artists anymore unless you have had the luck to become a famous band; personally we all have another work beside music.

What kind of responses do you get to your music? What has been the thing that has gotten the most attention?
-I think that the aspect of our music that got the greatest attention is the mix between the drums/bass/guitar riffing (which is unusual in this genre), the epic chiors ensemble and the ethnic/pagan virtual instruments.

We live in a world where there are no real distances between people communicating anymore. What has been the most surprising contact so far?
-Every time I ring or Skype someone I think about all the kilometers that my vocal data needs to ride before reaching the interlocutor, and I ask myself: how the hell is this possible? We use high technology communication every minute taking it for granted, but if you sit down a while and think about it you realize we live in an age full of facilitations: just think about the fact that we haven’t met Simone yet, the guy who mixes and masters our albums, but we are still able to make him know in real time which instrument’s volume needs to be raised up or down.

Does playing in a band make you feel like you are a part of a greater community? What has music brought with it that you would have otherwise missed out on?
-Yes, of course, and this is the aspect I love the most. You make music for the community, you know new people, new cultures, new places. The feelings we had on tour, traveling the world and bringing our music with us, are surely the greatest things I’d have missed if I didn’t play in a band. There’s so much stress and fatigue during tours, as we have to set up all the stage by ourselves, but it’s probably the main thing that distinguishes a vacation from an adventure!

What is the live scene like for you? Do you feel that playing live helps building a bigger following?
-In my opinion live shows are very important for a band, but you have to practice a lot to impress the people the most. If you go on tour setting up a mediocre show you’d probably better save money and time to produce a good videoclip, which brings lots of new followers too. Live shows are needed to remind people that you are alive and you want to spread your music. There are a lot of no-shows artists which albums are so great: an example that comes to my mind is the unknown Canadian band “Monolith”, I love their two albums, but unfortunately they are not active in the live scene, so I’ll probably forget about them in the years to come.

What plans do you have for the future?
-We are planning to book a support tour in fall 2017 or early 2018 and to play all the summer 2018 festivals we will be able to reach… And of course a new album in 2019

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