What really affected the material on our latest album, Night Electric Night, I think, was the endless touring for a couple of years. The jabbing frustration, utterly depraved nightclubbing, fights, sex with incredible statistics (all genders, pretty much), the raging search for kicks in general and the constant celebration of the dandy deeds of the Devil. I mean, of corpse, we make Hell look like f*cking sex-add. I have grown to understand that. We are Ms Rocktober in Satan’s favourite porno-mag, and if I may say I think Mother Mary get’s off to us as well.. (I guess that’s why girls call us the Backstreet Boys from Hell. Or is it just our perfect features?) This of course results in chaos and drama and infected relations which gives fuel to the material. Our lives are the total opposites to the impression that you get from a normal musician’s life – I believe Hell is the word I’m looking for. Again.
Our personal problems, weaknesses and narcissism combined with our fascination for 80’s pop as well as very dark heavy rock resulted in this little piece of music. As an example: The first song I loved was Kylie Minogue “The Locomotion”, and that in contrast to what I’ve been really into while growing up, which is rock of all kinds and black metal of course, was a pretty good formula for what we call Deathglam. Combine the ivory loins of pop with the metallic ***k of rock. It’s a sensual mixture, somewhat depraved and utterly destructive in its dark aspects – but never the less - sensual. At least I think.
Like in the song “Death Dies Hard”, which ironizes over the loss childhood/innocence in almost religious terms. Mocking the morals of the generations before us, the morals that restrained us, yet taunted as we are by the grasp of this heritage the song describes how your own childhood has become frightening, because you see how ***ed up you have become. Kind of a neonlight lit nihilistic approach to it like Raskolnikov in Crime and Punishment by Dostoyevsky. Or just a good **ck-song. Or maybe a song suitable to steal a Ferrari to. You’ll be the judge of that.
Easily described: Deathstars is a personal trip and broken mirror reflecting the dark playlands of Europe. I would say that the sixth member on this album was the ”idea” and the aesthetics of Russia, plus the direct vibe of our abode Scandinavia; providing the perfect backdrop to Night Electric Night. For us it will now be interesting to take the darkness of Europe into the land of the free. Begin to unzip your chinos, americanos.
What really affected the material on our latest album, Night Electric Night, I think, was the endless touring for a couple of years. The jabbing frustration, utterly depraved nightclubbing, fights, sex with incredible statistics (all genders, pretty much), the raging search for kicks in general and the constant celebration of the dandy deeds of the Devil. I mean, of corpse, we make Hell look like f*cking sex-add. I have grown to understand that. We are Ms Rocktober in Satan’s favourite porno-mag, and if I may say I think Mother Mary get’s off to us as well.. (I guess that’s why girls call us the Backstreet Boys from Hell. Or is it just our perfect features?) This of course results in chaos and drama and infected relations which gives fuel to the material. Our lives are the total opposites to the impression that you get from a normal musician’s life – I believe Hell is the word I’m looking for. Again.
Our personal problems, weaknesses and narcissism combined with our fascination for 80’s pop as well as very dark heavy rock resulted in this little piece of music. As an example: The first song I loved was Kylie Minogue “The Locomotion”, and that in contrast to what I’ve been really into while growing up, which is rock of all kinds and black metal of course, was a pretty good formula for what we call Deathglam. Combine the ivory loins of pop with the metallic ***k of rock. It’s a sensual mixture, somewhat depraved and utterly destructive in its dark aspects – but never the less - sensual. At least I think.
Like in the song “Death Dies Hard”, which ironizes over the loss childhood/innocence in almost religious terms. Mocking the morals of the generations before us, the morals that restrained us, yet taunted as we are by the grasp of this heritage the song describes how your own childhood has become frightening, because you see how ***ed up you have become. Kind of a neonlight lit nihilistic approach to it like Raskolnikov in Crime and Punishment by Dostoyevsky. Or just a good **ck-song. Or maybe a song suitable to steal a Ferrari to. You’ll be the judge of that.
Easily described: Deathstars is a personal trip and broken mirror reflecting the dark playlands of Europe. I would say that the sixth member on this album was the ”idea” and the aesthetics of Russia, plus the direct vibe of our abode Scandinavia; providing the perfect backdrop to Night Electric Night. For us it will now be interesting to take the darkness of Europe into the land of the free. Begin to unzip your chinos, americanos.
Here is the first video from Arkaea’s debut album Years in the Darkness. If you aren’t familiar with Arkaea yet, you may be familiar with some of their members. Christian Olde Wolbers and Raymond Herrera formally played in Fear Factory, while Jon Howard and Pat Kavanagh has previously contributed to Threat Signal. Years in the Darkness will be released on July 14th, here’s what drummer Raymond Herrera had to say about his new band’s video debut:
Locust was the our first pick for a music video and as the opening track for the album because it really sets the tempo of the album and is a strong track that shows a great introduction to what Arkaea is all about. We knew that we needed to come out swinging and Locust definitely offers that Punch.
We filmed the video for Locust in downtown Los Angeles, we had a great time making the video and look forward to seeing the response. — Raymond Herrera
