Interview mit Alasdair Dunn von Ashenspire

ASHENSPIRE sounds quite interesting as a bandname. What’s the meaning behind it?
The name refers to the more striking elements of UK architecture, something I’m personally very interested in. Particularly relevant to this album are the industrial smokestacks, vast chimneys that at one point dominated the skyline of most industrial cities here. You can see the results on most older buildings here; stained black with soot. The name also refers to the vast brutalist structures that were the darling of architects in the 70s, still very much visible today. That may be more relevant on further material…

Your music is rather unusual and would mostly be described as Avantgarde Metal, which however isn’t really informative about how it actually sounds. How would you yourself describe it?
A very valid point. To say something is „against the grain“ says nothing. I’d say it’s got a bit of black metal, a bit of 70s prog, a bit of jazz fusion, a bit of theatrical pomposity. One of the nice things about the ambiguity of „Avant-garde“ is that we can go completely off on a musical tangent if the notion takes us and nobody can really do anything about it.

You make use of different instruments, not just the typical metal-instruments. Especially the violin seems to be a really important part of your compositions. Why did you choose the violin as a main instrument?
Well, honestly, one of the main reasons was convenience. I was writing music with a large number of harmony parts, and James and I had jammed on-and-off for a few years at that point. It was a completely natural inclusion. In addition, of course, violin fits the musical aesthetic of the album, being set in that 19th century context.

Instead of normal singing or screaming, you recite your lyrics through some kind of theatrical sprechgesang. Why did you choose this kind of vocal expression?
I was inspired very strongly by a man by the name of Mr Doctor (of Slovenian experimental rock band Devil Doll). The key was expressiveness; the music and subject matter demanded a vocal style that was not limited in that regard. I’ve often felt that orthodox harsh vocals are extremely restricted in scope, and only really convey a couple of emotions. Mr Doctor was the master of this; he sounded utterly demented when he wanted to, but could equally be very soft and nuanced. I sing conventionally fairly regularly outside of the band, but it’s important to convey the urgency and seriousness of the message in a visceral (albeit fairly absurd) way.

Would you consider this sprechgesang to be more exhausting or difficult to perform than normal vocals?
In a sense. It’s emotionally quite draining, certainly. You’re adopting a character, trying to channel emotions that go above and beyond your own in a very physical way. I wouldn’t have it any other way though.

Your vocals kind of resemble Primordial or My Dying Bride, while the violin sounds a little bit similar to Ne Obliviscaris. Do these bands serve you as inspiration and what other bands have an influence on your music?
Primordial have been a long time favourite band of mine, and have indeed had influence. My Dying Bride not so much, and while I do enjoy Ne Obliviscaris, they didn’t particularly inspire the writing side of things. I think it’s impossible to talk about our influences without mentioning our friends in A Forest of Stars, with whom we share a number of elements. Other bands of note would be Vampillia, Voices, Vulture Industries, Dødheimsgard, Pensées Nocturnes, Snarky Puppy, among others.

On your ambitious debut „Speak Not Of The Laudanum Quandary“ you are addressing the absurdities and cruelties of the British imperialism. What inspired you to deal with this subject?
Well, it starts with a weariness for romanticisation, and an inclination towards social justice. So often, we choose to sanitise our history, make it palatable and justifiable. Helps us sleep at night, I suppose. Frankly, it feels like a subject largely unknown to much of the UK population. At a time like now, it’s more important than ever to remember the responsibility we bear for many of the inequalities in the world, and how even generations later, the effects of our exploitative actions are perpetuated in most modern societies. Not that that responsibility is particularly welcome…

How exactly did you gather information about this matter? Did you read a lot of literature about it?
Primarily through access to academic journals and other literature, yes. It’s fairly straightforward to find documentation on the various atrocities and conditions that were commonplace in the empire. But it’s been a subject close to my heart for a very long time, so this was built up over quite a prolonged period.

What’s your general opinion on your home country, Great Britain?
Well, that’s a topic for debate already, given that we’re from Scotland. (laughs) Honestly we’re very privileged to live in relative luxury. But Britain is simultaneously quite a mess right now. The rise of right-wing populism, food bank use has skyrocketed, hate crimes against minorities are on the rise. It’s all a bit miserable, really.

Do you intend to continue dealing with the British imperialism on later albums or will you go on to other subjects?
We may revisit it, but not yet. The next album will be moving forward onto a very different, but not unrelated series of observations.

What song on „Speak Not Of The Laudanum Quandary“ is the most important to you and why?
This answer shifts regularly, of course. I think the most relevant song today is „Restless Giants“, a song about the indignities and apathy suffered by refugees. Its most explicit reference is to the Highland Clearances (an atrocity perpetuated against the rural families in the Scottish highlands), as well as all indigenous peoples trampled by the empire, but it has more applicability than ever in Europe in 2017.

The artwork of the album looks like a hull, which would fit the lyrical theme. What exactly is depicted on the artwork and what more can you tell us about it?
You’re absolutely right! It’s a painting by our friend Mr Ryan Mutter, a Glaswegian artist of some renown, called „Tightening the Bolts“. It depicts two dockworkers completing their work on a vast ship in the dockyards of Glasgow. At one point, Glasgow was one of the best shipbuilding cities in the world, but no more. The lives and struggles of the dock workers is explored in our song „Mariners at Perdition’s Lighthouse“ on the album. What I feel is most appropriate about it is how even in the depths of the industrial setting, there’s a certain personal connection you can feel with the workers; dwarfed by the monstrosity they’re maintaining.

Scott MacLean (Falloch) is contributing piano, organ and synthesizer to the album. How did you make his acquaintance and how did your cooperation happen?
He’s a close friend of mine, and a constant source of new and enlightening music. I met him through jamming and eventually playing live drums with Falloch, and collaboration on both sides came very naturally. It’s a joy and a privilege to have him on board.

You are also doing live shows. Which bands would you like to share the stage with?
There are so many! On a realistic scale, we’d absolutely love to play with any of the bands we share musical ideas with. A couple I haven’t yet mentioned would be Oranssi Pazuzu and Schizoid Lloyd, both phenomenal bands live and on record. We’re very privileged to be performing in April with Ash Borer, another band we love. Eventually, I hope we’ll be blessed to share the stage with Sigh, and perhaps even Ulver, at a grossly self-indulgent stretch of the imagination.

Well, we are approaching the end of this interview. At last, I would like to ask you to participate in our traditional Metal1.info-Brainstorming. Please tell us, what comes to your mind while reading the following terms:
Brexit: Colossal mistake. We’ll be feeling the negative repercussions of this for decades.
Oldschool Metal: Hip-swinging goodness. The more flares and hammond organs we can fit into metal the better.
Tea: Oaft, don’t mind if I do.
Favorite metal leadsinger: You can’t beat a bit of Ronnie James Dio.
The Queen: Object on principle to the concept of monarchy.
ASHENSPIRE in five years: Saxophones – many saxophones.

Alright, thanks again for this interview. Is there still something you would like to tell our readers?
Thank you for the questions, it’s never unpleasant to be given a soapbox. I hope the readers enjoy the album, and take the time to consider the issues it addresses. Most of all, we want to create a discussion, so hearing what folk have to say is important. Respect to all.

Publiziert am 30. Januar 2017 von Stephan Rajchl