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......::::FERADUR (Luxembourg)::::......
Realized at: 18th, December 2015
(Answers by all members)

"The most important aspect when writing a riff or a melody is that you mustn't be annoyed by it yourself at any moment. There are different degrees of “brutal-ness” and “epic-ness” that can be achieved, and every new riff has its place on this imaginary chart."

1. The band counts 9 years of existence, but we have only seen 2 releases. Why was there such a long delay of 5 years from the first to the second?

FK: Starting in 2006, it was more of a some - school - guys - get - together - kinda - thing. We really entered the scene in 2010 with the first ever show and the release of our EP. Unfortunately, that was also the time when most of us left Luxembourg to go to university or similar stuff. So the whole thing started becoming a long distance relation. Throw in some more problems like a couple of line-up changes and there you have it.

MW: We had lots and lots of personal and technical problems during the recordings of our album, so it took us far longer than expected. I recorded the drums in late 2012, the release of our album was in June 2015.

MH: I started helping to record and mix the album - that was my first involvement with Feradur. I felt like we had only just found the magical key to make the sounds and individual styles come together nicely. Sometimes you need to let time pass and gain perspective to make things progress to the next step.

MS: The actual band history is even longer than this. But that's too far in the past for me to know. When the crucial members joined, they were still all under age and going to high-school. At that time we made our demo and wrote most of the other songs to have something to play on stage. After school, everyone went to university, and each one of us went in another city or country. We somehow managed to stick together and produce the album you can hear today. At the moment most members are living in the same city, which increases our songwriting productivity drastically. So if everything goes smoothly, the next Feradur record could already be scheduled for 2016.

DG: My point of view, as being one of the 'new' guys, is that the band has always been very productive. But since I only joined the ranks nearly 2 years ago, I mainly can tell that since Feradur started working on their first album, the motivation never stopped until today and is still on the climb.

2. Who would you say are the biggest influences impacting the music of FERADUR. I have noticed very strong remembrances to Finnish (Amorphis) and Swedish (Amon Amarth) bands.

FK: When we started Amon Amarth was definitely a major influence, Amorphis... not so sure, maybe some older stuff like Tales from the Thousand Lakes? I would add some At The Gates in the mix as well.

DG:  I would say there is a huge amount of bands that influenced our music. As every member of Feradur has his own taste in music and influences, you can't point out any specific band that had 'the' impact on the band.

MW: We all listen to a widespread variety of different bands and music styles, so it’s really hard to say where our influences are rooted. It’s pretty safe to say though that Swedish Melodic Death Metal plays a major role concerning that matter.

MS: The song which was my personal entry ticket to the band was “Ragnarøk”. When you listen to it, you can hear an unmistakable relation to “Amon Amarth”, so yes, your guess is true. Regarding Amorphis, I like their older stuff, but I wouldn't say that I actively took inspiration from them. I was greatly influenced by the older In Flames and Dark Tranquillity albums, as well as Kalmah and even Agalloch. I got my metal education through Metallica, so that obviously has also contributed. I find it difficult to pinpoint what our true influence is, because we all listen to many different genres and not exclusively metal. We are amused when people try to put us in a genre-drawer and we don't even know ourselves what our style is. “Viking Metal” is definitely not the appropriate term.

MH: Amon Amarth is an influence, yes. Never properly listened to Amorphis, so I can't tell you about that. I personally really like Carcass, At The Gates and stuff like The Melvins, Helmet or Voivod. Not a huge buff in terms of scandinavian metal, I personally lean more towards the other side of the pond. I am trying to get Mich S. into Pantera, too. We joked about doing a cover of "Fucking Hostile" at live shows.

3. What I like the most about your album is the combination of the most brutal moments and the eerie atmospheres featured on some of the tracks. There are even some cool melodies floating around the songs. What can you tell us about the thoughtful work it demanded?

MS: The most important aspect when writing a riff or a melody is that you mustn't be annoyed by it yourself at any moment. There are different degrees of “brutal-ness” and “epic-ness” that can be achieved, and every new riff has its place on this imaginary chart. It often comes out from the spur of the moment: we pick our guitars, enable some kind of rhythm track and we start jamming. Sooner or later, something cool - or at least something interesting - comes out.  

FK: It's like pissing, just let it flow.

MH: You write a song, think it rocks and then you just go where it takes you. But the thing that required the most "thoughtful work" was getting the guitar tones and adding harmonies. We wanted to squeeze everything out of the material and fully get the intention behind the lyrics across.

We also tried to get an Entombed/Dismember-type of guitar sound in some parts, and even took that sound and twisted it in new ways. For example: On our FB-page we have a little clip that shows the tone that resulted when we were recording lead guitars for Lethal Dose. It sounds really stupid on its own, but we actually put it on the record. If you listen closely during the verses you can hear it panning from left to right, adding chaos.

Same thing for the vocals and other instruments - The intention behind every part has to be reflected in the sound. If it was a song about war, like Dead Or Alive, we made the vocals sound like they were coming from propaganda speakers. Good times!

4. Are there particular songs that you feel best define the Feradur sound or perhaps ones you find most notable for whatever reason?

FK: Most notable might be Silence, as it is the first ever written Feradur song. Best defining? Maybe Mirror Of Deceit?

MW: Not really. For me, every song stands out for itself. Maybe the three songs from our demo (also included on the album) might define the sound of early Feradur days.

DG: 'Mirror of Deceit' describes the Feradur sound. Hard riffs, maniac shredding, with a melodic feel on top.

MS: I think this is a very tough question, because our main concern with our songs is that none of them sounds like another Feradur song. At least that was my approach when writing something new. I hate it when you listen to a new song of a band and you immediately notice a melody they used before. Recycling your own old melodies into a presumably new song is a sign that you should maybe stop- or at least pause and rethink what you are doing right now as an musician.

MH: I think Ragnarøk is a very powerful tune. Some might roll eyes when faced with the title and Viking-themed lyrics, but I think out of all the other songs, it actually has the most vivid imagery.

5. What rules and canons do you follow when writing music? How much is this process free and artistic? Or maybe a more technical and academic approach prevails?

MW: In most cases our guitarists start writing a song and then send it over to everybody. I then write a first provisional drum track for it, which evolves and changes over time while rehearsing and getting to know the song better. Also, except from the basic structure of the songs, I never play a song twice identically. To me, a song has to be a living entity, breathing, and malleable. Playing a song means more to me than just following dead orders carved in stone (or metal). Playing a song means playing with the song, feeling and enjoying it is far more important than being a programmed drum computer. What’s the point of magic moments if they repeat identically every time? So yeah, I always improvise quite a lot during gigs and rehearsals. One might see this as a kind of ever-changing songwriting.

MH: I personally try to just do what's appropriate for whatever part we're working on: If we want the part to sound spontaneous in some way, we don't want to write everything out before picking up the guitar. Sometimes you have to let accidents happen and then try to make some sense out of it afterwards. Other times I'll have my laptop open and just tab out something as a placeholder in Guitar Pro and it ends up sounding awesome on guitar and we keep that.

DG: Our only rule when it comes to writing is 'be fucking creative and try everything'. The process is in general very simple. You play it, you write it, you play it. Everybody brings in his thoughts and ideas so that the input never ceases to increase. 5 musicians that know and understand music, what do you need more?

MS: As in my answer for question 3, I think it is very important that you like your own music. If you don't like what you do, why would you do it? If you go digging on an academic level, one can say that some melodies or moods are not suitable for our music, but that is something we can only hear and determine when we play it. Our drummer Mich is the only one among us having had some kind of musical education when he was younger. So I believe our approach is all in all rather “artistic” and less academic. I have some no-go's regarding the lyrics; there are just some words that I don't like to hear in music.

6. Is there any important message you intend to transmit with your music? Is it important for you if listeners understand you or do not?

FK: I love stories, myths, etc. All the lessons we can learn about ourselves from them. The songs have no recurring theme, except maybe what man does to other man. That's pretty obvious when you read the lyrics. Being understood, well, I don't think, that there can be a one-size-fits-all interpretation of music and lyrics ever. Different people can relate to different aspects of our music differently, and that is okay. As long as they don't take us to be some fascists.

MW: I honestly don’t care. I’m happy if people enjoy our music, and even happier for everyone who finds his own meaning in the things he enjoys.

DG: It clearly is satisfying when people understand the music linked together with the lyrics and enjoy it. On the other hand there are people who just listen to the music because they think it´s great which is absolutely fine.

I mean, sure, it is important for people to take their time to read the lyrics and try to understand the meaning of why a song is the way it is.

Then again, if you just like the music and don´t feel the need to dig deeper into it, that's perfectly fine.

MS: I think it is a quality – but not crucial - when you can make out what the singer sings or growls, provided that the lyrics are good and pleasant to hear. That's one thing I respect Amon Amarth for: Johan Hegg is a monster on the microphone, but you can almost always understand what he sings. When we recorded our album, Yannick tried to be as clear as possible. We even figured out new voice warm-ups to improve his pronunciation. I think it helped and was worth doing.

Concerning the things we have to say, I would be glad if people understood them or at least check the booklet or the internet for the lyrics to know what the song is about. I know most people listening to metal do this because of the overall vibe and the power of a song it has when you just hear it, and for most of the time I am one of them. When we write music, every song treats a problematic issue in our world using a more or less abstract metaphor or allegory to describe it. Thus our themes are kind of generic for the genre, but I think that is okay, since we try still to be original and honest, treating things we care about or have experienced ourselves.

MH: As the singer of the band: Of course! Some metal singers try to hide that they have nothing to say by screaming harder. I really admired about Yannick that he took his job as the singer seriously and worked on his technique and breath control to give a good performance.

And that includes enunciating properly!

7. What does Death metal mean for you? Can Death metal be good if it's too based on brutality or doesn't contain enough of it?

FK: I like the rawness of early Death Metal and I love seeing in what ways it has evolved over time. It has become this wide ground on which different bands can (mostly) agree and to which they can add their personal trademarks.

MW: Death Metal is a pretty cool thing. It comes in lots of different shapes, and I can enjoy the smoothest and most beautiful Melodeath as much as the most neck-breaking down-tuned Brutal Death Metal. Music, in my opinion, is the wrong place for narrow-mindedness. Sadly, especially in Metal, it's quite common.

MS: My personal definition for Death Metal is: “Metal music with non-clean vocals”. I know Black- and Thrash Metal can also have this attribute but feel differently when you hear or play them. So concerning “brutality”; I believe it definitely IS a factor, but brutality is a very subjective and versatile concept in music. “Carmina Burana” is super brutal, but so are Cannibal Corpse. Every other band mentioned in this interview is “brutal” to some extent and in different doses and flavours. So I can only hope that Feradur is “brutal” enough, in a good manner.

DG: If it isn't Chuck Norris, it's not Death Metal!

MH: Death Metal is kind of hard to define. I've talked with Mich S. about this a few times. I just think Death Metal needs a lot of very heavy chugging. Meat and potatoes. Preferably without sounding like plastic crap like most of the deathcore guys nowadays.

8. I personally am not a great friend of humans. I think most people suck big time. What is wrong with mankind in your opinion?

FK: Humans think of themselves as more important than they really are. We place ourselves to be above nature and even above other humans, not seeing that we are all part of this ride.

MH: I believe humanity is just flawed by design, but I find some comfort in knowing this. Everyone strives to be good and does bad things in the process and that's beautiful, because nobody is truly alone with this experience. There is a perfect balance of light and dark in all things. It's just a matter of seeing both sides.

MS: I think that is a rather harsh statement, but I can't really deny it. However I believe that a person is born “good” and can be turned “bad”. When you ask me what I think is wrong with mankind, I would say that we lost the general view over everything that is happening. The lives we lead are determined by an uncountable number of events in the past and present; life has become complicated: it is ruled by abstract things like money, politics, religion, etc. Everywhere in the world are factors that determine the present situation; one thing we certainly (should!) know is that this whole system is super unjust for most of humanity for the sake of a few fortunate enough to live in a country that, in the past, has conquered enough other countries, exploiting everything man and nature had to give at that time. People tend to forget all kinds of values; on a personal and a political level.

MW: Yeah, I guess they do. I’ve stopped thinking about that a while ago; you can’t change it anyways; it lies in the very nature of humankind. I’m just happy I got to know a bunch who don’t over the last decade.

DG: We went from a survival of the fittest to a survival of the richest.

9. Are there any legitimate paths of enlightenment open to man? What would it mean for a man to be enlightened?

MW: Yes, there are. But the web of bad shit going on everywhere around the world is just too dense already. For people with enough money and a standard of life high enough (like most Western-European cultures, including ours), it isn’t all too difficult to not be a shitty person. Hate, pain and despair seem pretty far away, so why not be happy and nice (although lots of people here can’t even manage to do that!). All this is far more complicated if you live in a poor country ravaged by war and hunger, fighting for your life every day. As long as we aren’t able to change the way our ecological world functions, there will never be an enlightenment of mankind.

FK: To be enlightened, for me, would mean to see that it's not “me and everything else” but just “everything”, to see the connections every person has to his surroundings and therefore every other person as well. How to get there? Just stop being a dick for five seconds.

MS: I believe you are enlightened when you know how to lead a happy life as a human being. This also includes harmony with other human beings and nature. I guess it is difficult to achieve, but not impossible.

MH: Maybe death, maybe nothing. I don't think anyone can truly be enlightened, but I think you can and should strive for enlightenment. Actually reaching full spiritual enlightenment would probably result in a short-circuited brain or something. You'd be forever amazed of your perfect knowledge of a larger, shared consciousness and be a vegetable in “real life”.

10. What are your thoughts on evolution? In what way has evolution facilitated worldwide overpopulation by associating success and the entire meaning of life with breeding and survival?

FK: Evolution is not the problem here. Evolution is just something that happens, overpopulation will always be there and it always was, that's the basis of evolution, more people with not enough resources. Is that a bad thing? No, nature doesn't think in bad or good categories. We simply have to accept that we are constantly in an evolving environment.

MW: If by evolution, you simply mean the surviving of the fittest, it’s a good and bad thing at the same time. We, as humans, have made our way to the top by being intelligent and by being able to work together to create greater things. But there’s one thing that shall not be forgotten concerning the above mentioned phrase: There needs to be a balance. If the wolves are so well-adapted that their population grows to the point where they eat all the deer there are, because deer just weren’t as well-adapted – what’s going to happen next? A species working so well that it disrupts the balance of life and death will ultimately seal its own doom.

MH: Interesting question. Maybe humans are damned to thrive beyond the limits of any system we seem to be confined in. But we live in a time were you can afford to take a good, hard look at yourself and the human mind in general. We can question our own survival and we might even be able to change our genetic code to become superhuman. I hope, the belief that you have to have a home, a wife, a car and a family to be a "proper adult" will deteriorate in the coming centuries.  Humans are pretty fucking flexible. You CAN have a valuable legacy without procreating. These days more than ever before.

DG: The human found its place on top of the food-chain and has no one to be afraid of but itself. Mankind is on a way of destroying itself by ignoring everything but its own ways to success.

MS: Mankind has evolved to its current state because of one trait that distinguishes us from most animals: no one is left behind. Self-preservation and that of loved ones is one main propeller of our thriving. It is actually a beautiful thing but it has lead to many problems like genetic diseases that are rare but still spread around the world that scientists struggle to cure. Again, a beautiful thing and a sign of greatness, but maybe something we could have avoided at some earlier point in our evolution. Even healthy people are better taken care of: less babies die at a young age, old people get even older, less diseases overall, etc. I think this whole process is rather logic and traceable, yet problematic to some extent. But I think there is still enough space on this planet to fit everyone in, and in a way that will suit everyone.

11. What technological development of the last 30 years do you fear the most?

FK: It's not technology we should fear, but people who use technology, science and progress in general in a bad way.

DG: Big corporations that rule the free internet.

MW: I don’t fear technology. It’s the people you should fear.

MH: Smartphones. Everyone is scared of them and everyone knows they're getting spied on and analyzed like a lab-rat when they're using it. But everyone has one. Me included. It's just this constant discomfort they seem to radiate. And in combination with Facebook and shit... If some evil genius was planning to make "1984" reality, he'd start by manipulating us through our smartphones.

MS: I would say it is artificial intelligence. Even though many things would be very boring or complicated without it, it is one of the things that could go out of hand very quick and unexpectedly. AI's still need to be programmed, and can only act on its own to a certain extent, but it is one of these things that “mustn't fall into the wrong hands”, but heck, it's too late for that.

12. Are you a winter or summer man? Does Enviroment have an influence on you? Do you have a favourite location within the world?

FK: Autumn. I sure feel influenced by the things around me, simple example being that my musical taste changes with the seasons, leading me to more doom and post-metal in winter. Like musical hibernation.

MW: I like summer. Also, the forest is pretty rad. Fresh air, sunlight and nature have a positive influence on me. Not too much sunlight though. If I stand in the sun for too long, it sucks out all my energy. But gray, clouded skies kind of make me feel pointless, unproductive and depressed. So the sun is cool.

DG: I tend to be a summer person, but actually like winter too. The cold and dark months give me motivation to play music and reflect on my writing but enjoying a cold beer in the sun clearly has its pros, too.

MH: Summer, especially since I'm a night owl. Can't get shit done in the winter and I often get depressed and stuff. Not a winter guy. Favourite location in the world is the black forest in Southern Germany. Highly recommended to tourists around the world!

MS: I enjoy every season as soon as I acclimated myself to it. This can take some days or weeks. I think the environment has an impact on everyone, if you want it or not. I try my best to not be influenced too much by depressing and rainy days, but one is not always master over one's moods. I guess this is everyday-normal-life-things. My favourite location in the world at the moment is our rehearsal room.

13. Could you tell us more about the metal scene in Luxembourg? Is this a quite good state on a metal point of view, and were there good Death metal bands to check out in the past?

FK: Luxembourg has quite a number of metal bands, which is interesting in itself. As it is so small of a country it also means that most of the bands know each other personally, which leads to good partnerships, but also to a lot of concerts with similar line-ups. But we manage to get some fresh blood from abroad in there often enough. I think one band to definitely check out are Desdemonia, they have been around when I started listening to metal and are role models, at least to me.

DG: The scene is pretty representative for a small country like Luxembourg. If I name one band, it´s pretty damn sure Desdemonia. These guys will easily give you a stiff neck from head-banging!

MH: When it comes to the Luxembourg scene, there are a lot of very promising young bands at the moment. I dig Mutiny on The Bounty, who actually got Matt Bayles to work with them for their record. Desdemonia are also a proper Death Metal band you should check out!

MS: Luxembourg has a flourishing metal scene with all kinds of genres, which is great. But the problem is that the audience is rather small, and almost every metalhead in Luxembourg has his own band. It is quite difficult to organize a big show where you can expect more than a hundred people, if only local bands play. Not everyone is in the country the whole time, the same as with us: people study abroad, and most bands are made of studying/young people. Additionally people have to be motivated to see gigs by local bands. Often they are in small locations, sometimes far away, so that makes it all a bit difficult, because most people tend to have plans on the weekend. But that doesn't matter; the bands who really are into their music keep on doing their thing, and that's great. If you ask me about Death Metal bands in Luxembourg I can enumerate Desdemonia, Kraton, Dreadnought, Aversives. However I find it difficult to classify them in definite genres because many bands are hybrids of different styles. Or let's just say they try something new and I still find it difficult to determine what exactly they are doing.

MW: The Luxembourgish Metal scene consists of about 30-40 bands, only half of them are really active concerning shows. Most people know each other, and I’d say, including everybody who’s not playing in a band, we are around 500 people. It’s ok this way, I find it really cozy. I’ll try to name all Luxembourgish Death Metal(ish) Bands: Kraton, Aversives, Feradur, Desdemonia, Decipher, Retrace my Fragments, Arkaeon, Scarred. All of them are really good in their own ways, and each playing their very own style of Death Metal(ish) music. We’re the only Melodic Death Metal band amongst them. We also got a Metalcore/Hardcore scene of about 20 bands, but it consists of different people and rarely mixes with the Metal scene.

(Check this out if you want to find more Luxembourg Metal Bands:

http://www.metal-archives.com/lists/LU)

14. Thanks for your patience bro, that’s my last question for now. Do you have few more words for our readers?

MS: My message to everyone: be nice to each other, educate yourself, don't hate blindly, and foremost don't believe everything you hear or read. Thank you for these interesting questions, it was quite a ride to answer them. I hope the readers enjoyed this interview as much as we did. Good luck for the future!

DG: Thanks for giving us some of your precious time. We appreciate that! Keep up the good work and we have some last words for your readers:

You guys are amazing. Never stop supporting your local metal scene, wherever you are. Keep on reading, keep on listening and keep on banging ... You keep the machine turning!

MW: Rock on!

MH: Peace, Love and Death Metal!

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