wastefall: ancient Greece meets modern metal
Regarded as the cradle of Western civilization and being the birthplace of modern Democracy, Western philosophy, the Olympic games, Western Literature, Political Science and drama, including both tragedy and comedy, Greece has a very long and remarkably rich history during which its culture has proven to be especially influential in Europe, Northern Africa and the Middle East.
– Wikipedia
Not bad, if somewhat intimidating to a chap in Michigan preparing an interview with a musician living in the “cradle of Western civilization.”
Despite its seeming all-encompassing definition, Wikipedia lacks a mention of the burgeoning, albeit still mostly underground, metal scene — one that only a couple of years ago produced the truly remarkable band Wastefall, which just released its third album, Self Exile.
This young quintet (Alex is just 23!) consists of Domenik Papaemmanouil, lead vocals, Alex Katsiyannis, guitar and vocals, Christos Kyrkilis, keyboards, Nick Valentzis, bass guitar. And Kostis Papaleksopoulos, drums.
I recently spoke with Alex about a wide range of topics, and ended the interview in what my wife Elisabeth described as an “Aww, I love ya, man” fashion. Hey, what does she know about male bonding?
Thanks, Alex, for your time during this very special conversation. And a big THANK YOU to Christos for sending me the 10 exclusive Wastefall photos now sleeping soundly in the Photo section of this web site.
Enjoy!
AK: Hello?
BM: Hi, is this Alex?
AK: Yes, hello, Bill.
BM: Hi, how you doin’?
AK: I’m fine, how are you?
BM: Doing well, doing well.
AK: Great. Just on time, huh?
BM: Yeah, well I like to be punctual, you know? [laughs]
AK: That’s great. That’s a good thing. [laughs]
BM: Well, how’s the weather over there right now?
AK: Excuse me, sorry?
BM: How’s the weather in Greece?
AK: It’s about 35 degrees. Really hot.
BM: Is it really?
AK: Yeah.
BM: That’s — I don’t know what it would be. The temperature here is only about 50 degrees, but that’s in Fahrenheit. I don’t know how to convert it to Centigrade off the top of my head.
AK: Yes, I don’t know either. [laughs] What’s 35 degrees here in Greece is really hot.
BM: Is it really?
AK: Yeah, it’s summer.
BM: I’ll have to look that up [on the Internet] and see what that is. In fact, I could probably do that right now. Anyway, I appreciate your time today, Alex. I enjoy –
AK: No, I thank you. What are you talking about?
BM: [laughs] You know what I’d like to do is start with the latest album, Self Exile. And by the way, let me look at this a second here. [Pauses to find a temperate converter online] Celsius, 35. Ooh, yeah, I can see why that would be hot. Thirty five Centigrade is 95 Fahrenheit for us.
AK: 95, oh!
BM: Anything in the 90s and you’re just sweating your ass off. So I can understand that. Ok, Self Exile, it’s due to be released this Tuesday, I think. Just a couple of days.
AK: Yes, about four more days.
BM: I’ve been listening to a promo of it for a while now. You know, it sounds richer and more diverse than anything you’ve done before.
AK: Yes, I totally agree on that.
BM: Production is really nice too. It’s very, very good. Very well produced.
AK: Yes, it’s Tommy Hansen, you know.
BM: [laughs]
AK: He knows what to do.
BM: Well, tell me about the origins of this album. In January of 2005, you posted a topic in your [band website] Forum, and you asked people for information about psychological disorders.
AK: Ah, yeah. Well that was an idea we had, just after we released Soulrain 21. We had kind of the idea to do something like a concept album concerning deranged personalities, schizophrenia, paranoia, and all that. But it didn’t work. We didn’t want, after all, to do a concept album, because we couldn’t proceed as well. But this information and this chat we had with the guys and some information we read about or heard about, we used in a couple of songs. For example, like “Willow Man.” Yeah, the first song is talking about a deranged personality. [laughs]
BM: Oh really. [laughs]
AK: Yeah. Which is actually a genuine disease of our age and era. It’s really easy to be deranged nowadays. [laughs]
BM: Yeah, definitely. So what’s another song that sort of was created because of the information you got?
AK: Yeah, the other song actually was “Strife for Definition.” But it doesn’t have to do so much with violence or not knowing what to do. It’s actually not knowing who you are, but it has some philosophical topics within it.
BM: I’m glad you mentioned the word philosophy, because I’ll be asking you about that later on, ’cause you sound like a very philosophical guy, at least that’s how you come across when you post on your Forum.
AK: [laughs]
BM: Tell me – as long as we’re talking about the tracks on the album – walk me through each one. Tell me what it’s about. You know, like start with “Intro.” Where did this song come from? How did it come about?
AK: Of course. Look, with “Intro,” we just — especially Dominik — had studied some Byzantine music, the early ages, which is like the origin of Greek music. Which has some Eastern elements, and has to do a lot with religion. This music was used in order to perform some rituals in the early Christian years in Greece. And it’s really interesting music, because it’s quite difficult. It has, I think, about three or four more notes in it.
BM: Oh really?
AK: Yeah, it’s really hard to do. But I think that we had it — how can I express that — we had it inside us, like in our veins running. And we did it, we tried first of all in the studio for fun, like, and we really enjoyed the mood and the atmosphere. And because of the closeness of the origin, where we come from, I think it was quite enlightening thing to do.
BM: Well, it does come across well. I’m listening to it right now while you’re talking, in fact, and it sets the tone for the rest of the album extremely well.
AK: Exactly.
BM: Sort of moody and mysterious.
AK: Uh-huh, yeah. To do like a self — how can I say that — to look into yourself. That this album is going to be a little bit deeper than the last one. It is you inside.
BM: And you mentioned “Willow Man.” Tell me a little more about that song. What prompted that?
AK: Yeah, “Willow Man,” there were first some lyrics. And because they were quite aggressive and you have this schizophrenic tone about it, the music that had to be written should have been like really intense and quite the classic, hard-core, heavy metal thing. And it has, the verses are really paranoid, every instrument plays something different in order to create this chaotic atmosphere. And it’s a song that when it was made, we thought that it would be perfect for an opening track, because it’s really, really intense and heavy.
BM: I agree with you there, it’s definitely that. [laughs]
AK: [laughs] Yeah.
BM: Tell me about “The Muzzle Affection.”
AK: Yes, “The Muzzle Affection” is probably the strangest song we’ve written so far. [laughs]
BM: [laughs]
AK: Yeah. Let’s talk to the lyrics. It starts, the lyrics, it’s talking about marriage. [laughs]
BM: Really. [laughs]
AK: Yeah, yeah. Because, you know nowadays it’s so difficult for-actually, we don’t see it so much from ourselves, because we are quite young about this stuff. But we take a look at our parents or our friends or some like that, and we see that marriage is quite, it’s a dysfunctional thing. [laughs] Yeah, it rarely works out. And it starts with marriage, but then it goes deeper into human relationships. And that’s why we placed the dialogue, a male and a female, in the chorus. And musically, it’s really diverse. We’ve got everything, from a really progressive intro, a disco chorus, it’s quite fun to play.
BM: Yeah, it sounds fun. Tell me about “Dance of Descent.”
AK: Yeah, well “Dance of Descent,” it’s an ethnic song that has like, let’s say two parts. It has the first part which is quite Greek. The melody, it goes to, I don’t know a composer, if you know him. He’s well-known in Greece. His name is Manos Hadjidakis.
BM: Mm-hmm.
AK: He’s a really famous composer. He has this lyrical and romantic way of composing music, and it’s like the first half of “Dance of Descent.” And we’ve got a Latin chorus, because it gives so much the groove we really enjoy. And now lyrically, it’s quite strange also. It’s talking about some ceremonies in ancient Greece which are called the Mysteries of Eleusis. Yeah, it’s actually like an initiation for the soul that descends to Hades and to the land of the dead, and it’s something like a self-realization. And then it ascends again in our world. Yeah, it’s an ancient ceremony that I’ve been reading about, and it felt quite good to write about it.
BM: How do you happen to come to read about an ancient ceremony? [laughs] Where do you find books like that?
AK: [laughs] Well, the thing is that I study at the University of Greece. I study about the history of theatre. And because I study a lot about ancient tragedy and ancient comedy and I have some books that talk about this ceremony, because the ancient theatre in Greece had to do with religion, 100%. So you can find it in the books like that. [laughs]
BM: Really. [laughs]
AK: Yes. It’s the philosophy of the ancient Greeks. It’s one of, a part, you know?
BM: I can tell, see, I was going to guess that you were probably in college, and probably studying things like this, because you write in a very philosophical way. I’ll mention later specifically what I’m talking about, but it’s great to know. Tell me about “Another Empty Haven.”
AK: “Another Empty Haven,” yeah. Well this theme is quite simple, because I think this was the first song we composed after Soulrain 21 And it was the only one that really sounded like a song from Soulrain 21, and the beginning it’s really identical to “Empty Haven,” so we thought, why not do “Another Empty Haven”?
BM: [laughs]
AK: [laughs] Yeah. Because it’s a story about, it’s a sad story about a confused guy. Trying to find out things about life in general. And because the songs have the same notes, it’s simply “Another Empty Haven.”
BM: [laughs]
AK: [laughs]
BM: That’s clever. Tell me about “Strife for Definition.”
AK: “Strife for Definition” was a song that when we heard it we were like, taken by surprise, because it’s really a different song. We’ve never written something like that. It’s really atmospheric and really moody. And when you hear it, you get these strange emotions, and so it gave me the space to write some really deep lyrics and talking about nowadays that’s where the biggest problem and the biggest strive and fight we have is to understand who we are and why we’re here. This simple question, the cliché questions, but said in a kind of original way.
BM: Did you come up with any answers to those questions?
AK: No, I think if I had an answer to that, I wouldn’t play music. [laughs]
BM: [laughs]
AK: Yes, I would be on an island, and drinking, and swimming. [laughs] Doing nothing.
BM: [laughs] Tell me about “Sleepwalk.”
AK: Well “Sleepwalk” is Dominik’s 100% personal song. It’s talking about a dream he had over a year ago. And that had to do with a girl, and it was a quite dark and depressing one, and he was in a strange mood. And combined with alcohol, “Sleepwalk” was born. [laughs] It’s just a really moody one, and dark one.
BM: [laughs] How ‘bout the one that seems to be an acronym, “E.Y.E.”?
AK: Yeah, it stands for “Eternal Yearning Entity,” and it’s talking about that we people are just in the whole procedure of living. Life is just an eternal strife for yearning, no, for knowledge, for lust, for who we are and everything. And it’s a straight song, with straight lyrics, I think.
BM: Gee, the themes so far here are kind of dark and moody and depressing. Are you guys — how are you normally when you’re not writing music? Are you, like, a happy guy?
AK: No, we’re really happy guys doing and saying stupid things. [laughs]
BM: [laughs]
AK: Nothing special, you know. But the thing is when we write music, we want to see who we really are. [laughs] And when people who know us hear our lyrics and hear our music, they’re kind of, “Why am I hanging out with you?” [laughs]
BM: [laughs] Tell me about “Utopia Fragmented.”
AK: “Utopia Fragmented,” yeah. Well the thing is about utopia is a term that was used from the Renaissance ’till now, about it’s another aspect of heaven. It’s the perfect space. America was once a utopia, if you know what I mean, the promised land. And this thing nowadays is somehow cracking, because you can see places and ideas that they all crack after the capital and money and values of like that just help you live in a material way. And this song is about that. It’s a utopia fragmented.
BM: Doesn’t the concept, though, of utopia go back farther than that to Plato? Didn’t he have –
AK: Mm-hmm, exactly, exactly. That’s very good. He had about, these, I don’t know how it’s called in English though, it’s politica, it’s a state, is the translation in English. That’s talking about the perfect place to be with the perfect laws and justice and it was a utopia. It was a thing that it’s nice today, but it cannot happen.
BM: Yeah, ’cause with Plato it was an ideal state that really couldn’t be reached.
AK: Exactly. It was above the material world. And what we saw here, it’s just a mirror of the true thing going on. But it’s something that cannot be real and you cannot live it.
BM: Wow. Tell me about “Minutes to Abandon.”
AK: “Minutes to Abandon”? Yeah, this is a love song. [laughs]
BM: Oh finally! Who gets killed in this one? [laughs]
AK: [laughs] Yeah, it’s actually a love and loss song. It’s about — because it’s about four minutes, it’s like the last four minutes when you see the person you love the most abandoning you.
BM: Oh man.
AK: Yeah, it’s this feeling, which is of course really happy, and not depressing at all. [laughs]
BM: [laughs] How about the last one, “Provoke the Devine”?
AK: “Provoke the Devine” is the answer. It’s God. Yes, it’s a conversation with God, and it’s probably the time you’re dying, this is why the last part of “Provoke the Devine” is really floating. You’ve got this idea and this feeling. It’s talking about a conversation with God.
BM: That’s actually my favorite track on the album, “Provoke the Devine,” I believe.
AK: That’s very cool.
BM: What is your favorite song on the album? Which one do you really, are you most proud of, let’s say?
AK: I don’t know, I enjoy every song. But I think my favorite would be “Utopia Fragmented.”
BM: Really? Why is that?
AK: I don’t know. It’s got everything. It’s really nice to play and perform it live. And it’s got really good feeling. It’s got everything. I probably, this is my favorite, yeah.
BM: Is that your favorite one to play live off of this album?
AK: Yes. It’s definitely the one, the perfect one to play live. It gives you space to do lots of things.
BM: [laughs] That’s cool. Tell me about the name of the band. Where did the name of the band come from?
AK: The name of the band came from, actually the first song out of the first album [Fallen Stars and Rising Scars], which is called, the song is called, I think, “Killing of Wolves.” And in the chorus it talks about “this wastefall is taking me down” and things like that. And actually, it’s a metaphor, of course, there’s no such word as wastefall.
BM: [laughs]
AK: Yeah. It’s talking about, like, what we do. We choose to play music, write lyrics and create this atmosphere and these images, that is helping us to get rid of all the negative things that are into us and all the questions and try to seek for the answers. The thing is like when we play music, we try to see it in a cathartic way for us. This is the thing.
BM: Is it working?
AK: So far, yes, it’s working, it’s working. Not 100% though. [laughs] But it’s working.
BM: [laughs] Well, one of the things I wanted to ask is, you seem to have a lot of turnover of musicians over the years. Some surprising, some maybe not so. What affect has that had on you as a band?
AK: That’s a really good question. In Greece here it is really hard to have a band that is trying to do, to play and perform in a professional way. Because the country is not helping at all. Yeah. There are lots of problems. And the thing is that the –
BM: Such as what, Alex?
AK: Ah, let me tell you, first of all there are no different studios or places to work to. Secondly, the music we hear here in Greece, it’s so stupid!
BM: [laughs]
AK: Yeah! It’s like a pop with folk and some rock. It’s everything. It’s a messed up thing that they’re trying to sell albums, nothing more. And you don’t have this kind of motivation to play hard rock music. And people do not appreciate it very much. But I think nowadays, it’s starting to change a little bit. Anyway, yes, the things we had some problems with the guys, and we told them, “This is our dream, this is what we want to do 100%, and you follow or not. You have to sacrifice lots of things, including money, including free time, including sometimes friends.” And some people, some guys, handled it, some guys did not. And this was the reason that people came and went away. And there were some musical differences at the time. That’s about the reason.
BM: [laughs] And the affect it’s had on you as a band?
AK: Yeah, well look, it’s sometimes hard to lose someone because we become friends and family. And we were really sad the first time, but we never thought of giving up, because the main core of the band is Dominik and I, and we have this thing 100%. And we say, no matter what happens, we will move on. It’s hard sometimes. It’s really hard. Before you go to sleep, you think, “Oh my god, what am I gonna do tomorrow?” Stuff like that. But we always, we have solutions right in front of us. We have an amount of luck.
BM: Oh, that’s great. The artwork for your albums. How involved are you in selecting it? That’s the first question. And the second is, is it intentionally, is it representative of the kind of music on the album? In other words, the album covers are always very diffuse and almost watercolorish. There’s nothing starkly clear about them. It’s like a blending of reality and fantasy. Tell me about the process of selecting art for your album.
AK: Yeah, well the thing is, in Soulrain 21 and Self Exile, we had the same guy doing the cover. We trust him 100%, and he really digs Wastefall, and he understands it. And he makes about 4-5 covers, and we choose the one we think that first of all, it fits the music and the lyrics, and secondly, it has something that will — how can I say that — will catch the eye. You know, the first thing, if you see it in a record store, you will say, “Ah, let’s see that, it looks interesting.” And we want to be, what you said about the fantasy and the imagination and all that of course. But I think because we are — and especially Soulrain 21 and Self Exile has a human being on the cover, we want to tell the people that yes, we are talking about humans, we are playing for humans. We are not talking about dragons or swords and all that. [laughs] We are talking about reality, through of course, our perception.
BM: Well, speaking of the dragons, do you ever listen to bands from Italy like Rhapsody or stuff like that?
AK: I listen to everything. Rhapsody are a really good band. One of my childhood loves was Blind Guardian.
BM: Oh yeah.
AK: Of course, I really dig those bands. They do perfectly. I think they truly believe it. And I listen to it, of course. Why not?
BM: You’ve got three albums out now. If I ask you about each one, what do you most remember about the album. Let’s say, start with your first one. What comes to mind when you think about the creation of that?
AK: The first album, the first thing that comes to mind is that, “Oh my God, we’re having a record.” [laughs]
BM: [laughs]
AK: Yeah, we were like 19 years old and saying, “Oh my God, we will have a record out on the record tour.” And the whole procedure was, like, we are kind of lost, you know. We didn’t have 100% control of this. We were like, you know, kids playing around. And the thing that comes to mind is this — how can I say — no responsibilities, we don’t care too much about what will happen, if it will sell, and we were kind of lost. We were kids back then. [laughs] Yeah, Soulrain 21 that comes to mind, we had this idea about talking about this thing, and we were really enthusiastic about it, because I don’t know if you know it’s talking about the terrible accident that took place in Greece, and 21 souls were lost, about 15 years old. Little children. It was a really political album, that have to do with criticizing this fact that took place, this event. And we were, we felt really responsible for that, and we said, you know what, we are gonna work hard and give our 100%. And I remember the recordings in the middle of the summer, which was really bad. [laughs]
BM: Yeah. [laughs]
AK: We were sweating our asses off. [laughs]
BM: [laughs]
AK: We lost a lot of pounds. [laughs] Exactly, but it came out ok. And about the album, the deal with Intromental Management, and then the deal with Sensory Records, and the announcement of ProgPower, it was like, whoa. We have to look at what we have done so far and take it really seriously from now on.
BM: So what comes to mind when you think of Self Exile?
AK: It comes to mind a great deal of stress, great deal of stress for dealing with this things, and of course because Soulrain 21 was a good album, and the people really enjoyed it, and we wanted to create an album that was better for many.
BM: I was just going to ask you that, because a lot of the fans on your forum call Soulrain 21 a masterpiece. Did that put a lot of pressure on you?
AK: Yes, it does. Yes, it does, because we don’t want to let down the fans, but first of all we don’t want to let down ourselves. Because we really enjoyed Soulrain 21. And we wanted to create an album that we will enjoy even more. And it was — we didn’t press ourselves concerning composing the songs. We let our emotions flow, and we worked really free. But we work also most as a band. It was the first time that I felt that Dominik and I had a band. That could work together, everybody work together and put our souls in the band. And I think this lineup is the best lineup so far. It’s really great. And we felt really proud working as a band.
BM: So is this lineup going to stick together for a while?
AK: I think, yes. I think, yes.
BM: Good.
AK: There’s nothing that can tear us apart. You know, Kostis, the drummer is really talented, and Nick, the bass player, has his soul and heart in Wastefall. And the keyboard player, Christos, also. So we’re a band. At last we’re a band. We are five people, playing as one.
BM: Oh, that’s great. Tell me about the ProgPower call. How did you guys find out? Did Glenn Harveston just give you a call and say, “Hey, I want you”? Or how did that happen?
AK: No, actually, we were talking with Claus Jensen, the Managing Director, from Intromental, and he like, told us, “You know, Glenn Harveston wants you to play the ProgPower, because he really enjoys Soulrain 21 and he really enjoys Wastefall.” And we were like, “All right, stop fucking with us.” [laughs] But yeah, we got some emails and we made some phone calls, and the deal was closed. And we were like, seventh heaven.
BM: Wow.
AK: Yeah.
BM: Had you heard of ProgPower before that?
AK: Yes! Of course. We are all metal fans, so we really enjoy reading about festivals, and we buy new records all the time. We’re really into the metal thing. And of course, we knew it was- how can I say — an elite festival for elite bands. And we were really honored about it.
BM: Well, you probably should be, because Glenn really does pick the best of the best bands from around the world.
AK: Exactly. Exactly. I mean, Symphony X, Kamelot, Nightwish, they’ve all performed there, and they’re all, I don’t know, A-class bands. They are awesome. [laughs] Class A.
BM: [laughs] Well, how do you look at this concert then, at ProgPower. What does it mean to you guys, and what can fans expect from watching your show?
AK: Well, first of all, it’s a huge opportunity for us to play abroad. And just meet new people and have new fans. And we want to see how the audience in the states will react to our music. I’m really curious, and I feel we bear a great responsibility, a really great one. And what about the show? We’re going to give 1000% of our souls and ourselves. [laughs] I mean, we really enjoy playing live, we’re not from this progressive band where we sit and play our instruments so perfectly, and we want this to be a really, really strong experience for the audience. We, because it’s quite emotional, we really try hard to spread this emotion to the people down there. So we’re gonna have, I think, a really good and really strong show.
BM: That’s great.
AK: I can promise you that. [laughs]
BM: [laughs] How many other countries have you played in, besides Greece?
AK: Uh, none. [laughs]
BM: Really. So you’ve only played within your own country?
AK: Yes, yes. We’ve only played, because it’s really hard to get on tour, you know. And now, Self Exile is the only album that goes all around the world for people to hear. So it’s from now on, that we’re going to try and perform outside Greece. But we’ve got this experience — how can I say — with perform in some major gigs here in Greece, so we won’t have a problem. We’re open to taking propositions, and we’re really going after it.
BM: The question I was going to ask as a follow up to that, is What are audiences like in other countries? But I guess I’ll ask you about your own. How are you received in Greece when you play? What are audiences like for you?
AK: The problem with the Greek audience, is that it has a problem with Greek bands. I don’t know why. [laughs]
BM: [laughs]
AK: Yes, they are quite mean sometimes. But, now the audience really digs the Greek bands. And I think it’s because the Greek bands work really hard and in a professional way. And so far, all the gigs we’ve made, with Black Sabbath and Pain of Salvation, were so cool audience-wise. They really supported us 100%. And we thank them so much. It is really good for your own country to love you. It feels really good.
BM: Tell me about your country a second. First of all, everybody understands and knows that Greece is the birthplace of western civilization, you guys have some of the best art and architecture in the world there. What is it like for you to live there? Do you get bored looking at the Parthenon, or is it –
AK: No, no. I never get bored looking at that, because we have, we are talking about masterpieces, and they are ancient. I mean, how people worked back then, it’s fantastic, you know. But the bad thing is that the masterpieces are not appreciated and are not taken care of. The state is not working good on that, and we have some major problems. And this is really, really sad, because we’ve got so many monuments, so much history, and we don’t appreciate it. And this is really, really bad, because I believe that if you know history, if you know where you come from, if you know your origins, I think you can do your best in your life.
BM: Well, I was gonna say, Greek literature is still read. You still have Homer’s Odyssey, you still have the stories of the gods and goddesses. Does all this stuff that’s part of your culture become part of you, and is it expressed in your music in some way?
AK: Ah, I believe yes. I believe in a subconscious way, it does. Because if you see, if you read Homer or Plato sometimes, or if you read even all the tragedies, you see that there is this love for the — how can I put that — the higher. Exactly. And this thing I think, we try to do the same thing. And there are some great Greek writers and poets of course, not nowadays, but until 1970, there were. And they are trying to do. But nowadays, the Greek writers, they’re not so good. They don’t care about this thing so much. But we do. They’re very, very important in our culture. They knew better, if you have all these masterpieces and you have these guys, you better.
BM: [laughs] Well, in your music, it’s interesting that you mentioned the Greek writers, Plato especially, who used to write about higher level things. Things above. But when you describe your music, you talk about it in lower terms, like it’s always the depressing stuff or the negative things.
AK: No, no. The thing is about that, I totally understand your question. You see, let me do like an example. In ancient tragedy, if you read ancient tragedy, they are so depressing and there are so many bad things going on.
BM: Yeah.
AK: Yeah, but this thing is that through lifetime and through pain, comes catharsis, and so you are actually communicating with the higher. So from this feelings and this emotions of pain and torture and suffering really brings the bright side of life out. It’s a strange antithesis, but this is how it works. I believe this is how we see things, that through the negative things, and if you live them, you totally understand them, comes the bright side and you give birth to optimistic ideas.
BM: Here’s a philosophical question for you then. What if fans, in general, don’t get that? What if they just listen to your music and dwell on the negative and become negative people? Would that be a mistake on their part to think of your music that way?
AK: First of all, yes, it would be a mistake on their part. But it will have to do with us also. The mistake would be ours too. Because we don’t do something good. Because if they don’t understand us so much, I think we also have a problem of not telling the story well.
BM: Oh yeah. I think you’re telling the story very well. It’s superbly done music. But I was wondering as you were talking if it’s possible to get the wrong impression listening to it, rather than hearing a cathartic sort of experience, they’re hearing the experience they’re living in, and they stay there in it. They don’t rise above it or change.
AK: Well, look, this is the really tough question, because we’re talking about so many different human beings.
BM: Yes, yes.
AK: And if somebody’s thinking that way, and they can’t understand 100% our music, it will be a bad thing to happen. But, I think that if they listen to it really carefully, no matter what they think, no matter about their own theory, and their own perspective, I think that they will get not even, if not the whole idea, will get a glimpse of the idea. And then when they hear it again and again and again, and maybe some future work, they will eventually understand it. I don’t think that people are stupid or something like that. [laughs] I still hope on people. Because they can do magnificent things.
BM: I like that statement you just made. Tell me, when you said that you are personally affected by maybe how things are treated — the Parthenon, or the monuments — is that a generational thing? Are the people your age there, do they feel the same way, or are you just unique in the way you feel about wanting to preserve it?
AK: No, I think, because I talk with lots and lots of people about this things, I think that they get the point. They feel that way. The difficult thing to do, the step beyond, is to do something about it, and not just sit on your couch and watching the news, and say, “ah, this happened again. Alright, I’m gonna eat my steak now.”
BM: [laughs]
AK: Yes, you have to do something about it. I think that all people, they totally understand what’s happening, but they don’t do something about it because they got their families, they got their works going on, and they don’t have the time to do it. But it’s all about having the will, having this little spark, this ember inside you so you can be motivated and do something. I think that every person should find this, this spark. But they all understand that this is wrong.
BM: Hmm. That’s a great way to put it. Let me ask you about your forum on your website. One of your answers to a question talked about thesis, antithesis. Do you read a lot of philosophy? You seem, the way that was phrased sounded extremely intelligent. You sound like someone who thinks deeply and reads a lot. Does that describe you?
AK: Yes. The thing is that I really enjoy philosophy. And reading philosophy, it really helps you to understand a lot of things. But when you’re writing down something, it’s good to use the terms that are used by this magnificent people. In order to express it 100% correct. So it’s not, it doesn’t have to do with intelligence. Everybody can understand philosophy. The thing is that you have the time and appetite to do so. Philosophy is really not a thing for an elite or intelligent people and crap like that. It’s for all the people to understand that. And I think that if you read some things like Plato or Hegel, and Mirte, and Shopenhour, I think that it really helps you to understand the way that the people feel and see the world. And you can talk for hours, because if you don’t have a dialogue, and if you don’t talk with people and you just read it for yourself, it does no good. Because only through dialogue and exchanging of ideas, something may appear, something good, something positive. So philosophy’s for all the people, it’s not something that will have to do with intelligence.
BM: That’s great. Let me ask you this, this is a philosophical question, and it’s a political one. On your forum, there are certain topics on your forum that I haven’t seen yet on any other band forum anywhere. You have sort of this, it looks like a poem or something, about [Amerian President] George W. Bush.
AK: Yes.
BM: Let me ask you this — and this is a heart-to-heart philosophical question — but do you worry at all, putting that on there, that you’re going to alienate a lot of the fans, in America, perhaps who would buy your albums or want to come see you?
AK: Look, the thing is that Bush, in this poem, is like a symbol, it’s not Bush himself. You know what I’m talking about? There is this philosophy nowadays that money is above everything and this war’s going on. Everybody knows that it’s for making money and profit. So it’s I think everybody can understand it, that it’s not a personal attack to anybody. Not to America. Because I listen to American music. I dress with America clothes and I read American literature. It has to do with the general evil that exists in the world, and because I think that, I love earth, I love this world. And we’re just trying to do a better place, to make a better place of it. And I don’t think that people will be hostile against me or against Wastefall that we’re talking about this things. I think that it’s quite simple to understand that we’re not — how can I say that — communist or fanatical Christians or something like that. We don’t accept any dogma. We are talking about freedom and loving each other. It’s so simple.
BM: Yeah. Well, but that in itself is a dogma. Any philosophical viewpoint you can have can itself become or is a dogma in itself.
AK: Exactly, exactly. And we’re talking, I have talks with people that tell me I’m an Atheist, or I’m an Anarchist. It is a dogma. Believing in nothing, or I don’t care about anything, this is a dogma. And this is the tragic, if you read the forum, this is the tragical aspect that is born, that people tried to act in a greater cause, but then they just become pawns of their own dogma. And this is really bad. This is where you have to know where to draw the line.
BM: Well, is it possible, though, speaking strictly Platonically perhaps, but is it possible to ever achieve the kind of world that you’d like to have?
AK: I think, no. It’s not possible. Yes, I think it’s not possible to have this utopia, this perfect thing, in our world. But, our lives themselves, this is the cause of living, that we try to do so, and the whole thing is that when you die, you have these, you follow this road that you die in an easier way, that you can be less afraid of dying. And I think this is why everybody’s making art, making philosophy, reading philosophy, to die in an easier way, not being afraid so much.
BM: Wow. Do you always sort of have conversations like this? You sound like, I really would like to chat with you. Like, if I was hanging out in your country, having a few beers with you somewhere, these are the conversations I would like to have. [laughs]
AK: That’s great to hear. [laughs]
BM: ’cause that’s the kind of thing I enjoy taking about, philosophy and theory.
AK: That’s great, because I really enjoy talking about this things, when I have the chance. We can go to a metal bar and talk about this things. It’s kind of funny. It’s just really nice to do. And you know, this is like the best interview ever. [laughs]
BM: Really?
AK: Yeah, it’s really, really good dialogue, you know?
BM: Well I appreciate that. Thank you.
AK: Thank you so much. It’s a really great conversation. I forgot it was an interview. [laughs]
BM: [laughs]
AK: That’s great.
BM: Yeah, I know. Well, I’ll be able to meet you when you come to ProgPower. I have an All Areas pass from Glenn, so I’ll be able to hang out.
AK: Awesome, that’s great.
BM: I’ll buy you a beer somewhere. We can chat.
AK: Great! I will buy you one.
BM: [laughs] Let me ask you one last question, then I’ll let you go for now. Your guitar playing — you’re considered a really good guitar player. But you’re only 23, right?
AK: Yeah, but I’m not a good guitar player. [laughs]
BM: [laughs] You’ve been playing guitar for how long, at least 10, 12 years or so, or longer?
AK: Yeah, well the thing is that I went to music school when I was six, and I was really disappointed with the whole thing, working here, and I left the school on my 10th, and then I just bought an electric guitar and spent hours and hours in my place and try to write songs. But please believe me, I am not a virtuoso, I am not a solo guitar player, you know what I’m talking about? But the thing is that I want to express my emotions through guitar, just that.
BM: Well it works, ’cause your albums are really well done. And actually, I hate to say this, but I’m actually looking forward to your next one, ’cause you get better every time. [laughs]
AK: That’s great to hear. You know, we got some new ideas going on.
BM: Do you really?
AK: Yes, yes. And I promise you, it will be a better one. [laughs]
BM: Wow! [laughs]
AK: It will be better.
BM: Well, keep in touch, would you please? If anything, any news that comes up during the summer or any photographs you may have, send them my way.
AK: Definitely.
BM: I’ll keep updating the website and letting your fans know what’s going on.
AK: That’s definitely good, and thank you very much. We’ll definitely keep in touch. I have your e-mail, and I’m gonna send you everything considering news, or maybe a question, a philosophical question, and we can chit-chat, you know? [laughs]
BM: That would be great! [laughs] Yeah, I’ll chit-chat any time with you, Alex.
AK: That’s great, man. Thank you so much.
BM: I appreciate it. Take care, have a great day.
AK: Thank you very much for your time.
BM: Bye-bye.
AK: Bye.
And there you have it, perhaps one of my most philosophical interviews ever. And one of my favorites.
Alex’s band Wastefall can be found on the web at www.wastefall.com. Only one (Self Exile) of their three CDs (Rising Stars and Falling Scars, Soulrain 21, and Self Exile) can be found on Amazon. But you can almost always find all of them at my favorite music resource, LaserCD.com. If you don’t yet have Self Exile, I strongly urge you to buy a copy. It’s complex, deep, captivating metal played with heart and mind firmly engaged.
Thanks again, Alex. Remember: the first beer is on me in Atlanta.
