Lucem Fero | Interviews | Arawn

No truce with the Furies - Arawn mainman Bleiddwn-Y-Nos hails the birth of Welsh Black Metal

By Anthony Morgan

Black Metal's creative talents have long paid homage to their ancestral forefathers, the blueprint being arguably laid down by Sweden's Bathory. Although 1988's Blood Fire Death bore audible traces of what was to come, it wasn't until its follow up Hammerheart (1990) that the blueprint had been well and truly defined. Less aggressive, the emphasis shifted to building an overwhelming atmosphere and inevitably saw a more epic songwriting approach being fostered. Since then, artists from both Scandinavia and other countries have flocked the genre in droves to proudly acclaim their heritage. While the motives of some are questionable (along with their level of research), the genre is still a burgeoning, evolving entity. The Scandinavian pond still looks particularly healthy, yet other ponds are sprouting their own respective talents. That specific pond is Wales, and the county happens to be Monmouthshire in its relevance here. One such talent is ambient solo project Arawn.

Christened after the lord of the underworld as depicted in Welsh mythology, Arawn's birth occurred in October 2006 courtesy of teenage multi-instrumentalist Bleiddwn-Y-Nos. Arawn draws upon the legends, landscape and history that Wales has to offer, dusting off the pages of tomes such as the Mabinogion. Other predominant lyrical themes prove to be the isolation which society cultivates, and the negative emotions an introvert undergoes. Essentially, Arawn documents the deepest and most personal feelings of Bleiddwn-Y-Nos.

Inaugural demo outing Call of the Cyhyraeth surfaced in March 2007, collecting three compositions cut over a three month period. Crudely speaking, the songs boast a somewhat folkish element married to Black Metal overtones. In this interviewer's opinion, future re-recordings of the demo's title track have the enormous potential to sprout an undisputed classic. Its two accompanying tracks “Sleep the Waters” and “To the Battle Born” hold their own charm too, and overall the demo's maturity betray its creator's years. Printed in only a limited run of fifteen copies by Merthyr Tydfil's Valley of Death Records, those lucky enough to receive one mainly comprised media outlets. Despite the modest production, such respected places as Zero Tolerance gave the demo an astounding thumbs up. Armed with positive feedback, Bleiddwn-Y-Nos soldiered on in the writing process. Recording initialised in June 2007, and the title track became the first song that was laid down. By late August, final track “The Ancient Enemy” had received its finishing touches. And so in September, the birth of Welsh Black Metal was proclaimed. With more defined keyboard aspects than its predecessor, the guitar department also shows improvements over its past effort.

Arawn mainman Bleiddwn-Y-Nos kindly agreed to an email interview with Lucem Fero immediately following the release of Welsh Black Metal. A young man with depth and maturity, he certainly displays a massive knowledge of the Metal genre and music as a whole. Furthermore, he shows an individual flair which cannot be said of all artists in the Metal field. Beginning at the start, the birth of Arawn and the reasons for its existence kick off proceedings. Arawn's varied musical style is spoken about at length, and also how the group incorporates various elements of Welsh culture. We then delve into what is at the heart and soul of both respective outings Call of the Cyhyraeth and Welsh Black Metal, not to mention plans for the future. That bright future certainly looms on the horizon, and yet more musical gems seem a mere formality.

Could you talk me through the formation of Arawn?
I formed Arawn in around October 2006, and that was as a medium to release a few songs I had written - I felt they were stylistically closer to Black Metal than to anything else. The formation of Arawn was very simple; I created a web page, and then posted a couple of songs online which I had laid down on my eight-track recorder at home. I never had any intentions at this time to look for other members to form a conventional band, and that's partly because I didn't know any likeminded musicians. Having said that, this was also because I wanted to have complete artistic and creative control over the project. At this stage, I already had the idea of incorporating elements of Welsh folklore and mythology into Arawn's music. This didn't really come to fruition until I penned later songs such as “Call of the Cyhyraeth”.
What were your sole motives in forming Arawn?
Back then, I was definitely motivated to try and combine my love of Welsh history, folklore, mythology etc. with my love for Black Metal and Heavy music. This is reflected in the name of the band (Arawn is a character from Welsh mythology). Although the Black Metal genre doesn't have a lot of history in Wales, the themes of paganism, nature and history which run throughout the genre are easily applicable to Wales in terms of the country's epic landscapes and Celtic history. However, I also just wanted my original compositions to be heard; the songs I had written, which became the very first Arawn tracks, were very dark lyrically and musically. They were definitely motivated by a lot of the negative emotions I was feeling at the time. The music I wrote was an attempt to recreate that negativity, and to go further within myself; to excavate my inner darkness and as a result hopefully understand myself better for it. Part of the struggle when I was writing music back then was how I could combine these two ideas of Welsh nationalism and artistic expression. I think that if the music just focused on one or the other, it would then become very one-dimensional and generic.
You were part of a short lived Thrash group called Sycorax. Could you give detailed information on your involvement in that group, and how would you summarise your time in the band Sycorax looking back from a personal viewpoint?
Sycorax was a very amateurish group, and we never even found a complete line up. As a result, we never played live. I played lead guitar and bass on our demo recordings, and those demo recordings are comprised of roughly four poorly recorded tracks. The group was always held back by the fact that our second guitar player, who was also our singer, was really only a beginner at the guitar and his vocals weren't ideally suited to Thrash. As a result, a lot of my compositions were discarded because they were too difficult for him to play. This became really frustrating for me, as you can imagine. Thrash is such a technical genre, so it’s hard to play convincingly unless you have reached a certain level of technical proficiency with your chosen instrument. He had not reached that level. Looking back, it was all a good laugh and we had some great rehearsals. I wanted to do more with music though, and that’s why I formed Arawn.
You said that the group was influenced by Thrash originators, so could you share your thoughts on those Thrash artists whom you currently admire and how you incorporate their influence?
I think the Thrash bands that influence me most with Arawn are bands like; Kreator, Sabbat, Destruction and Sodom etc... Their early recordings definitely had a Black Metal attitude and a very raw production, which I like. You can definitely hear their influence on some of Arawn's more aggressive tracks, whether it be on a track like “To the Battle Born” from the first demo, or “Welsh Black Metal”. The great thing about these bands is that they are still releasing great records even today; for example, Kreator's Enemy of God and Sodom's M16 were both excellent Thrash records! Other Thrash bands that I listen to include; early Metallica, Slayer, Megadeth, Annihilator, Onslaught, early Sepultura... I could go on and on. The thing I loved about all these bands was the extremity of their music, and how dark it was. It was very brutal, and very effective at conveying negative emotion. I learnt a lot from it. When I was with Sycorax, I was probably more inspired by bands like Metallica and Megadeth. This meant that when it came to songwriting, I was more focused on technicality and hooks as opposed to emotion and feeling. The press seems to think that there is a Thrash metal "revival" going on at the moment, but I'm not convinced that many of these bands have the special quality which the Thrash bands of the eighties and early nineties had. I heard Blood Tsunami's debut album (2007's Thrash Metal) recently though, and I thought that was a really good Thrash album. It's good to know there are a few bands who are carrying the genre forward.
Could you talk me through the reasons why you left Sycorax?
As I said earlier, I was becoming frustrated at having my compositions discarded due to the fact our other guitar player couldn't play them. I had a few songs written that I was very proud of, but we didn’t use them because they were too technically demanding. I also didn’t feel that the group had a real future. We weren’t doing anything innovative, and our vocalist wasn’t particularly great. Basically, there were many problems. Whilst our other guitar player wrote a few good riffs, I also didn’t like a lot of his compositions. We started playing more of his compositions, but they all just seemed quite lifeless to me. When it got to the point where I didn’t enjoy playing them, I just stopped arranging rehearsals.
Why do you feel Sycorax had no real theme or vision?
We were both very different people, so we had few common interests other than Heavy Metal and guitars. Our other guitar player also seemed quite content in playing a very generic brand of Thrash Metal, and fostered the hope of playing live some day. As I just wanted more out of music, playing live was never that important to me.
You recorded a few tracks as part of this group, so will they see the light of day in one form or another?
In all honesty, I doubt it. I would never sell these tracks as part of a demo anyway, and that's because they just simply aren’t good enough. This isn't just in terms of the production, but also the musicianship and songwriting. It was very amateurish, and a million miles away from what I’m doing with Arawn. I don’t see what releasing these demos would achieve, though maybe I’ll put them up on the internet some time - just as a curious piece of Arawn history for those who are interested.
You said that in your eyes music has to have a purpose, so what purpose does Arawn serve that Sycorax did not?
Arawn’s music is primarily concerned with evoking emotion; i.e. if you listen to an Arawn song I want you to feel something, or be inspired in some way. It may make you feel pride, or it may make you feel something more uncomfortable. As long as you feel something though, then the song has served its purpose. I like to compare it to reading a novel; when you read a book, you can often see a part of yourself in a certain character or scenario. I’d like to hope that some people will be able to see a part of themselves in Arawn’s music, but the problem with Sycorax was that it didn’t really make me feel anything. It was fun to play, but when it was recorded it sounded bland and unemotional. Whilst it was good for a laugh, it didn’t really serve any purpose.
You said that your songwriting was clearly becoming more inspired by the Black Metal artists you had been listening to for the past two years by that point, so how and why did this evolution from Thrash elements towards Black Metal influences materialise?
It seems that since I started listening to rock music at around the age of thirteen, I have continually moved to more extreme genres. When I was thirteen, I listened to a lot of seventies Rock and Prog bands such as Uriah Heep, Rainbow, Pink Floyd, Deep Purple, Black Sabbath, Jethro Tull, Genesis etc... I then I got into Iron Maiden, Saxon, AC/DC. This led to me getting into bands such as Metallica, and the transition carried on from there. I still listen to all the aforementioned bands, but over the years my tastes became increasingly darker. I think that culminated with Black Metal.
What potential did you see in Black Metal that was perhaps lacking within Thrash from your perspective?
I think Black Metal has a far greater capacity for expressing a wider range of emotions. Thrash metal is primarily concerned with aggression and adrenalin, whereas with Black Metal you can invoke pride, suffering, sorrow, strength, hate, despair, isolation and so on. Whilst Black metal is a more extreme genre, it is more melodic in many ways. My songwriting has always been focused on strong and evocative melodies. The framework of Black Metal also allows room for keyboards, and more acoustic elements. This can give a song a far more intense and powerful atmosphere, as well as providing some light and shade. This is as opposed to the uncompromising riff assault of Thrash Metal.
Ultimately, what valuable musical lessons did you learn from Sycorax?
I learnt that it would be far easier for me to go it alone, haha. In all seriousness though, it opened my eyes to the hassle of being in a band and having to deal with other people. In terms of musical lessons, being in Sycorax made me grow out of that “I'm thirteen years old, and I want to be in a band” mentality. I actually then wanted to do something interesting and different with music.
You mentioned a previously unreleased track entitled “Darkness Enthroned” in a past interview, so could you tell me about that song?
“Darkness Enthroned” was definitely a far better representation of Arawn’s sound than “Sleep the Waters”, although both tracks were recorded around the same time. Musically, “Darkness Enthroned” was heavily inspired by Dissection’s The Somberlain (1993). I loved the emotion and despair of that album, but also the fact that Jon Nodtveidt wasn’t afraid to throw in a few Iron Maiden-eque lead melodies, elements of Death or elements of Thrash Metal. I don’t think the lyrics to the song were ever fully completed, but from what I remember they dealt with how I felt I had been betrayed by my own emotions, how they exposed my weaknesses and how they let darkness take hold. It was a real reflection of my self-loathing at the time, and of how I wanted to be strong yet still fell victim to my weaknesses. The song itself was demoed twice if I remember correctly; both of them were instrumentals, although I had some lyrics written. I’m sure both copies survive somewhere, and I will probably dig them out at some point in the future. The reason it didn’t appear on the Call of the Cyhyraeth demo was because I used the main riff of “Darkness Enthroned” in the title track, and I think one of the keyboard parts from “Darkness Enthroned” may also have been used in “To the Battle Born”. I would definitely approach that song differently if I was recording it today. A lot of the transitions between various passages seemed very forced, and the song sounded like a collection of unconnected riffs and ideas. That is probably why I broke it down, and used bits of it as parts of other songs. There is a possibility that I will re-release The Call of the Cyhyraeth demo myself in the near future, and that's as it's sold out at present. As a bonus track, I may include one of the versions of “Darkness Enthroned”.
In what ways were the songs “Sleep the Waters” and “Darkness Enthroned” far darker lyrically and musically than any of the music you had previously written?
The lyrics to both songs were far more introspective than anything I had ever written before. They dealt with my emotions, which at the time were very negative; I felt very isolated, betrayed and depressed. The music just reflected the lyrics, or possibly vice versa? Either way, I was just in a very dark and soul searching state of mind. The songs were created, and shaped by this.
Why were these songs obviously far too ambient and dark to fit into the “rather limited Thrash Metal mould”?
Well, musically the tempo of both songs was slow to mid-paced. Both tracks also relied very heavily on keyboards so they didn’t have a very Thrash Metal feel. The songs also weren’t really built around riffs, but around melodies. The range of emotion displayed in both songs, particularly emotions of sorrow and despair, would have been uncharacteristic of a Thrash Metal song in my opinion.
Do you deem Arawn as primarily a Black Metal project, or do you feel the label doesn't adequately pinpoint Arawn's breadth and depth as a musical entity?
I’ve always said that I feel Arawn is closer stylistically to Black Metal than any other genre of music, but I don’t think Arawn fits perfectly into the Black Metal mould or stereotype. In particular, the first demo wasn’t very Black Metal at all as there were a lot of Folk and more traditional Metal influences there. As a result, quite a lot of more “traditional” Black Metal fans didn’t like it. I would never let Arawn be limited by the musical parameters that a genre sets. At the end, of the day my goal is to express myself through my music to the best of my abilities. If that means incorporating influences and styles from outside of Black Metal, then I would not hesitate to do so. I listen to a lot of artists outside of Black Metal and outside of Metal all together, so I wouldn’t be surprised if from time to time these influences shine through.
In what ways does Arawn draw upon the power, atmosphere and brutality of Black Metal?
I think the most obvious way in which Arawn is Black Metal is in the intensity of the music. I never wanted to make inoffensive, quiet background music; I wanted to make music that forced people to listen, and that demands your time and attention. Also, Black Metal is great at creating an all encompassing atmosphere that really takes you away. I’d like to think that is something which Arawn does; I’d like to hope that you can really get lost within an Arawn track, just as I did the first time I listened to Emperor’s “The Majesty of the Night Sky” (from 1994's In the Nightside Eclipse). Musically, most of Arawn’s riffs etc are very firmly rooted in the Black Metal tradition (stacatoo picking, unusual minor chords etc.). This gives the music the power, atmosphere and brutality that I admire so much in the great Black Metal bands.
You said that these days a lot of people just “play” Black Metal without feeling any emotion, so can you lend your perspective on that?
I think once the media gives a group of bands a name or a label, people can then approach the music very clinically. Almost, they initiate a formula to replicate the “Black Metal sound”. I think too many Black Metal bands and artists today get into Black Metal due to the fact they like the imagery, or are into the whole Satanism thing. When it then comes to creating music, they just follow a blueprint in creating Black Metal. Of course, then the music itself will be very stale and uninspiring. Unfortunately though, if you have a poor / Necro sounding production and pick some random “evil” sounding names then people will listen to you because you are supposedly “true” or whatever. To me, Black Metal is very personal and all about individual expression. If you have nothing to express or don’t know how to convey it, then I don’t think you have a place in the genre. If Arawn’s music sounds slightly different from other Black Metal bands, then I’d like to hope that it's because the emotions my music reflects are very personal to me.
Reviewers have cited a very powerful feel to Arawn's music, so do you meet these opinions with approval?
Definitely; the emotions and mysticism that Arawn deals with are of a very dark nature. If you can really feel those dark emotions through the music, then it will inevitably have a powerful effect. A lot of the Welsh folklore that I incorporate into the tracks had a very powerful effect on me when I read it for the first time. I’d like to hope that when you combine these dark images from the past with Arawn’s emotive music, you will get a very powerful and unique experience.
In what ways does Arawn incorporate the more experimental, epic and melodic strains of bands such as Covenant, Ulver and Summoning?
In the progressive nature of a lot of the tracks, I think you can hear elements of all three of these bands. You can also here elements of some of the seventies prog Bands, such as Jethro Tull and Genesis. Most Arawn songs rarely stick to the “verse-bridge-chorus-verse...” format. They tend to be more like a classical composition, and that's in the sense that each song has several movements. I think this happened partly as a result of listening to the more experimental Black metal bands, such as the three named above. In particular, Summoning really create a sense of the epic. They structure their compositions more like a film score or a classical piece, as opposed to a conventional song. Although it was never a part of any grand design to have Arawn’s songs sound like this, I’m sure that these bands subtly influenced my compositions in this way. Ulver really opened my mind up to the possibilities of incorporating other genres into Black metal, such as Folk or Classical etc. It's great how Ulver never felt limited by genres, and neither does Arawn.
If you had to give reasons why you admire each of those three respective groups, what would they be?
With Covenant, I loved the atmospheres they created and the great sense of melody they had. Out of all these bands, Covenant for me are the most evocative. This is particularly audible on their first release In Time Before the Light, which happens to be one of my favourite records of all time. As I said previously, I love Ulver’s experimental nature; I would argue that it possibly doesn’t always work, but when it does it is really majestic. I feel it’s important to push boundaries in the search for total expression. Summoning just do epic better than anyone else; they’re music is just so powerful and humbling that it’s hard to convey in words. Someone who reviewed our first demo compared Arawn’s music to Summoning, and that was a real compliment.
Which releases do you most enjoy by those groups, and why?
Ulver’s Themes from William Blake's The Marriage of Heaven and Hell, and Bergtatt - Et Eeventyr i 5 Capitler: They are both very different records, but are both musically very interesting. They're different, but still very moving. Covenant’s record In Times Before the Light is really haunting; Nagash uses keyboards to really great effect, and they are almost higher in the mix than the guitars. It’s a very atmospheric, yet beautiful album. Finally, I’ll go with Stronghold by Summoning. It just typifies their epic sound and their ability to create really deep atmospheres.
You've previously said that the music of Arawn is “a tool of exploration, excavation and a hammer to the chains of complacency”, so could you expand upon that?
When I say excavation, I mean in the metaphorical sense: looking inside myself, reaching into the darkest regions of my mind, and then trying to exhume this negativity in musical form. I guess on one level that writing Arawn’s music is a cathartic process for me, but also it's my own personal exploration. When you look inside yourself you often see things that frighten you, or you never knew were there. No matter how disturbing an experience it can be, you could possibly feel you know yourself better at the end of it. Therefore, you can become fully human. When I said it was a “hammer to the chains of complacency”, that was more a statement of intent. I am not going to allow preconceived notions of right or wrong or good or evil come in the way of what I say or write with Arawn. Black Metal is possibly the only musical genre where, on certain labels, the bands retain complete freedom of musical and lyrical expression. Arawn seeks to preserve this.
In what ways do you feel an acoustic instrument can bare the soul to a listener, and more importantly how does Arawn incorporate folk into its music? Is there a specific Folk musician you cite as an influence?
In terms of recreating a sense of history or of legend through music, an acoustic instrument is invaluable as it really takes you to another place. With electric instruments, it’s often hard to remove yourself from the present day. With an acoustic instrument though, I find you could be anywhere. Also, some emotions are expressed better by the delicacy of an acoustic guitar or piano. There is one track which I have completed called “Spirit of the Hollow Tree”, and that was an outtake from the Welsh Black Metal demo. It was almost entirely acoustic, but it had a great sorrowful and haunting vibe. There is a Welsh folk group called Plethyn, though I believe they are no longer together. Plethyn definitely exposed me to a lot of traditional Welsh medieval Folk music, and I find that very evocative and powerful. You can definitely hear elements of that on Arawn tracks like “Call of the Cyhyraeth”, or "Sleep the Waters”. I also pick up a lot of folk influences from the seventies Folk / Prog bands like Jethro Tull, or the early Genesis albums. They were a big inspiration to me.
Equally, in what ways do you feel classical elements can evoke spirit and passion? More importantly yet again, how does Arawn incorporate these classical elements into its music? Also, what classical music do you find inspirational?
As I said earlier, in terms of song structure I think Arawn comes from the Classical root as opposed to the Blues root. Most of the songs don’t have versus and choruses, but have movements which progress throughout the course of a song. This is inevitably more demanding on the listener as there are no hooks they can come back to, but I feel it is ultimately more rewarding. I think a lot of the melodies in Arawn songs, particularly the keyboard lines, are drawn from Classical sources. I listen to a few composers, like Wagner and Beethoven, yet I listen far more to Welsh male voice choir music. It seems quite ironic that a Black Metal artist would listen to hymns, haha, but there are a lot of traditional Welsh songs there too. Some of the melodies are superb. I find the sound of a male voice choir so moving as well, and a lot of these traditional Welsh songs are very dark and haunting. One day, I would love to bring a Welsh male voice choir to Arawn’s brand of Black Metal. I think that would be really special.
In what ways do you feel seventies Hard Rock can convey sheer raw power and emotion? More importantly once more, how does Arawn incorporate seventies Hard Rock elements into its music? Are there any specific groups you speak of?
The seventies Hard Rock influence is very subtle, although I think it can he heard in some of the riffs on the first demo. Sixties and seventies music is my musical background, and it’s where I originally came from before I started listening to Heavy Metal. Those influences will probably inevitably creep in occasionally. Some of the groups I like include; Cream, Black Sabbath, Rainbow, Uriah Heep, Judas Priest, Genesis, Pink Floyd, Led Zeppelin, Deep Purple, Neil Young, Tom Waits, Queen etc. Funnily enough, someone once told me my voice in Arawn sounded like a young Tom Waits. I'm sure Tom Waits would be horrified to hear that though haha.
You've expressed admiration for Cradle of Filth and Dimmu Borgir, so what do you admire about them?
I just like the fact that both bands haven’t been afraid to transcend genres, and have made their own music irrespective of “tags” or “labels”. I think both bands make great music; I like the very early Cradle and Dimmu Borgir records, as well as their most recent albums. I don’t think it’s a case of whether a band is Black Metal or not, but more a case of whether they make good music. I would argue that the answer to that question is yes with both of these bands, even if it can no longer be called Black Metal.
How do you respond to the plight of the more uptight Metal fans who dismiss those two groups as commercial sellouts?
I stand by the fact that if you want to make money and sell out, then you will play Emo, Fashioncore, Pop or whatever. The image of both of these bands alone would put off your average music fan, let alone the music. Most people would still consider these groups too extreme to be palatable. Although both of these bands sell more records now than they did when they first started out, they still aren’t writing top ten singles or appearing on the cover of some teen magazine. I see where these Metal fans are coming from, but I think that once bands start limiting themselves to certain moulds for fear of being called a “sellout” then the music will stagnate.
You've criticised what you deem to be Darkthrone clones within the underground, so what do you feel are the prime weaknesses of these bands?
I just don’t think there is any real emotion in their music. I find it very weak and unconvincing, and also it doesn’t move me the way Black Metal should. I really like Darkthrone, and A Blaze in the Northern Sky is one of my all time favourite records.I don’t see any point in replicating the sound of another band though. For me, it doesn’t achieve anything and loses all purpose. As I said before, Black Metal should be a very personal genre. In theory, each band should sound quite different. The scene has been flooded with so many generic sounding bands though, so there is nothing personal about any of them.
You said that these clones criticise Arawn, so what is the reason behind this?
Well, when many of these bands make Black Metal, it seems that their sole objective is to be as “true” and “authentic” to the original bands as possible. That motive has never been on Arawn’s agenda at all, so because we sound different they will inevitably criticise us. In all honesty, I don’t really care what these bands or critics have to say. The only criticism I will take is from people whom I respect, and whom share my vision. If you don’t share that vision, then you really aren’t qualified to pass educated criticism on my music. Arawn will continue to make this kind of music irrespective of what other bands are doing.
You've mentioned up and coming groups such as Pagan Heritage, so what others do you feel that fans should investigate? Also, why should they investigate these specific artists?
Pagan Heritage are a great band whose sound is firmly rooted in the Burzum and/or Graveland tradition, but W. Timmer’s compositions are very unique and evocative. They are definitely a Black Metal band who I would tip for greatness in the not too distant future. In the UK, we have Nebular Frost who play a very high adrenalin doom laden form of Black Metal. At times it reminds of Venom, yet it's more sinister. They also play live as well, which is good. That really generates attention towards the Black Metal scene in the UK. Other bands I like include Morkem, whom we appeared on the split CD with alongside Nebular Frost. They have a very strong Folk influence, and like myself they are very in touch with their national pride and history. In Wales, we have Ghast and Infernal Twilight; both are good Black Metal bands who show a lot of promise for the future.
In what ways is the music of Arawn an expression of strength and pride?
I don’t think that every Arawn track is primarily an expression of strength and pride, but it is an underlying theme that runs throughout most Arawn songs. In more general terms, it’s a calling to return to more traditional values. This is as opposed to the self pity and weakness cultivated by the Emo culture, and other genres of music. Although Arawn’s music deals with emotions such as depression and despair etc., our music is about overcoming these emotions. You purge them, so at the end you are left stronger than you were before. The tone of Arawn’s music does tend to reawaken these ancient values, and this can be harnessed into a very positive force.
In what respects does Arawn deal with very raw, very personal and very real emotions?
Every piece of music or lyric I write will be inspired in some way by my emotions. I do not just sit down and write a song, and that's because I am almost always inspired to write one. My inspiration does not tend to come from other artists or books etc., but normally from my own emotions and how I feel. As a result, every song and every lyric will be shaped by some strong emotional force within me. Naturally, these emotions will be very personal to me. Therefore, I think that when people listen to the music they can hear it has a certain authenticity.
You stated that the despair and sorrow of the early Burzum albums is very real, so in what respects did this influence the way you approach writing music?
When I started listening to Black Metal, Burzum and Varg Vikernes’ songwriting showed me that Black Metal wasn’t just concerned with “evil” and “anti-Christianity”. Also, it could be a far more emotional genre of music with a far more mystical aura. Burzum were really one of the first bands to take this direction with Black Metal, as opposed to Mayhem who were more driven by Euronymous’ fixation with being “evil” and his biblical interpretation of Satanism. Whilst I can appreciate Mayhem’s music, I am far in touch with Burzum’s direction, lyrics and overall sound.
Are you afraid of such a reference to Burzum being easily misinterpreted by more unscrupulous press people, and being seen as a supporter of Varg Vikernes' racial ideologies?
Definitely not. Arawn is not a political band, and my politics are not something I want to discuss within the context of my music. If people fail to accept this, then that is their error of judgement and I will carry on regardless. I have always said Black Metal is one of the few genres of music uncorrupted by the “politically correct” constrains of the media. Once Black Metal artists start to worry about what they say for fear of being labelled, then we will lose this liberty within the genre. I am also a big fan of Graveland, and that group arguably has a far more right wing political message. I’m not afraid to state my admiration for people such as Rob Darken though, as I know Arawn does not have a political message. Our message is more spiritual and introspective. Politics in music, whether it is Rage Against The Machine or Thor’s Hammer, is just propaganda to me. The fact remains that Burzum and Graveland have both made huge contributions to Black Metal. I enjoy their releases, and am greatly inspired by them.
In what ways is the music of Arawn a reflection of the darkest emotions and feelings of yourself?
As I said earlier, I never sit down and write a song. I am always motivated or inspired to write one. Seeing as this inspiration often comes from some sort of emotional turmoil I may be experiencing, then the songs will inevitably be a reflection of my darker emotions and moods. One of the aims of Arawn’s music is to try and capture this essence of darkness, and convey it in a way that allows others to feel it as well.
What are these darker emotions and feelings you speak of?
The same dark emotions that I think all of us will experience at some point in our lives; loneliness, anger, disillusionment, fear, confusion etc. I am not claiming that these emotions are the only ones I ever feel, and I’m not in a constant state of depression by any means. These are the ones that best shape Arawn’s music though.
What causes you to feel these darker emotions and feelings?
This is something that I have often asked myself. I have always been very prone to stress, and I don’t deal with traumatic situations well. When I was younge,r for many years I suffered from a stress related illness. This would result in severe stomach pain, vomiting and it would keep me in bed for about twenty four hours. No doctor ever diagnosed it, but I suffered from it once every couple of months for about five years. I think some people are better adapted to deal with life’s trials and tribulations than others, or they just simply don’t care. I think my problem was that I cared too much, and I couldn’t take things lightly or accept underachievement. Although I have come to believe that this is ultimately a productive quality, it often leaves you in a bad state of mind and takes its toll mentally. For many people who listen to Black Metal, or even read dark literature, they undertake a very introspective quest into the self. This for me is a big part of the purpose of art in our culture. However, sometimes when we look into ourselves we often see things we don’t want to see; Nietzsche knew this when he said, “And if you gaze for long into an abyss, the abyss gazes also into you”.
Do these darker emotions and feelings stem from traumatic experiences which may have happened in the past?
I’m not really sure. I’m not a big fan of the Freudian idea that all your psychological traits can be linked back to the traumatic experiences of your childhood. I could pick up on a few things such as my parents mostly living overseas since I was thirteen, but I still think I would suffer from these dark emotions even if my past had been different. I think some people are just born this way. Whilst one person could go through a set of trials or difficulties and be completely unaffected by them, another person going through those same trials may never be the same again after them. We are all different, and respond to things different. We just need to learn the best ways to deal with it.
Why do you feel the need to express these darker emotions and feelings via music?
I think this is just the way I deal with it, and it’s how I turn this negative experience into a positive one. If I didn’t play music, I’m sure I would probably write poems or novels instead. That would help me deal with it much in the same way. Music is my way of controlling and managing it, so music stops it becoming something I can’t control. I also think that this is what music and all art in general is meant for, which is expression. As music is arguably the most commercial art form, fewer and fewer people seem to be using music as a medium of emotional expression This is very saddening and worrying.
Why have you decided against adopting the “evil” message which the majority of Black Metal artists preach?
Firstly, that message never appealed to me. This whole “evil” notion has always seemed very childish to me, and uneducated. “Evil” is just a theological, biblical concept, and is a very simple, one-dimensional message. I know a lot of bands use it as an emblem much like Satanism for the rejection of Christianity, but trying to be “evil” throughout the course of your life is just artificial and false. I heard once that to be as evil as possible, Euronymous once had intercourse with another man as the Bible forbids homosexuality. If this is true, then it is completely absurd. Where does it all end? It is also ultimately self destructive, and Arawn’s music has always been about shaping negativity into a positive force that will ultimately make you stronger. To a certain extent, I think "evil" in Black Metal ran its course awhile ago. Unless you plan on committing murder you will never achieve evil like Varg or Bård Faust did in the early nineties (this is if we use evil in its biblical sense). Whilst I love the darkness and atmosphere of Black Metal, I always want Arawn’s music to be intelligent as well. To me, preaching “evil” now is almost laughable.
Are you conscious of not succumbing to any trends or genres?
Definitely. One of the main criticisms levelled against Arawn is “you’re not Black Metal” or “you don’t even know what Black Metal is” etc. Well, if that is the case don’t call us Black Metal! I really don’t care what genre or tag people decide to put us in! I have always said Arawn is closer to Black Metal than any other genre, but I don’t feel limited by the musical constraints of this genre. I think a lot of people can already tell that, and a lot of people don’t like it. If people in the “scene” are too narrow minded to look past genres and trends and address Arawn’s music as its own entity however, then they probably shouldn’t be listening to my music. I think it’s less of a case of not succumbing to genres or trends, but more a case of trying to avoid them. I ignore them completely. Being a music fan myself, this is easier said than done with the complete media barrage of labels and tags. Arawn’s music will take whatever shape and direction I want it to though, irrespective of this.
The Metal press tend to categorize groups, such as Arawn for example being immediately dubbed a Folk type Black Metal by certain reviewers. I personally feel that there's two types of musicians; good musicians, and bad musicians. What are your thoughts upon this?
I agree totally. Once again, it comes down to these labels and categories which are ultimately self destructive for any music genre. All of a sudden, the genre becomes flooded by clone bands. It then all stagnates as people are afraid to break out of the genre. When I listen to music, I try to judge it independently of any genre. Instead of asking myself is this Black Metal or not, I ask are the songs good. If the songs are good, then I will probably listen to them. People are often surprised to hear that I am a huge Manic Street Preachers fan. I’m sure many “true” Black Metal fans will revel in criticising me for this, but I think their songs are great and very evocative. So, I listen to them. There are good and bad artists in every genre (some far more than others). With me though, it has always been a case of listening to the bands and artists that appeal to me personally.
Do you feel Metal fans are too preoccupied with what is underground, and criticising the mainstream at large?
Definitely. I am sick of this true, elitist underground mentality which truth be told hasn’t been very kind to Arawn. The media have been far kinder to use than most of these so called “True Kvlt Black Metal Warrior” types on online forums. It seems that no band is judged on its own merits, and if you don’t fit into the underground mould everything else is irrelevant. I have no mainstream aspirations personally, but I just want to make the music that I want to make. Whether people think it’s underground or not is irrelevant to me. I have always believed that most Black Metal is underground. This is due to the fact that even the most commercial of Black Metal bands, like Cradle of Filth, will still be too extreme and unpalatable for most people.
In what ways do you feel Black Metal remains undiluted, and is a true form of artistic expression?
I still think that most people who play Black Metal aren’t motivated by financial gains, or fame, or whatever. As a result, Black Metal doesn’t have to conform to the media’s rules or regulations. Therefore, Black Metal artists have the liberty to be able to say, write and record whatever they want. It’s also great that there are so many small labels who give these bands these freedoms, despite the fact it probably results in a financial loss for them. For me, Black Metal is an escape from diluting your sound in order to reach a wider audience by writing top ten singles etc. It is my own, pure and totally undiluted vision. No other genre of music I feel would give me that much artistic freedom.
In Welsh mythology, Arawn is said to be the lord of the underworld. Why was this name ultimately chosen?
In Welsh mythology, the underworld isn't so much a hellish place; it's just the unknown abyss you pass into in death, much like the concept of the underworld in Greek mythology. The vast expanse and unknown of the underworld can act as a metaphor for the human soul, which is also endless and everlasting. A huge part of Arawn's music is the exploration of the human soul, and of the unknown. Therefore, a huge part of Arawn's music is the exploration of all the characters in Welsh mythology. The character Arawn seemed to encapsulate our music the best. Arawn (the character) is also synonymous with death, which for me has always put life on earth into perspective; when I think about death, I can't help but wonder about the magic of life, the higher powers at work ,and the presence of the abyss. It is these sort of ideas and feelings that Arawn's music is designed to evoke.
With Arawn being commonly misinterpreted as the Welsh word for Satan, is there the danger of Arawn's message being mistaken somewhat?
Yes there is, to a certain extent. That’s why I'm grateful for interviews like this to clarify such points though. The Satan image is definitely not one I’m trying to cultivate with Arawn, and that's because in my opinion it's all linked in with this “evil” theme which we discussed earlier. Satan is a biblical character to me, and I wouldn't embrace him even as an antithesis to God / Jesus. Concepts such as Heaven and Hell are irrelevant to me; whilst I'm not religious, I like to think I'm very spiritualy aware. The concept of the abyss and of the unknown appeals far more to me. Christianity is primarily motivated with providing the answers, whereas the great thing about Welsh mythology is it dwells upon the questions.
Arawn is deemed a hunter and embodies darkness in mythology, so how does the group express these qualities?
The image of the hunter is related to the strength and power that I feel is inherent in Arawn's music. Being the hunter, Arawn also embodies all the traditional qualities of strength and bravery that I admire in a person. Being the hunter, Arawn was also feared and his presence symbolised your imminent death. In this way, I'd like to hope that listening to Arawn's music isn't always a pleasant experience. It should also be unsettling.
Ultimately, why did you choose to draw upon your Welsh heritage within Arawn's music?
I've always said that Arawn's music is very personal to me, and shaped by my past along with who I'm. My Welsh heritage is just an inescapable part of who I'm. Whether I was aware of it or not, my sense of Welsh identity has been partially responsible for making me who I'm today. My sense of Welsh history, and having that idea in my mind that I'm a part of it, influences every decision I make. It is also a big interest of mine, and it’s something I read a lot about. I find the stories contained within old Welsh books, such as the Mabinogion, very influential for writing lyrics etc. Once you get beyond the fantastical nature of the stories, you can see that they are laced with metaphors which reflect a lot about Welsh society and people in general.
In what respects can the legends, history and landscape of Wales be strongly heard in every note of Arawn's music?
As I said earlier, being of Welsh heritage has shaped my identity. In turn, my identity has shaped Arawn's music. If I was not from Wales, then I can safely say Arawn's music would not sound the same. Living in Wales, and being Welsh, I'm immersed in Welsh culture, landscape, history etc. It's impossible to escape, so it'll inevitably translate some way into the music. That is partly the reason why Arawn doesn't sound the same as the Norwegian or Swedish Black Metal bands. Interestingly when our first demo was reviewed in Zero Tolerance magazine, William Pinfold compared us to British Black Metal band Forefather. Even though I'd never ever heard any Forefather at this time, I could hear a musical similarity when I listened to them. This could possibly be a product of the closeness of our geographical locations.
You feel that Wales has just as rich and historic a folklore and mythology as the Scandinavian countries, so can you tell us about that?
I don't know a lot about Scandinavian mythology, so I can't say “one is better than the other”. I do feel Wales has a rich cultural history though, and this remains widely unknown by even the Welsh people. Welsh mythology is comprised of several medieval books, and these are interpretations of stories which predate Christianity in Britain. One such book is the Mabinogion, but there is also the Book of Taliesin. Each of these books contain several stories regarding various Celtic gods, and their interactions with humans and kings etc. In many ways, they are similar to the stories of Greek mythology. In all honesty, I probably know more about Welsh folklore which really deals with the period of 1200- 1800 - these are stories of the ghosts, fairies and omens of death that originate from Wales. This is where the Cyhyraeth originates from; Cyhyraeth is said to be an ominous cry in the night sky which foresees your death.
What research have you done upon the Mabinogion, and what do you feel it reveals about Wales as a nation?
I read the Mabinogion a couple of years ago, and always refer to it in order to read individual stories etc. There isn't a great deal of literary criticism available about the text. On one hand that is a shame, which is because I feel it's a very relevant book to European literary history. On the other hand though, it leaves it very open to interpretation. I think the Mabinogion tells us a lot about the spirituality of the Welsh people, but also of their intelligence. Even in pre-Christian times, most people still did not think of the gods mentioned in the Mabinogion as being entirely real. They were more metaphors for various qualities within all of us, as were the stories themselves. The book also tells us a lot about the pride and self-sacrifice exhibited by its characters; I would like to think this still runs through to the real Welsh today.
Why do you feel Welsh groups tend to ignore Welsh folklore and mythology, whereas referencing national mythology seems more prevalent in Scandinavian artists?
In Wales, I think our folklore and mythology are totally overlooked and ignored. Our history barely gets a mention either; having gone through the British school system, I was forced to learn about Islam, Judaism and Christianity in Religious education. Never once though was I taught about Celtic religion or Welsh mythology. Equally in history, my real academic passion, I have covered French history and American history for example. Only in my personal study though was I allowed to research in depth a Welsh history topic, such as (Owain) Glyn Dwr's rebellion in the early 1400s. If you therefore want to learn about these things, then you have to go and look for them yourself. I don't think most people care enough to bother, which is a shame. I can only presume that in Scandinavia they have a greater awareness of their own heritage, even if it's just through the bands that recount and praise it.
What is your opinion on groups who use foreign cultures as a source of material for their music, such as US / UK groups exploring Norse mythology, Teutonic mythology, and so on?
To a certain extent, I can understand some British groups exploring Norse mythology. The Vikings were, to a limited extent, a part of British history as well. On the whole however, it goes back to what I said earlier; bands just become clones and don't the individual identity of its members to shape their music. I don't think anything demonstrates this point better than when American, Mediterranean or Western European bands clone the originators of the genre to such an extent that they steel their lyrical ideas and cultural heritage. This is despite the fact that it has no personal resonance with them. That’s why I admire a band like Forefather who sing the praises of their Anglo-Saxon forefathers; very few bands are bold enough to do that.
Could you give us an introduction to Arawn's debut outing?
The first Arawn demo is called Call of the Cyhyraeth, and consists of three tracks which were roughly six to seven minutes long. Most of these tracks were recorded during 2006, although I don't think recording started until very early 2007. Not all of the tracks were recorded in the same session either, so I think the three tracks may have been recorded over the period of three months. Whilst I already had most of the parts written, the songs were still being assembled as the demo was being recorded. Truth be told, I didn't look at it as recording a demo at the time. I just thought I was recording some songs to put on the internet, yet things just escalated from there.
Valley of Death Records ended up printing fifteen copies to be sent to various zines and mags, so how did that materialise?
I can't remember who approached who. I remember that the guy who runs Valley of Death, which is based in Merthyr Tydfil in Wales, said he liked my material. If I needed any assistance with getting a demo together, he told me to let him know. By this time, Arawn had gained far more notice than I had expected. It then seemed logical to compile the three songs I had already recorded into a demo, and then send the demo off to a few 'zines in order to see what people thought. At the time, he actually asked if I'd like to be signed to his label. That would've involved him paying for most of the CDs to be pressed, though his label mainly had Grindcore bands on it. Due to that, I didn't think it would be a great outlet for Arawn's music. He also wanted to sell most of the demos, which I had no interest in doing. Arawn was still in its infancy, and I didn't want to rush things by signing to the first label that took interest. In the end, I paid the full cost of getting these demos professionally pressed and sent roughly seven off to various 'zines.
Your first demo was solely for promotional purposes and meant to test the waters, so in what respects do you feel that the demo succeeded in that regard?
Well, I got Arawn's name in print in one of the most well respected Metal magazines in the UK. This was a real shock and a huge achievement, especially as the review had nothing other than praise to say about the demo. After having had a few disheartening comments on some forums which told me how much of a “poser” I was and how I knew “nothing about Black Metal”, it really spurred me on when someone else saw the same potential in Arawn's music that I did. We also got a great review in Chronicles of Chaos, which is a 'zine I respect greatly. We also had more good reviews in Adrenalin 'zine, and Nocturnal Cult 'zine. In that respect, the demo was a total success and really raised the profile of the band. This was to the extent that, for better or for worse, people were beginning to discuss us. Some of the reviews had a few pieces of constructive criticism as well, and those were mostly opinions I wholeheartedly agreed with. As I'm the only person involved with Arawn, it’s good to have someone else's opinion sometimes; it’s very easy to become so close to the project that you don't see it for what it actually is. I also had some demos left over, and several people asked to buy a copy. Much to my surprise, I ended up selling a few, which was great as well.
You said the demo is very varied and there are a lot of non-Black Metal influences, so could you delve into that further?
Well, a song like “Sleep the Waters” is not really a very Black Metal song at all; there aren’t any electric guitars until about four minutes in! It has a very dark Black Metal-esque atmosphere, but it possesses few of the genre's musical traits. Musically, it’s hard to determine what a song like “Sleep the Waters” was influenced by - I’d like to think it’s quite unique. I guess you can hear elements of Wall era Pink Floyd in some of the acoustic parts, whereas the climactic ending is a bit like Emperor meets Savatage. I think that song really represents all of my influences better than any other, but without necessarily emulating any of them. The same goes for the other songs really; there are some very early Iron Maiden-esque leads in “Call of the Cyhyraeth”, and some keyboard parts in “To the Battle Born” reminiscent of Nightwish. The first demo was probably more musically varied than the second one, but not necessarily in a good way. I had a bold vision, but it was never really actualised. This is because most of the songs just ended up being very cluttered, even as fond as I'm of the actual compositions. The demo also lacked unity; it sounded like three random songs thrown together, and that is what it was to be fair.
Arawn was obviously wishing to carve its own musical identity at this juncture, so how did this affect the demo?
Trying to carve my own musical identity was not something I really thought about a lot when I was actually writing the songs. I think that just happened naturally, and that's because I remained very true to myself when I wrote these songs. I didn't try to fit Arawn into a specific genre, or category. If anything, I probably paid more attention to creating an unique image through the lyrics and themes that the band dealt with. The music comes very naturally, and I don't like to think about making each song unique too much. If you do, then you risk sacrificing the emotion and the melody of the song. If you remain true to yourself and to your own emotions, then the song will be unique anyway.
Looking back upon your first demo, you've commented on having a naive lack of experience. Is there anything specific you were referring to in that comment?
It was mainly the production; it sounded like it had been recorded very poorly through a computer. I actually recorded it on an eight track recorder, but I really didn't know how to use it. Also, I hadn't picked up on the recording tricks and techniques I now know to make the most out of my limited recording facilities. I think I also stretched myself a bit too much with some of the songs. I was incorporating all of my influences, and coming up with these erratic time changes that I could never really carry off; not with such limited recording equipment and no producer or engineer to guide my enthusiasm. Some of the songs needed more work as well; for example, one of the journalists who reviewed the demo said a lot of the changes between various passages were very forced and awkward, and that a lot of the mixes were pretty uneven. I still think that there are some great ideas which shined through, and I still really like “Sleep the Waters”.
You also commented on the demo having an amateur production, so was this a concern for you when issuing it out to various zines?
It wasn't when I first sent it, though this is because I didn't really appreciate how bad the production was. After I'd sent them though, I was pretty worried. As a matter of fact, I was pretty sure that critics would slate it based on the production alone. I remember wishing that I had never sent off a copy of the demo to Zero Tolerance magazine a couple of months after I'd sent it. Ultimately, it paid off. I'm just very grateful that the reviewers could look past the production to the promise that I feel the songs showed.
You said the songs lost a lot of their power and impact due to their production, so what lessons did you learn about production during this time?
Well, I came across better recording facilities with the subsequent demo. This allowed me to record and playback almost sixty or so layered tracks, which helped. By layering the tracks up in this way, I created a really thick and evocative sound which is definitely lacking in the “tinny” production of the first demo. I spent more time on the arrangements of the second demo as well; I spent a lot of time working on keyboard parts, guitar harmonies etc., and that once again adds to a fuller sound. Also, I tweaked with my guitar sound. As opposed to sticking to one guitar tone, I often have several on any one track in order to create the impression of multiple guitarists playing. The production is still far from ideal, but I think it’s the best I can achieve with my current facilities and finances.
What can you reveal about the song “Call of the Cyhyraeth”?
“Call of the Cyhyraeth” was the last track to be recorded for the first demo, and probably the most musically ambitious in terms of length and all the various parts etc. A lot of the music from this song predated the birth of Arawn - I used it in a demo recording called “Darkness Enthroned”. I think a lot of the riffs in this song were inspired by The Somberlain by Dissection, an album which had a very powerful effect on me around that time. I remember most of this song was written during the winter - the song definitely has a very cold and bleak atmosphere which is synonymous with Welsh winter. Lyrically, the song was inspired by this idea of Cyhyraeth. Cyhyraeth is one of several omens of death from Welsh folklore; it's said to be an ominous cry in the sky that predicts your death, or the death of someone close to you in the near future. The lyrics deal with my attempts to almost isolate myself from society and the ones I loved, but I knew no matter how far I went Cyhyraeth would find me. It’s based upon the idea that you cannot escape life or death, and that we'll all return to the earth while the spirit will live on. The recording session for this song was extremely frustrating; when I record onto an eight track recorder, the songs are stored in a memory card before I transfer them onto CD. Whilst I was about 75% of the way through recording “Call of the Cyhyraeth”, the memory card had reached its full capacity. As a result, I had to delete several guitar parts and keyboard parts just to complete the song. Thus, I ended up releasing the song in what I feel is an unfinished condition. I also had to bounce the multiple tracks straight onto a CD. This meant I couldn't mix it properly, so the levels are painfully wrong at times. Still, some people tell me they like the song a lot. At some point in the future though, I definitely want to re-record it - I'd re-record it with slightly different parts.
Also, what can you reveal about the song “Sleep the Waters”?
“Sleep the Waters” is probably still the most personal song I've written. I don't particularly want to go into the personal events too much, but I was struggling to deal with a lot of personal things. So, I turned to alcohol to help deal with them. As a result, things got pretty out of control and I was led very near to the edge. One of the more subtle lyrical metaphors in the song is the idea of fairies in Welsh culture; these fairies would often lead young males down to a spring or weir with their beauty and songs, much like the Greek sirens, before leaving them to drown in a whirlpool. Such stories were often fabricated to cover up for a suicide, or for a drunken fall into a river. This was so that the family could save face. Either way, it was frightening as to how applicable that story could have been to me at the time. Writing this song was a very cathartic experience, and I think for that reason it's still one of my favourites. The emotion is so real and tangible, so I think it's a very haunting song. The only thing I would change about this song is the vocals; I would get a female singer to sing the clean parts, whilst my aggressive vocals would be lower in the mix as almost a backing to the really evocative lead guitar line. I recorded the instruments for the song in a day - sometimes song come together very quickly in that way.
Equally, can you also tell us about “To The Battle Born”?
This song is probably the weakest on the demo; when I look back on it now, I feel that I rushed it. I'm not quite sure why I did as I was under no time constraint, though I think I just wanted to begin recording again. So, it was very quickly recorded and very quickly written. Having said that, I think there are some great riffs in the song and some great keyboard ideas. I don't think the song works that well as a whole though. I will probably dissect the best bits of it, and use them in a song in the future. I think the song suffered from the fact that I was very naive about the whole thing, and because I didn't give the song the time it deserved. Like the rest of the track, the lyrics were written very quickly written. I'm not happy with some of them. Ultimately, it expressed the idea of life as being a struggle. It's about a character accepting this, and also accepting that the idea of life as a quest for happiness is futile. Additionally, concerns a character struggling to see what else there is. Ultimately, he blames the Christian /Judeo god for his confusion and the fact that his life full of empty promises. So, he seeks to bring him down. The lyrics sound very muddled, and that's because they were haha. Since then, I have always taken far more time and care on lyrics.
What feedback did the demo get, and how satisfied were you with the reception overall?
The press gave the demo great feedback. I had an overwhelmingly positive response from every 'zine and magazine I sent the demo off to, and that was very flattering and encouraging. Across Black Metal fans, the response was more mixed; a lot of people really liked it and could appreciate that this was something quite different, but also very personal and evocative. A lot of people couldn't get past the amateurish sound of the demo, which I really can't blame them for - they tend to appreciate the second demo a lot more. On the other hand though, a lot of people didn't get it at all. The main accusation they levelled at the demo was that it wasn't Black Metal enough, or not Black Metal at all. Such musical labels and categories have never bothered Arawn; if these people think that not being Black Metal is a criticism, then that’s fine. Either way, I really don't care. The fact I was seventeen when I released the demo left me open to a lot of criticism as well, and so some people said I didn't know what I was doing etc. In hindsight, I can see how someone so relatively young doing something pretty different within Black Metal could be taken as being very arrogant. I had to be true to myself though, and that’s why the first demo sounds the way it does. Overall however, I was very satisfied with the reception to the demo. In a way, it was quite good that I was pushing a few people's buttons; I would far rather that than to have an indifferent response.
Which positive feedback did you get, and how did you feel about that?
I got lots of great feedback from the various publications, and online publications, that I sent the demo off to for reviews. I think they really appreciated the songwriting, and the stylistic qualities, of the music. I got lots of great comments from Black Metal fans all over the world as well; Lord Brew from Nebular Frost was one of Arawn's earliest fans and supporters and we have traded demos previously. Will Timmer from Pagan Heritage is also a fan, and we frequently trade demos. I have traded demos with several Black Metal bands from all over the world who approached me saying they like my music. I have spoken to lots of Heavy Metal fans as well who also say they like my music; some of them have bought my demos, which is very flattering indeed.
Did you get any criticism, however minor, and how do you feel about that?
Definitely, and particularly with the first demo. Most of this criticism originated from internet forums, or isolated Black Metal fans, who claimed Arawn was betraying Black Metal or some other one dimensional, simplistic accusation. Typical of this kind of empty criticism, with very little grounding in the actual music, is a review someone left of the first demo at www.metal-archives.com. Until someone alerted my attention to it, I didn't even know Arawn had a page on this site. When I looked at it, someone had submitted a page of abuse about the first demo and gave it only 1%! Attacks like this of course, which are more of a personal nature rather than being based on the music itself, were initially very hurtful to me. I found it hard to dismiss it. On reading the “review” though, you have to question the motives of the person writing it and the kind of character who writes a page of abuse about a demo he has never heard in full (I know exactly who received copies of the first demo, and he was not one of them.). The review was really a personal attack on me, and had very few references to the actual music. This tends to typify most of the criticism Arawn receives. I'm sure if Arawn fitted perfectly into the Black Metal mould, and did nothing inventive with our music, then these same people would embrace us with open arms. I will not compromise to their character assassination though, and their intimidation. Arawn carries on regardless!
You've mentioned a track dubbed “Spirit of the Hollow Tree”, and that features extracts from Welsh poet R. S. Thomas in its spoken section. Is there anything else that stands out about this track?
The track was quite different to other Arawn songs in the sense that it featured a lot of acoustic guitar, and a lot of clean vocals. I liked the music greatly, but the clean vocals didn't turn out as well as I would have hoped. As a result, the song didn't make it onto the Welsh Black Metal demo. Musically, the song was not in keeping with the other three tracks on Welsh Black Metal; it was a somewhat transitional song between the two demos. Whilst I wanted to preserve the diversity that the three tracks of the first demo had, I still wanted to have an identifiable sound with the second demo. “Spirit of the Hollow Tree” didn't really fit into that sound. Musically, the track has a very dark, folkish sound which draws upon the Welsh Folk group Plethyn. It also draws upon the Folk elements of bands such as Jethro Tull, and Genesis. As well as featuring the poetry of R. S. Thomas, the rest of the lyrics were also inspired by themes running throughout Thomas' poetry. Another inspiration was a story from Welsh folklore in which Glyn Dwr killed one of his enemies, and hid him within the body of a hollow tree trunk. It was based upon the idea that Wales as a nation is lying dormant, and the hollow tree embodied the current state of Wales as I saw it (and to an extent how R. S. Thomas describes it). The spirit lives on though, and awaits the reawakening.
What's your thoughts on the poetry of R. S. Thomas, and what do you feel is his contribution to Welsh culture?
Most Welsh poets tend to praise Wales, its countryside and beauty etc., in a romantic style. R. S. Thomas often paints a very bleak, unflattering yet honest picture of Wales though. Many interpret this as being unpatriotic, but it’s hard to disguise the nationalist pride that runs through Thomas' poetry. More so than any other Welsh poet, R. S Thomas' poetry is an awakening; it's a call to arms for the proud Welsh to stop pretending, and see what their country has been reduced to. That's physically, but more so spiritually. The loss of the Welsh identity was something that troubled him greatly, and he was a big supporter of Welsh nationalist Saunders Lewis (another great poet) in preserving Welsh language and culture. Indeed, Thomas was very bitter that he couldn't speak Welsh during the earlier years of his life. In one of his poems, he even rages at having a “foreign tongue” inflicted on him. His poetry itself was superb as well. At times it could be forcefully blunt, but at others beautifully evocative; he really had a great grasp of language, and of words. Also, he had a message for Wales which has never been more relevant. Every house in Wales should have a copy of his poetry - it's indispensable! Even people who have no connection with Wales can relate to much of his poetry; it just deals with human emotion, and archetypal characters, that we can all recognise in our day to day lives.
Do you feel his cultural contribution to Wales is somewhat undervalued in his home country? For example, most literary historians tend to reference Swansea's Dylan Thomas in accounts of Welsh literature.
Definitely; both Thomas and Saunders Lewis are criminally overlooked. To a certain extent, I think it's because the nationalistic pride of both poets isn't popular or trendy in today's politically correct culture. People prefer Dylan Thomas' more sedate poetry - despite the fact that, in my eyes, R. S. Thomas is by far the better poet. This is even when he isn't writing about Wales. R. S. Thomas' message was often too harsh, and too raw, to be understood by some people; a lot of people don't like to hear the truth, and R. S. Thomas gave it in abundance.
Arawn was featured on the Hateworks Record Sampler Bloodfield Serenade - Vol. 1, so how did that materialise?
One of Arawn's earliest fans and supporters was Lord Brew from Nebular Frost, as I said earlier. When he and I started corresponding, he already knew the person who ran Hatework Records and also played in the band Ripped Apart - they're both from Bristol. Brew alerted him to our music, and he liked it. When he needed a few more tracks to round off his Record Sampler compilation CD, he asked me if I'd like to submit two tracks. So, I gave him “To The Battle Born” and “Sleep the Waters”.
What are your thoughts upon the other bands featured, namely Morkem and Nebular Frost?
Well, Morkem and Nebular Frost were actually featured on the split CD which was released a while after the Record Sampler compilation CD. The record sampler CD featured many bands, whereas the split CD just featured the three bands Arawn, Morkem and Nebular Frost. I'm a big fan of both bands, and I think they are two of the most promising bands in the British Black Metal scene today. There is an incredible diversity between these three bands as well; Nebular Frost play very raw and thrashy Black Metal, Morkem is a very folky, Graveland-eque Black Metal band and Arawn is a more keyboard driven, melodic, atmospheric project. It’s nice to know that none of these bands are clones of the other, and that we are all doing our own individual thing.
How do you feel Hateworks Records fares as a record company?
Hateworks is a great record company for supporting this kind of music, and for supporting bands that would probably otherwise initially receive very little help. As is the case with any small record label, there'll inevitably be financial constraints which limit what you can do. It's small labels like Hateworks though that keep local music scenes alive, and not just through releasing CDs; they also keep local music scenes alive by organising concerts as well. The guy who runs Hateworks does a great job as he also juggles running the record label with playing guitar in Ripped Apart.
How can a fan purchase this sampler, and also how would they be able to obtain a copy autographed by yourself?
In order to buy the sampler, all you have to do is send a message to Hateworks Records via their myspace page (www.myspace.com/hateworks) expressing your interest. If you want to buy a copy of the split CD, there is a link on Arawn's myspace (www.myspace.com/arawnblackmetal) whereby you can pay for the CD straight away using paypal. If you prefer another method of payment, then just send me a message. In the past, I've accepted cheques, bank transfers, and postal orders, so I doubt there any methods of payment I won't accept. If you want anything signed by myself or any of the CDs personalised in any way, then just let me know in the message when you purchase it and I'll happily do so.
Arawn was scheduled to feature on an ICC Records compilation but were removed for being too extreme, so what can you recollect about that specific episode?
ICC records approached me about appearing on their first compilation CD, and that was meant to highlight the best in “New Welsh Extreme Metal”. At the time, I questioned how “extreme” many of these bands on the CD were. I said they could have a track though as I was encouraged by the fact that a new label was taking an interest in Arawn, a group who's never fitted in with the “trendy” Welsh Metal scene. However, I visited their website site one day. I then noticed they'd dropped our track from the CD, and removed all trace of us from their page. I messaged them to ask what was going on, and they never replied; it seemed that the label was just as spineless as most of the bands they took an interest in. Ultimately, the label never got off the ground. I don't even think the sampler was released, but I know they intended to replace Arawn's track with some generic fashioncore, poor Death Metal imitation band. They obviously didn't want to take a risk with Arawn, a group clearly very different from all the other faceless bands they had on there. In hindsight, I can't imagine that any fan of a generic fashioncore band is going to appreciate Arawn's music. As a matter of fact, I'd be very concerned if they did.
How did your second outing Welsh Black Metal materialise?
After I had finished recording the three tracks that made up the Call of the Cyhyraeth demo, I never stopped writing music. Pretty soon after the first reviews of the first demo began coming in, I set about recording our second demo Welsh Black Metal. Like the first demo, it was recorded over a long period of time. This was probably three months, and I was still writing and arranging tracks throughout that period. I only wrote the final track of the demo, “The Ancient Enemy”, after the other two songs had already been recorded! I started recording the demo around June of this year, and that's when I recorded the title track. I then finished recording towards the end of August when “The Ancient Enemy” was recorded.
How did you approach recording your parts on the demo?
Well as I record all the instruments myself, I tend to start by recording the main guitar part. I'll then normally record another identical guitar part with a slightly different guitar tone, and that's just to give it a fuller sound. IThen I'll record various guitar leads and harmonies, followed by the bass, the keyboards and finally the vocals. When it comes to actually laying down the parts, I'll do a few warm ups just to make sure I'm giving the best performance I possibly can. Really though, I just hit record and play. I don't even have the music written down; everything comes from my head, and I often make minor adjustments to the arrangements during the recording process.
How have you evolved over the years as a musician?
Well, my first instrument was percussion and the drums. I don't tend to practice them that much anymore though; I devote most of my time to playing the guitar, and I like to think that I'm a fairly competent rhythm guitarist at this point. My lead playing still needs some work, but Arawn isn't really concerned with flashy solos. I spend far too much time writing and composing to be able to practice sweeped arpeggios for hours on end. As a guitar player, I would far rather be compared to someone like Tom. G. Warrior (Celtic Frost) than Michael Angelo Batio (Nitro). Other than the drums, I'm self taught on everything else. There's always room for self improvement, and I'm continuously improving my musical abilities.
What was it like recording the demo?
Very exciting actually; I really like the three songs I have written, and I'm very humbled by the feedback I got from them. When the track “Welsh Black Metal” went up on our MySpace, it reached a thousand plays very quickly. I think people could see the music had taken a dramatic improvement in quality; many of those who had been alienated by the weak production of the first demo could appreciate these new songs far more. Writing the music was at times very testing emotionally; reaching into such dark emotions often exhumes things you would rather just let lie, but this manifested itself in the music. Due to that, I think the songs sound better.
You chose to name your second release Welsh Black Metal, which seems to make a defiant statement. Can you tell us about this defiant statement?
Really, it was directed to all the people who had accused Arawn of being “untrue” and being “not Black Metal” etc. My response to them is that Arawn isn't “Black Metal”; Arawn is “Welsh Black Metal”, and that's basically whatever I want Arawn to be. The title was designed to capture Arawn's unique sound and image, and then express it in a way that people can understand. Also, it means that Arawn no longer has to conform to any other genre. We also don't need to imitate, and plagiarise, those who have been before us. This title represents the start of something new and something bold; this is something that's aware, and proud, of its musical and national history. Still, it chooses not to wallow in it. I want it to act as a banner for people to rally behind; not just the bands in the Welsh scene, but anyone who believes that music should transcend trends, scenes and genres.
In what ways does this second demo see you progress as a songwriter and musician?
Musically, the songs are more fluid and work better as a whole. Partly, this is because they're no longer a collection of riffs or melodies which I'm trying to force together. The songs were written as a whole; as a result, I feel they're far more evocative and advanced. My guitar playing certainly improved over that short space of time, and I think a lot of the riffs and staccato picking etc. are far tighter on this demo.
In what ways does the better production further enhance Arawn's music?
Personally, it just makes the music more evocative and powerful for me. It also means that the true potential of the music can really shine through, and without being hindered by a tinny sounding production or a poorly balanced mix. The listener is then allowed to devote their full attention to the composition, and not be distracted by little annoyances within the recording. Even though the production doesn't change the songs in any way, it just makes the music more listenable. As a result, the music is then more powerful.
What universal sound and vibe do you feel resonates throughout this outing?
I think it’s very hard to capture the essence of these three songs in words, but I can say that they are all typical of the “Arawn sound”. I think they're all fairly melodic, progressive, and emotional. Despite this, they also have moments of uncompromising heaviness. Although the three tracks contained on this demo are fairly unique from each other, you can hear that there is an universal sound and style uniting them.
The song “Welsh Black Metal” has shades of early Venom and Tormentor, though what else can you reveal about this track?.
Most of “Welsh Black Metal” had been written during the Call of the Cyhyraeth recordings, but I couldn't get it finished in time for its inclusion on the demo. I left it for awhile as a result, and it then became the first song I recorded for this demo. It's quite untypical for an Arawn song, and that's because it's really very heavy from start to finish. There aren't really any acoustic moments, and not that many keyboards. Stylistically, it probably does borrow more from Venom, Celtic Frost and Tormentor as opposed to more epic Black Metal bands like Emperor or Covenant. More than probably any other Arawn song, “Welsh Black Metal” deals with my nationalistic pride head on. It tries to capture the essence of Welsh history, and the values and morals that we once held. This is really reflected in the lyrics, and in the aggressive nature of the song. This was the first Arawn song that in my eyes had an acceptable production; as a result, people began to take the band a lot more seriously once they heard this song.
Why do you feel it is a lot less epic than other Arawn compositions?
It doesn't really make extensive use of keyboards, or acoustic instruments. The song is driven by the electric guitar, and this gives the track a more “Metal” feel. I think I let my Celtic Frost, Venom, and early Bathory influences shine through a bit more in this song, and also some Sabbat, Kreator and Sodom influences. The nature of this song needed a harsher and more uncompromising feel to it in my opinion, so I think it turned out very well. Even though it's less epic than other Arawn compositions, it still definitely sounds like Arawn. For me, it’s comforting to know that Arawn can do slightly different things without losing our identity.
In what ways does the song act like a battle cry and reawakening to Welsh, traditions and values?
The song doesn't deal with a return to just Welsh traditions and values so much, but rather all British traditions and values. Tradition seems to a dirty word in today’s “politically correct” society, and so does a sense of national history and pride. “Welsh Black Metal” seeks to reawaken that sense of nationalistic pride partly through evoking a sense of history and mysticism.
In terms of production you've labelled “The Cambrian Fog” the best sounding Arawn track thus far, so what else do you wish to share about this opening number?
I labelled “The Cambrian Fog” the best sounding Arawn track before I had written “The Ancient Enemy”, a track I would now consider the best sounding Arawn song. When I say best sounding, I really mean best production; it seems that with every new song that I record, the production gradually gets better. This is partly because I now spend far more time on mixing, and recording. Having said that, “The Cambrian Fog” still has an acceptable production. The song's opening riff, which I play using a violin effect on the keyboard, predates the birth of Arawn. I have a demo recording somewhere of a Prog / Metal instrumental I recorded before I'd even thought of forming Arawn, and this instrumental recording has that riff in it. The rest of the music was all written around the spring time of this year. I'd been listening to a lot of Moonsorrow and Hammerheart era Bathory when recording this song, and also reading a lot about Celtic / Anglo-Saxon history. As a result, I think this song has a really strong Folk / Battle metal influence; this makes it stand out a bit from the other three songs on the demo. I remember the song took a very long time to record, and that's because I had so many guitar parts which I wanted to record. On that track, I think there are sometimes as many as five guitars playing at once! Lyrically, that song deals about feeling isolated by both those around you and modern society. It deals with the limitations of life on earth, and an urge to transcend everything physical into a state of pure spirituality.
The song deals with isolation and particularly how you feel alienated by modern society as you've stated, so do you feel that the social climate within modern society fosters such feelings in general?
I think it does within people such as myself, and I'm sure that I'm not alone in feeling this sense of alienation. There are many aspects of modern society that I can't conform to; for example, I can't conform to spiritualism and history being overpowered by materialism. This has happened on every level of society, and in government. It seems that every decision is clouded by the pursuit for wealth, and the pursuit for possessions. I could also talk about the lack of law and order in British society, and also the government's inability to create sufficient penalties and punishments to deal with these criminals. I don't wish to get into the politics of it all, but I find it very hard to relate to anything that’s going on at the moment.
The song is about overcoming that isolation, so is it meant to be empowering in some respects?
Definitely. The song captures the darkness of isolation, but is also uplifting and definitely empowering.
You do not believe in wallowing in one's own self pity, so what would be your message to others who struggle somewhat to overcome isolation?
I would tell them to embrace isolation, and not to look at it as a negative thing. All negative emotion can be harnessed if your will is strong enough, and it can then be turned into a tool of exploration in order to to learn more about yourself. You should let yourself be inspired by it, and try to find a way to release it and capture it. If you do this, it'll ultimately make you a stronger person.
There are lots of layers to the song, so what can you tell me about that?
The layers I was referring to are musical layers, and this is in the sense that there are many guitar parts and keyboard parts all playing at the same time. It gave the song a thicker sound, and was one of the reasons why the song's production was the best I'd done up until that point. It gives the track a depth of atmosphere that wasn't audible in other Arawn songs up until that point.
You paid a lot of attention to the arrangements of the song, so how did that shape the song overall?
I spent a lot of time working on lead guitar melodies and harmonies, and then time on keyboard parts as well as keyboard harmonies. It just makes the song more evocative, and brings out the best in a song. Coming up with great complimentary arrangements can make the difference between a song being considered good, or really good.
The third and final track is dubbed “The Ancient Enemy”, so who does this ultimately refer to?
On the most basic level, “The Ancient Enemy” refers to the races and cultures that have sought to destroy our Celtic traditions and values throughout history. It started with the Romans, and then the Anglo-Saxons, The Normans, and Edward III's Welsh campaigns. It carried on into the19th and 20th centuries with people who sought to oppress the Welsh language, and close Welsh schools. The song also refers to the people who still seek to do this today; not just people who oppress Welsh culture and language, but those who distort our values and cultures which then steers us away from our true cultural destiny. The song is also a warning to the perpetrators of this culture distortion, and the cowards who do not fight against it. It also praises the heroes who have shaped the history of Wales throughout the last two thousand years, and have not allowed those who don't share our traditions and values to hijack our destiny - I'm referring to people such as Saunders Lewis, Owain Glyn Dwr, Cayo Evans, Llewellyn the Great etc. I feel the music of this song really compliments this message, and makes it both very powerful and haunting.
In giving Arawn its own musical tag, what do you feel that achieves?
Giving Arawn its own musical tag gives me the license to do whatever I wish to do musically, and not have to conform to someone else's genre or grouping. It’s as simple as that really. Also, it immediately differentiates Arawn from anything that is going on in Black metal at the moment.
You frequently refer to the fact that Arawn is Welsh, so does that rule out non Welsh musicians becoming members of the group in the future?
Arawn's music has always been purely my creation, and I have no intentions to change that. Even if Arawn was therefore turned into a group, I would still retain complete creative control. The other members of the band would be backing or session musicians so to speak, and their purpose would be to help with recordings and live shows. Bearing that in mind, I don't think having a non-Welsh member of the band would be an issue. It wouldn't have any bearing on the Welsh imagery of the band, nor on the music or lyrics. I think it would be too ambitious to limit myself to Wales when I eventually look for other musicians for Arawn. Arawn will always be Bleiddwn-y-Nos.
The artwork images are accredited to Lady Emily, so what can you tell us as regards this individual?
Lady Emily is a girl who I have been close to for almost two years now, and she has always been very supportive of Arawn's music. Whilst she is not a keen Black Metal fan herself, she still likes my work with Arawn and has helped out with several things concerning the band. Although she has no bearing on the music, the recording process or the writing whatsoever, she is a keen amateur photographer. Lady Emily has taken most of Arawn's promotional photos, and that includes the covers for both our demos.
What's your relationship with this person?
We are very close. I don't think I need to expand on that anymore, haha.
In what ways does this person help to further the cause of Arawn?
As I said earlier, she has helped an awful lot with the photography and artwork side of the band. She has also been invaluable in terms of emotional support for myself, and is also a very good friend.
Arawn currently doesn't use real drums, so how do you feel that affects the overall musical stylings of the group?
Arawn's music has always been more melodically driven, as opposed to being rhythmically driven. Within the context of Arawn's music, the drums don't play a very important role. If I had the necessary recording facilities though, I would record Arawn's drum parts myself; it gives the music a more authentic and organic quality. In the near future, I definitely want to bring in real drums.
Bleiddwn appears in the fourth of the Four Branches of the Mabinogi, so can you recount the tale of Bleiddwn for those who are uninformed? Also, can you tell us how you came to adopt the pseudonym Bleiddwn-Y-Nos?
Certainly. The short version is that Math, the King of Gwynedd, punished his two nephews for the rape of Goewin. He punished them by banishing them from his kingdom. For the first year, he also turned them into a pair of deer who were forced to have intercourse and produce offspring. The next year, he changed them into a pair of wolves who also produced offspring. Finally the year after that, he turned them into a pair of pigs. Bleiddwn was the name of the son of the two wolves. Whilst I knew the story, that really wasn't a large factor in deciding upon this name. My real Christian name is Bleddyn, an old Welsh name which evolved from the even older Welsh name Bleiddwn. Seeing as Welsh mythology is such an integral part of Arawn therefore, it seemed more appropriate to adopt the older Welsh form of my name. As for the “y-nos” part, that is Welsh for “of the night”. Before the popularisation of surnames in Wales, people were mainly differentiated by their father's names; for example, the name Owain ap Gruffydd translates as “Owain son of Gruffydd”. However, people were also differentiated by their characteristic, traits or where they came from. This is still widely used amongst the Welsh speaking community where I’m originally from in Carmarthenshire, West Wales. I felt “of the night” was an appropriate characteristic to describe myself.
The more known Welsh Metal acts comprise such artists as Lostprophets, Bullet For My Valentine, and Funeral For A Friend whom get extensive coverage in the likes of Kerrang!, so what are your thoughts upon the better known Welsh Metal exports?
I really am not a fan of any of the aforementioned groups. I think the music of all of these bands is motivated by greed, and materialism. To me, that is definitely not what music is for. Their music doesn't challenge or move me; I find it empty, soulless, lacking and week. The reason why they get such extensive coverage is because they produce inoffensive, easily palatable noise. It’s just sad that most people would prefer to listen to a song that provokes no thought or emotions whatsoever, as opposed to something the challenges and moves them. I think Wales has produced some great music and artists such as; the Manic Street Preachers, Budgie etc. The Welsh “Metal” bands that Kerrang! raves about though are really a disgrace to all the decent bands, and musicians, in this country.
Do you feel many Welsh bands dilute the more extreme aspects of Metal, and offer them in a more palatable format which casual Metal fans can subscribe to?
They don't just dilute the more extreme aspects of their sound so it's more palatable to casual Metal fans; they dilute their sound to such an extent that it's designed to appeal to “Pop” fans and people who'd normally never listen to Metal. Once again, this reflects the greed of these artists and their lack of musical integrity. It contributes to a very weak and false sound.
What's your opinion on those groups which feel that just incorporating a hundred blast beats a second so to speak is a formula for great music, and promote an established formula with little experimentation or variation upon that canvas?
I don't think you need to be overtly experimenting to make good music as long as you are true to yourself. The problem with a lot of these bands you’re referring to is that for me it seems like they are blindly following a formula which was laid down by others which to me defies the point of music. When Possessed made frequent use of blast beats on their genre defining Seven Churches album (1985), it was part of the reason why their sound was so groundbreaking and extreme. Now though, bands seem to think they can get away with doing exactly the same thing. This is despite the fact they'll almost certainly fail to capture the power and excitement of those first releases. Having said that, it seems a lot of Metal fans enjoy the bands you're referring to. If they want to listen to them, then that’s fine. I cannot really relate to these bands with what I'm doing in Arawn though.
What do you feel Wales has to do in order to compete with the likes of Scandinavia in terms of forging ahead with innovative Metal, as opposed to following trends?
I think Welsh music fans need to break out of the media stranglehold, and be more objective about the music they listen to. It seems that there's a certain group of music fans who'll listen to any band featured in Kerrang! magazine at the moment, or who have a music video barraging you twenty-four seven. Fans don't seem to want to delve below the surface, and only listen to the bands that are splashed across the cover of a magazine or on the radio. Of course, this doesn't apply to all music fans in Wales - it does probably apply to the vast majority though. Musically, the bands need to be more true to themselves as well. Amongst bands in Wales, I definitely think there is an attitude of “start a band, get rich” etc. They don't tend to be motivated to play music by a desire to fulfil an artistic vision, but only to get famous. This may be good for record companies, but it's one of the main reasons why there are so many poor Welsh “Metal” bands.
Are there plans in the works for Arawn to have an official website?
Definitely. Once again, it’s a question of finances. When Arawn does get a website, I want it to be professional looking with a .com or .co.uk address. I run everything to do with Arawn at present, including the myspace and our site at blastclick.com. My IT skills don't extent to creating a website though, but I'll probably read up on it and teach myself. I want to make creating a decent website my next mini-project for Arawn, so I'll keep everyone updated as to its progress.
When will this website see the light of day?
I wish I could say very soon. If I'm going to be honest though, it probably won't be up until the beginning of next year. That's unless anyone can help me in creating one haha.
What can one expect from this upcoming website?
An extensive history, photo gallery, discography, and all the basics like that. I also want to have a “downloads” section where I can upload a few early instrumental demos and outtakes - this would be for people who are interested.
What labels do you intend approaching with a view for them to sign Arawn?
Although I haven't compiled my final list yet, some of the labels I'll probably submit this latest demo to will be the following; Candelight Records, Regain Records, No Colours Records, Blackened Records, etc.
What qualities will you be looking for in a Metal label?
Like most artists with integrity, I'm looking for a label that is genuinely enthusiastic about my music and one that isn't primarily driven by profits. I would want a label that gave me complete control over the artwork, imagery and music of the band. I would also want a label that allowed Arawn to develop over the course of several albums, as opposed to expecting us to break on our first. I also want a label that has longevity, and will be with Arawn for the long run. To me, changing labels every album seems like undue hassle and stress. It also detracts from what I do, which is write music.
How far into the future do you see Arawn being a signed artist?
I think that's very hard to say. A lot of it depends on luck, and a lot of it depends on which labels are looking for new bands right now. I would obviously be thrilled if Arawn got signed tomorrow, but I don't think there is a need to rush it. This band is still very young, and few bands get signed when they have only been going for under a year like Arawn.
What aspects do you feel need to be improved before Arawn reaches that stage?
It would definitely help if I found other musicians for Arawn to play a few live shows. I think a lot of labels are sceptical about bands who don't play live, so that is definitely on my agenda. I'm not going to compromise Arawn's sound in any way to secure a record deal though; I'll carry on writing and recording as I have been since the beginning, and if record labels aren't interested then thats fine.
You'll be making a move to York in Northern England to continue your study of History, so what will you be studying specifically?
I'm doing a straight three year history course at York University, and that'll cover about two thousand years of history amongst the various modules. The course does give you room to specialise, and I'll inevitably specialise in the historical topics that interest me such as; modern and early modern history, Britain in Anglo-Saxon times, Celtic history etc.
How do you visually imagine a future Arawn performance?
An Arawn live performance seems really far off at the moment, so I haven't really given much thought to what it would entail. I definitely want the live performance to capture and reflect the music, so I think it would be a very unique experience. I can imagine it being very theatrical, and very dark; I want to make it a very powerful experience that takes the music to a new level.
Do you prefer live performances which make use of imagery, or a more stripped back affair?
I think both have their advantages, and can work very well - it depends on the music. I love seeing Iron Maiden live, and they obviously put on a very theatrical show which makes use of lots of imagery. I also love seeing Kreator live though, who just tend to thrash out. What is more important to me is the authenticity, and intensity, of a performance.
Will Arawn songs greatly differ within a live setting from their respective studio take?
Musically, they will be as close to the originals as I can possibly get without having to have five guitar players in the band haha. The arrangements and music will be basically the same, but they will probably sound more stripped back and raw. I imagine when Arawn is turned into a live band, I imagine we'll only have two guitars players. I don't think that’s a bad thing though; in a live setting, I think it will make the songs more aggressive and powerful.
Will Arawn always remain the creative vehicle of one person, or will members in join in future and make creative contributions?
At the moment, I strongly feel Arawn will remain entirely my creative vision. Other members who join will be on more of a session basis. I would be welcome for members to contribute their ideas regarding a different arrangement or something like that, but I would still write all the material.
Why do you wish for Arawn to remain mainly a solo project?
To me, one of the big themes that runs throughout Arawn's music is that it's entirely my own personal artistic expression. This gives the music a level of continuity and authenticity that would be lost if other people contributed material. Also, once other band members start submitting compositions then they also have the power to veto or change one of your compositions. As a result, that wouldn't be unacceptable. I think bands are easier to manage when everyone knows where they stand, and if Arawn remains mainly as a solo project then that'll be the case.
You've expressed a desire to re-record some of your tracks, so how do you intend on improving the original takes?
The main difference in these re-recordings will be the production. This'll be more like the thicker, better production of the Welsh Black Metal demo, as opposed to the thin, poorly mixed sound of the first demo. Some of the arrangements will be modified a bit as well. I imagine more guitar parts and keyboard parts will be added, and this is just to add to a fuller and more evocative atmosphere. The tracks may even include a few new riffs and song structures - just to make the songs flow better. I'll be pretty true to the originals though.
How will the arrangements be modified?
As I just said, more guitar parts and keyboard parts will be added so that a more evocative and fuller sounding atmosphere is created. I may also alter the length of some songs if I feel a certain section is too repetitive in the original, or if I think a certain section should be extended. It'll make the songs flow better, and make them seem more balanced.
Will the lyrics be changed?
Whilst the titles will remain the same, some of the lyrics will be modified. I probably won't completely rewrite the lyrics to any song, but I'll just keep the best bits. Also, I'll rewrite those lyrics which I'm less happy with. The only reason I'm less happy with them is because they were often rushed on the first demo in order to quickly finish the recording. In hindsight, I wish I'd taken more time over them to make them compliment the music better; that's why I'll rewrite certain passages. With “Sleep the Waters”, I'm not going to change the existing lyrics; I'm going to lengthen the end section / outro in order to incorporate more lyrics which I actually wrote at the time. I feel they are some of the best lyrics I've written, and I want them included as they were originally meant to be. You'll know what I mean if you've read my handwritten lyrics, posted under the “lyrics” section of “Sleep the Waters”.
What new musical elements will the re-recordings incorporate, and what musical elements will they ditch from the originals?
I don't think I'll ditch any of the musical elements from the original, and that's because Arawn's musical philosophy has remained pretty true throughout both demos. As I said earlier, I really just want to correct the awful production of the first demo. I also wish to make some minor alterations to the songs so that they flow better. Basically, I want to bring out their true potential; the first demo doesn't really do the songs justice. The real musical difference in the re-recordings will probably be more symphony, and a larger emphasis on keyboard sounds.
Will these re-recordings surface on a debut full length?
I hope so, and that's ideally the plan. Depending on when / if Arawn gets signed, they will either appear on a debut album in some form or another. Either that, or they'll just be re-recorded.
Are there any demo tracks you have recorded which you have no intentions of including on a debut full length?
No; I think all the demo tracks will appear on Arawn's debut album in one shape or another. I may take the best riffs from certain songs, and incorporate them with newer compositions. This is just me speculating though.
What plans are there in the works for a full length?
Well, over the last four months I have devoted all my attention to completing the Welsh Black Metal demo. So, I haven't really had time to think about a full length album. I'm not sure if a full length album will be Arawn's next project, or if it will be another three or four track demo. That'll be determined partly by the response to this demo.
Will it be self-released, or will you be holding out for a label release?
Ideally, I would like it to be released by a record company just so that I have the finances, skill and advice of others to do it justice. I wish to make it the best record it could be. Of course, if there is no label support for Arawn then I'll soldier on regardless; a debut album will definitely be released at some point.
What working titles are you considering thus far? What type of atmosphere would the title have to evoke?
Truth be told, I have barely begun writing for any future Arawn release's because of my preoccupation with the Welsh Black Metal demo. I find my titles or lyrics will be determined by the mood of the music I write. One song title I've lined up though, which almost appeared on the Welsh Black Metal demo, is “Men Went to Catterick at Dawn”. This is based upon an old Welsh poem detailing a battle between the Celts, and the Anglo-Saxons, around 400 / 500 AD. Bearing that in mind, the title would have to evoke a sense of history, a sense of Welsh nationalism and a sense of pride. Also though, it would have to evoke a sense of emotion and a much darker essence.
When would you hope to release the album, and why would you ideally like to release the album on that date?
If Arawn's debut album was released this time next year, or maybe the beginning of 2009, then I think that would be a good time. I've never believed in rushing things with Arawn. Before I record a debut album, I want to give myself enough time to develop as a musician. Additionally, I want to give Arawn enough time to develop musically. By this time, hopefully Arawn's profile as a band will have risen. More people will then be interested to hear what we've come up with.
Where would you like to record the album, and what qualities will you be looking for in a suitable studio for Arawn to work in?
I would definitely like to record the album in a rural location. I live about ten minutes away from the legendary Rockfield Studios in Wales, and I think that would be a great place to record an album - this is even though they don't have a lot of experience with extreme Metal. Rather than getting a certain studio, I'm more concerned with getting a good producer; one who's enthusiastic about Arawn's music, and knows how to capture Arawn's sound in a way that really brings out the emotion.
What song titles can you reveal, and what does each title mean?
As I said earlier, the song titles will most likely remain unchanged from the first two demos. Another song which is still in its infancy at the moment is “Men Went to Catterick at Dawn”, and that'll almost certainly make a debut album. I have some of the music for another new song as well, but this remains untitled as yet.
Are there any lyrics written thus far, and what topics do these lyrics explore?
Other than the lyrics you are already familiar with from the demos, not really. It’s hard for me to say what lyrics the songs will deal with as this is always a product of my own emotion, and a reflection of the music. One thing I'd like to do with my future lyrics is focus on the emotional metaphors, and social implications, of tales from Welsh folklore and spirituality. Then, I'd and try and relate it to my own emotions. There'll also be some lyrics based in history, but in a way that I relate it to the present day and the general social climate in which we live.
What musical elements would you wish for the album to incorporate as a whole?
I don't like to think of it as a check list of musical elements which I'll incorporate. Naturally, I'm sure all of the musical influences I discussed with you earlier will translate their way into the music somehow. I write songs in a very natural way where I try to capture whatever emotion it is I'm feeling.
What new territory in terms of Arawn's musical evolution will this debut album cover?
Whilst it’s impossible to say until I have some more material written, I imagine the debut album will catch the darkness and emotion of the second Arawn demo alongside the more epic elements and melodic qualities of the first demo. If I achieve that, then I think that I've truly captured Arawn's sound at this point in time.
If you could choose, who would you want to produce the album and what do you like about their production style?
Whilst I imagine I'd have a significant hand in the production of the first Arawn album, I'd definitely want a producer as well to advise me on the finer point. Also, I would want a producer in order to counter the fact that I'm very inexperienced in recording studios. The first name that stands out when I think of producers I really want to work with is Andy Sneap. I love the clarity of his production, and the heaviness of it. Also, the mixes are always perfect. I love his production on Kreator's Enemy of God, their live album, and also the first Hecate Enthroned album (1997's The Slaughter Of Innocence, A Requiem for The Mighty). Being a huge Sabbat fan, it'd also be great to work with the main musical force of the band.
Are there any new tracks in the works that you can tell us about?
There are two tracks I'm currently working on, though both are incomplete at the moment. There is a track tentatively titled “Men Went to Catterick at Dawn”, and that's a very Bathory-esque battle epic. It contains a bit of added heaviness and brutality though, so it'll be interesting to see how that song turns out. I'm also writing a song which at present is untitled, but it's definitely one of the darkest songs Arawn has ever written. It also has a very heavy Black Metal influence, reminiscent of the first Keep of Kalessin album (1997's Through Times of War). I'll keep everyone up to date on their development via MySpace.
You've been writing music since the age of thirteen, so can you pinpoint the exact moment you thought “I want to be a musician”?
Unlike a lot of musicians, I don't think I really had a defining moment when I decided I wanted to play or write music. As a matter of fact, I don't ever remember sitting down and deciding I wanted to play music; it just happened in a very natural way. Certain events probably contributed to this decision though; for example, seeing Deep Purple when I was twelve, and Iron Maiden when I was fourteen, were very moving and inspirational events. Also, certain records like the first Rainbow album (1975's Ritchie Blackmore's Rainbow), W.A.S.P.'s The Crimson Idol (1992) and the first Burzum album (1992's Burzum really changed my life; in a way, that probably led me to becoming a musician. Music is just the best way for me to express myself, to deal with the negative emotion in my life and to make me a better person.
How did family and friends close to you react when you informed them?
I initially kept Arawn very quiet from friends and family, and that was really just because I didn't feel they had a need to know. Most of my friends aren't really Heavy Metal fans, so I knew they probably wouldn't be hugely receptive to Arawn's music. I only told them once the good reviews of Call of the Cyhyraeth started to come in. Whilst they didn't appreciate Arawn's music themselves, that way they were still happy and excited that it seemed to have an audience within the Metal community. I still keep my friends and family quite distant from my music though; often the music is too personal, and I get uncomfortable having them listening to it.
You've mentioned seventies Hard Rock artists like Deep Purple, Genesis and so on as groups you listened to around this time. As an aspiring musician, why did you particularly look up to musicians such as these?
When I discovered these bands and started listening to their music, it was such an exciting time. Their music was just so different to anything else that I'd heard in the charts, or on TV. It really moved me in a way that no other music had before. It opened up my eyes to the possibility of what music could be, what you could do with it and how you could use it in a certain way to really move people. Whilst these bands are highly acclaimed in certain circles, I would argue they deserve more recognition for their contribution in music as a whole. Also, they deserve recognition for being so groundbreaking and pioneering.
Where would you like to take your career in the coming years?
I really want Arawn to play a live show in the near future. Hopefully my relocation to north England, the home of Bal-Sagoth amongst others, will allow me to meet likeminded musicians who'll be able to help me take Arawn into the live arena. Also, I look forward to releasing a full length debut. That'll hopefully on a record label, and that'd be my ultimate dream and goal to achieve. I'm not quite sure exactly where Arawn will be in a few years time, but I think it'll be an interesting trip regardless.
Finally, do you have any last thoughts and a message for those who have supported Arawn thus far?
I would sincerely like to thank everyone who has supported Arawn by listening to our music, buying / trading our demos, writing about us and reviewing us in their magazines and online publications. I would also like to thank these people for giving me the encouragement, and strength, to carry on with Arawn in the face of adversity; there are those who'd rather I stopped writing and recording music all together. Whilst I have always believed in the strength of Arawn's songs, I never had any real expectations for the band. It's thanks to the support of everyone from around the world that Arawn has reached the level it has at present. I cannot thank you all enough, and I look forward to chatting with you all soon. Take care, and hails!.