DAYS OF SILENCE (Switzerland)::::......
at: 17th, February 2015
- vocals & Faex - bass/sampling)
Let´s go back to your early days. How did you decide to
found this band from the ashes of XICON, do you think 3DoS
fits better with your current musical endeavors?
3DoS was not exactly created on the ashes of XICON. Both
bands existed independently for a while and 3DoS was more of
a ‘side-project’ at the time. At some point things got
very complicated in XICON: all spontaneity and fun had
vanished. Tom, our drummer, left the band. Soon after that
Faex, who had previously worked as a guest on XICON albums,
and Tom contacted me to see if I was interested in working
on a new, more ‘black metal-oriented’, project. I was
trying to launch a black metal side-project on my side so
the timing was perfect.
3DoS is my fist project. No ashes for me yet.
Why did you choose exactly this name for your band, who came
up with it and why? Does it have some special meaning?
It was me who came up with this idea. It was inspired by
‘Scandinavisk Misantropi’, a song by Skitliv. Of course,
it refers to the Crucifixion and the resurrection of Jesus
Christ. I love the idea that our society is so crowded and
polluted by noise that you actually have to die and be
buried to enjoy the silence. This is really what
‘Sodium/Sulfur’ is about.
Talking about releases, you have created one of the most
beautiful pieces of astonishing black metal. Dark, hypnotic,
majestic and grandiloquent. Can you please tell us some
major details about your “sodium/sulfur”? Could we
consider it as an conceptual album?
Thank you. Yeah, I guess you can say this is a concept
album. Musically, we weren’t sure about what direction we
wanted to take with 3DoS, when we started the band. So we
started writing music and lyrics and we soon found ourselves
with two sets of songs: some were rather fiery and thrashy
and clearly sounded like black metal, while some others were
colder, more hypnotic, with a strong electro touch. The
lyrics were following the same directions: some were very
bestial while others were more depressive and had an urban
touch to them. Instead of choosing between these directions,
we decided to create a concept around this opposition. The
idea of releasing a tape and a vinyl became obvious, each
side with its own sound and universe, ‘Sodium’ being a
kind of urban, electronic and cold construct, while
‘Sulfur’ would turn toward aggression, metal and…
In fact, sticking to any established genre was the last of
our concern. We let our creativity flow (and so did our
extraordinary guests!) and we were rather surprised by the
result. I’m still having chills thinking about that thing
that came from our guts. So the concept lies more in the
approach than in the product. Our next LP will surely be
more of a concept album and we’ll try to summon as many
guests as possible.
What are you most proud of achieving with this release? And
has there been any outstanding feedback that stand out in
Of all the releases I worked on this is clearly the one I am
the most proud of. I think we managed to create a kind of
‘Gesamtkunstwerk’, a total work of art: the music
reflects the lyrics reflect the format… It is very solid,
musically, lyrically and production-wise. Drop (Sybreed) did
a fantastic job producing this album. I think he gave our
songs the modern sound they needed.
I’m extremely proud of the close co-operation within the
group, with the guests and with Drop! Each step we made
during these two years made me more excited about the final
result. When I first put that piece of vinyl on my
record-player I almost cried.
Could you tell me something about the process of making
these epic songs? What kind of composing is more congenial
and inspiring for you?
I was responsible for most of the trip hop-impregnated songs
of the ‘Sodium’ side. I used my electro influences,
which is why there is a rather pounding/hypnotic side to
these three tracks. During the first step of the creative
process, shut up in my home studio, I dug up some simple
leads and harmonies. The hardest thing for me was not to
bury these first spontaneous gems under an excessively
We are very fortunate: both Faex and Tom have completely
different backgrounds. Faex has brought his electro
influences and he’s responsible for most of the songs on
the ‘Sodium’ side, while Tom built his songs from these
fiery/fiery riffs you can hear on ‘Sulfur’.
What do you think that is most important criterion for you
assessing the value of the album? Is it your personal
feeling and knowledge about the album, the press, the
response of the audience, etc? Also, when is the safest time
spot to evaluate it?
I personally don’t expect anyone to assess anything but
rather to live their own experience in the sonic worlds we
created, as I myself often do when I listen to the album. If
the opportunity arises, I’d strongly recommend to listen
to “Sodium/Sulfur” with good headphones on an empty
train running through the mists of dusk!
And if possible, while drinking an English ale. I think this
album provokes very interesting reactions: some people who
are not into metal at all get into it with the ‘Sodium’
tracks, while metalheads are challenged by this electronic
touch. It is not an easy album to listen to. It requires
open-mindedness and curiosity. But so far, reactions have
only been awesome.
Pick a song from the album, that you feel to be the most
interesting lyrically, musically or having a good story
about it and tell me about it.
Hard to pick one as far as I’m concerned. They all play an
important role in the general concept. But I’d say
‘Mortality/Normality’. The music was exactly the
direction I had in mind when we first talked about this
project and the lyrics are very personal and important for
me. The idea behind this song was born at 2 AM, during one
of many nights of insomnia, after reading Sarah Kane’s
play ‘4.48 Psychosis’.
I had quite a hard time writing the lyrics of
‘Consolamentum’. Its harsh lyrics stand in opposition to
the song title, which is the latin word for the unique
sacrament of the Cathars, a heretic movement that thrived in
Southern France in the 12th-14th centuries. The purpose of
the sacrament was to soothe their regrets, comfort them and
bring them closer to God. ‘Consolamentum’ lyrics are the
complete opposite of this sacrament, they are about delusion
and despair. ‘White Birds’ is very special too. Its
lyrics are adapted from the ‘Bhagavad Gita‘(Chapter 11,
Verse 25 et seq.). It’s a short but explosive song about
the destruction of the universe.
You have preferred to release it on 2 old-fashioned formats
in opposition to CD format. Is there any particular reason
Just to fit the concept. Two-sided format was more
‘Sodium/Sulfur’ is about chemistry, not fucking ones and
How do you perceive the advances of technology and the
internet changing the music industry in the future? Will the
CD as a product become a disappeared item in the near
I don’t know. I don’t think it will last forever but I
cannot see it disappear in the near future. I buy tons of
CD’s and tapes and I really love physical formats. I hate
mp3: they are very impersonal, soulless. The way I see it,
listening to an album in mp3 is like looking at a photograph
of a painting. It looks like the painting but no matter how
good the photograph, you’ll always know it’s fake.
Are there certain religious or philosophical beliefs within
the band? What is your attitude towards fans who like your
music but do not have your ideals?
Nope, no ‘religious’ beliefs. The lyrics mostly deal
with me being unsatisfied, frustrated. With my life, human
condition, society, the world, etc. ‘Mortal/Normality’
for instance is about accepting the fact that I am going to
die, one day or the other. You don’t think about that when
you’re young but the more you age, the more you realize
that your body is limited in time and space. That you are,
no matter how much you try to persuade yourself you’re a
sentient being, just an animal, which is what ‘Na-tural
S-tate’ is dealing with. ‘S.W. MVII’ is about me
loving too much England and its ales. I go there twice a
year and every time I feel at home. When I leave, it’s
like having an arm ripped off. This song is a metaphor about
the pursuit of happiness: you spend all your life chasing
it, trying to settle into a situation that makes you feel
good but knowing that this situation won’t last and
you’ll feel sad and broken when it ends.
(drums, machines, guitar):
‘Verwüstung’ is a little different: it deals with the
quest for another side of reality which does not exist, but
in which you believe and feel close to.
Indeed, it’s all about religion and philosophy… and
I personally am not a great friend of humans. I think most
people suck big time. What is wrong with mankind in your
I am not into the misanthropy thing. Being a misanthrope
implies that you see yourself as above the others. I
consider myself as worthless and uninteresting as anyone
else. Nonetheless, I am very sad and frightened to see how
society is evolving: we are becoming autistic selfish
arrogant fucks. Individualism has never been so strong, yet
nobody seems to be thinking by its own . The human being is
an mammal born to live in small clans/tribes. We try to
transcend this and regroup in cities, countries… We
organize our flock into a higher ‘society’ and try to
convince ourselves that we are more than just animals. But
the more we try to raise above our nature, the more we turn
into beasts. Look at what’s happening in cities all around
the world: crime rate is rising everywhere, people don’t
talk to each other, don’t help their neighbors, don’t
believe in anything anymore. The more civilized we become,
the more we grow back into cruel and lustful predators. The
song ‘Na-tural S-tate’ is exactly about that.
Shut up you human scum and write our second album !
I can find a pretty good amount of different vocal
appearances and nuances throughout this album. I will let
you tell me about all these guest appearances.
Right from the start we wanted to see 3DoS as an open
project, not a ‘band’ in the traditional sense of the
word. For instance, I got stuck with the song ‘S.W.
MMVII’. I couldn’t find anything interesting with the
vocals on that one. So I contacted John B. from the Swiss
band Blutmond. I had met him a few times before and both our
bands share pretty much the same vision of the world. We
sent him the song and he recorded these very disturbing
drunken vocals. Things were this easy with all the other
guests. I had met Aort from <Code> while they were
touring Europe, a few years back. I love his different bands
and we stayed in touch and as we wanted to add some lead
guitars, I asked him if he would be ok to record something.
He answered less than an hour after later and recorded his
part very quickly. When you listen to the lead guitar at the
end of ‘S.W. MVII’, you immediately recognize his touch.
Pat from Near Death Condition is a friend and I knew he
could do very impressive growls. Since he had spent years
singing in a choir, he also has an incredible clean voice.
We sent him the demos and he joined us in the studio to
record his parts on ‘Ask The Dust’ and ‘Na-tural
S-tate’. He actually came in the studio with notations! He
had taken this appearance very seriously and we felt
former guitarist of Xicon, did a great job in impersonating
the multiple voices of the Hindi god Krishna on ‘White
Birds’. On ‘Mortality/Normality’, the spoken voices
are samples from ‘4.48 Psychosis’, a play by Sarah Kane.
If you were forced to place your band on a scale of other
black metal bands where would you end up? Can we talk about
a Swiss black metal sound the way we talk about a Swedish or
I don’t think there is such thing as a ‘Swiss black
metal’ scene, although some people call it this way. This
is not a very popular genre here and especially not in our
area. But it’s hard for me to pinpoint the band on a
‘black metal scale’. I don’t even know if we are black
metal… Tom and I grew up listening to thrash metal so this
is very prominent in the music we have been doing together
for the last 15 years.
I was more into hard rock and electro as a teenager. I
started to listen to goth and black metal a bit later thanks
to a breakdown I went through! I think that 3DoS is the sum
of all these influences and experiences and black metal is
just one of them.
Maybe you would now at the end reveal some details about the
future plans for 3 Days Of Silence and your personal goals.
How far would you like to go with 3DoS? Do you see yourself
doing this in let’s say another 5 to 10 years from now?
The whole idea behind 3DoS is: not asking ourselves too many
questions and going with the flow! When we finished
recording ‘Sodium/Sulfur’, we didn’t know if there
would be a second album or if the band would simply
dissolve. We have recently started working on new songs and
we’ll see where this takes us. This second album will
definitely be a concept album, exploring many weird and
desolated places around the world. We will post hints in the
coming months about these places.
Well, that would be all for the moment...thanks very much
for your time. If you have anything to add in the end to
conclude this interview.
Thank you for this in-depth interview. It’s a rare thing
to have such interesting questions. This album has a lot to
say, in my opinion and it is great to be able to share some
of it, thanks to you.