Interview KRYPTOGRAF and song premiere “Sleeper”

We chatted with Vegard Strand, singer and guitar player for the Norwegian band KRYPTOGRAF, who will release their long-awaited debut album on June 12 via Apollon Records. After the publication of their two singles, “The veil” and “Crimson horizon”, from here we are pleased to preview the third single “Sleeper”. After the praise received by these singles, the Norwegian quartet is called to revolutionize spring with its commitment to the proto-metal sounds of the early 70’s with its sound inheriting from bands like Pentagram, Sabbath, Budgie or the contemporary KADAVAR, Witchcraft, Uncle Acid or Motorpsycho. His debut contains a sound that is not new, but even so, manage to combine styles such as proto-.metal, psychedelic and progressive rock with a trio of voices, in an effective and attractive way. Without topics and composing freely they do not try to be a copy of anyone, but in their sound they combine different influences, with a completely brilliant result.

Here are all the details of the album and the band in the words of Vegard and the preview of his single “Sleeper”, a theme with a vintage aroma and retro riffs on a progressive structure that recalls the sound obtained by KADAVAR on his latest album. Floating melodies with bewitching vocal moments and multiple psycho-progressive ornaments with a striking rhythmic base under an atmosphere of darkness and mystery.

“For all bands in our genre Black Sabbath is the holy grail, and we are no exception”

DenpaFuzz:  We’re accustomed to new groups coming out of Scandanavia practically daily, so we would like to get to know you a bit more. Who is Kryptograf? According to my information, you were together in another group before, is that correct?

KRYPTOGRAF (Vegard): That’s right! We started playing together in a band called “Møblos” in 2015. Back then we used to have a dedicated vocalist and front man. After parting ways with our vocalist we formed Kryptograf  as band where we could really focus on the world of early 70´s doom and proto metal. This is something we weren´t able to do with our old band.

DenpaFuzz: How did the idea for KRYPTOGRAF come about? Does one of you sort of play the role as the leader of the group, as far as composing or deciding the band’s path? Or is it a group effort?

KRYPTOGRAF (Vegard): Musically Kryptograf has always been a group effort. We enjoy working together in our rehearsal room and composing the songs together. Most of the lyrics on the album are written by me and Odd Erlend. Me and him are also dealing with most of the administrative work.

DenpaFuzz: In view of the singles you have released from the album, it seems that your musical influences are clear. Basically a proto-metal sound from the 70’s in which I perceive influences from bands like Sabbath, Boulbous Creation, or Pentagram, to name just a few. Is this really where your sound comes from? On the other hand, in some of your songs I find certain parallels with contemporary bands like KADAVAR, Witchcraf, Graveyard…. Is it just a feeling of mine?

KRYPTOGRAF (Vegard): We like many different bands and genres of music, but Kryptograf is mostly inspired by the hard, progressive and psychedelic rock of the late 60s and early 70s. For all bands in our genre Black Sabbath is the holy grail, and we are no exception. Otherwise we have listened a lot to Pentagram, Budgie and countless obscure proto metal bands from the 70s. We also get inspired by more modern bands. Some of our favorites are Witchcraft, Uncle Acid and The Deadbeats and Motorpsycho.


DenpaFuzz: How did you make this first album? I mean .. How was the creative process, the recording, etc., until the album is ready to be released by Apollon Records? 

KRYPTOGRAF (Vegard): We started making the songs in the beginning of 2019. All of the songs started with a riff. Our songs are usually composed by jamming together around the riff at band rehearsals, and then we start working on vocal lines and lyrics later on. In May 2019 we went to the studio and started recording the album with our producer Iver Sandøy. We really enjoy working with Iver and we have a mutual understanding of what our music should sound like. We did the entire live tracking of the album in two days, and we spent another two days tracking vocals and overdubs. We also spent some extra time for mixing and mastering witch was also done by Iver. The artwork on the album was done by Lars Bigum Kvernberg, a friend of ours.

DenpaFuzz: What is the purpose of KRYPTOGRAF as a band? Do you have a defined goal?

KRYPTOGRAF (Vegard): We just want to keep on making music we like and play it live as much as possible! Right now, our goal is to make our second album as great as possible. Another one of our goals is to go touring in Europe in not too long!

DenpaFuzz: In the same way that the proto-metal seems to be your first source of inspiration, the album also found many stoner riffs, heavy rock, and even progressive moments. How did you combine contemporary sounds and vibrations of the seventies?

KRYPTOGRAF (Vegard): As I said earlier, we listen to a lot of different kinds of music and we also like to infuse some of that into our own music. We are for example big fans of the progressive and psychedelic music of the 60´s and 70´s, but also some stoner rock from modern times. We like putting a lot of our different ideas in to our proto-doom inspired context. I guess a lot of the 70´s feel also has to do with our playing style and the kind of equipment we use.   

“When you see us live you don´t keep your eyes stuck on a front man, you look at Kryptograf!”

DenpaFuzz: Another detail that strikes me is that aside from the heavy and catchy riffs on which the songs are built, the vocal melodies are very important in each song. From what I have heard, it seems that not all the songs are sung by the same person, but there are variations. Tell us about this part of the band.

KRYPTOGRAF (Vegard): That’s right, we are actually three singers in the band! I think this is something that just happened naturally as none of us identified ourselves as a vocalist or a front man when the band started. All three of us have different qualities as singers and some voices fit different songs. I think this is kind of a cool thing with this band. When you see us live you don´t keep your eyes stuck on a front man, you look at Kryptograf!


DenpaFuzz: What would you say to someone who has never heard of you guys as to what to expect from KRYPTOGRAF. What would be the definition of the content of your album?

KRYPTOGRAF (Vegard): Doomy and progressive 70´s inspired hard rock!

DenpaFuzz: What’s your favorite song on the album and why?

KRYPTOGRAF (Vegard): That’s a really hard question to answer! I like all of the songs on the record and they are all very different. For example I love both the psychedelic vibe of Seven, the simplicity of The Veil and the brutality of New Kolossus. It´s really impossible for me to pick a favorite!

Denpafuzz: Personally, after having listened to your album several times, when I listen to “Seven” I perceive a greater compositional work and many psychedelic and progressive moments. What can you tell me about this song?

KRYPTOGRAF (Vegard): This song is a perfect example of the result of us just jamming together and getting crazy in our rehearsal room. The compositional work is pretty much done by itself, but we spent some time working on the vocals with all the harmonies. 

“We just try to give the audience an honest and loud rock n roll show”

DenpaFuzz: Somewhere I read that the album has tried to reflect your sound live, without producing too much. What is a KRYPTOGRAF concert like?

KRYPTOGRAF (Vegard): Kryptograf is a pretty new band, so we haven´t played more than 4 shows yet. We just try to give the audience an honest and loud rock n roll show. Some of the songs stays pretty much the same as on the record and on other songs we play extended versions with more improvising.

DenpaFuzz: I guess this whole COVID-19 situation will have somehow upset the launch plans. How is the rest of the year planned for you? Do you have live performances planned?

KRYPTOGRAF (Vegard): Releasing an album in a situation like this is definitely not ideal for anyone, and it has made touring impossible. However, this is a great time for people to check out new albums while staying home. We hope that we will at least be able to play some gigs around Norway later this year.

DenpaFuzz: Thank you very much for your words and I wish you the best of luck with your album. If you want to say something to all those people who have been surprised with your first singles (which I know there has been a lot and they are looking forward to the album).

KRYPTOGRAF (Vegard): Thank you so much for all the great feedback on our singles! We are looking forward to sharing the album with you all, and we hope to see you on tour when the virus settles!

Traslation: Abigail Simpson

Entrevista a KRYPTOGRAF y premiere de su nuevo single “Sleeper”

Hablamos con Vegard Strand , cantante y guitarra de la banda noruega KRYPTOGRAF, que publicará su esperado álbum debut el próximo 12 de junio vía Apollon Records. Después de la publicación de sus dos singles, “The veil” y “Crimson horizon”, desde aquí nos complace adelantar en primicia el tercer single “Sleeper”. Tras los elogios recibidos por estos singles, el cuarteto noruego está llamado a revolucionar la primavera con su apuesta por los sonidos proto-metal de comienzos de los 70’s con su sonido heredero de bandas como Pentagram, Sabbath, Budgie o las contemporáneas KADAVAR, Witchcraft, Uncle Acid o Motorpsycho.   Su debut contiene un sonido que no es nuevo, pero aun así, lograr conjugar estilos como el proto-.metal, la psicodelia y el rock progresivo con un trío de voces, de una manera efectiva y atrayente. Sin tópicos y componiendo libremente no tratan de ser una copia de nadie, sino que en su sonido conjugan distintas influencias, con un resultado completamente brillante.    

A continuación todos los detalles del álbum y de la banda en palabras de Vegard y el adelanto de su single “Sleeper”, un tema con aroma añejo y riffs retro sobre una estructura progresiva que recuerda el sonido obtenido por KADAVAR en su último álbum. Melodías flotantes con hechizantes momentos vocales y múltiples ornamentos psico-progresivos con una impactante base rítmica bajo una atmósfera de oscuridad y misterio.  

“Para todas las bandas de nuestro género, Black Sabbath es el santo grial, y no somos la excepción”

DenpaFuzz:  Estamos acostumbrados a que prácticamente cada día nazca una nueva banda de Escandinavia, permitirnos que os conozcamos un poco ¿Quiénes son Kryptograf? Según mi información habéis estado en alguna otra banda antes, ¿esto es así?

KRYPTOGRAF (Vegard): ¡Así es! Comenzamos a tocar juntos en una banda llamada “Møblos” en 2015. En aquel entonces solíamos tener un vocalista y líder. Después de separarnos de nuestro vocalista, formamos Kryptograf como una banda en la que realmente podríamos centrarnos en el mundo del doom y el proto metal de principios de los 70. Esto es algo que no pudimos hacer con nuestra antigua banda.

DenpaFuzz: ¿Como surge la idea de formar KRYPTOGRAF? ¿Alguno de vosotros ejerce el papel de líder, bien sea componiendo los temas o marcando el rumbo de la banda, o es un trabajo en común?

KRYPTOGRAF (Vegard): Musicalmente, Kryptograf siempre ha sido un esfuerzo grupal. Disfrutamos trabajando juntos en nuestra sala de ensayo y componiendo las canciones juntos. La mayoría de las letras del álbum están escritas por Odd, Erlend y yo. Él y yo también nos ocupamos de la mayor parte del trabajo administrativo

DenpaFuzz: A la vista de los singles que habéis adelantado del álbum parece que vuestras influencias musicales están claras. Básicamente un sonido proto-metal de los 70’s en el que percibo influencias de bandas como Sabbath, Boulbous Creation, o Pentagram por citar solo algunas. ¿Es realmente de aquí de donde nace vuestro sonido? Por otro lado, en alguno de vuestros temas encuentro ciertos paralelismos con banda contemporáneas como KADAVAR, Witchcraf, Graveyard…. ¿Es solo una sensación mía?

KRYPTOGRAF (Vegard): Nos gustan muchas bandas y géneros musicales diferentes, pero Kryptograf se inspira principalmente en el rock duro, progresivo y psicodélico de finales de los 60’s y principios de los 70’s. Para todas las bandas de nuestro género, Black Sabbath es el santo grial, y no somos la excepción. De lo contrario, hemos escuchado mucho a Pentagram, Budgie e innumerables bandas oscuras de proto-metal de los años 70’s. También nos inspiramos en bandas más modernas. Algunos de nuestros favoritos son Witchcraft, Uncle Acid y The Deadbeats y Motorpsycho.


DenpaFuzz: ¿Como se gesta este, vuestro primer álbum? Quiero decir.. ¿Cómo fue el proceso creativo, la grabación, etc, hasta que el álbum está preparado para ser editado por Apollon Records?

KRYPTOGRAF (Vegard): Comenzamos a hacer las canciones a principios de 2.019. Todas las canciones generalmente están compuestas partiendo de un riff. Tocamos un riff en los ensayos de la banda, y luego comenzamos a trabajar en las líneas vocales y después las letras. En mayo de 2019 fuimos al estudio y comenzamos a grabar el álbum con nuestro productor Iver Sandoy. Realmente disfrutamos trabajar con él y nos entendemos bien sobre como debería sonar nuestra música. Hicimos todo el seguimiento en vivo del álbum en dos días, y pasamos otros días rastreando voces y overdubs. También nos tomamos un tiempo extra para mezclar. El arte de la portada es obra de Lars Bigum Kvernberg, un amigo nuestro.

DenpaFuzz: ¿Cuál es el objetivo de KRYPTOGRAF como banda? ¿Tenéis alguna meta definida?

KRYPTOGRAF (Vegard): ¡Solo queremos seguir haciendo la música que nos guste y tocarla en vivo tanto como sea posible! En este momento, nuestro objetivo es hacer que nuestro segundo álbum sea lo mejor posible. ¡Otro de nuestros objetivos es ir de gira por Europa en poco tiempo!

DenpaFuzz: De la misma manera que el proto-metal parece ser vuestra primera fuente de inspiración, en el álbum encontramos también muchos riffs Stoner, heavy-rock e incluso momentos progresivos, ¿Cómo se conjuga ese binomio entre el sonido contemporáneo y las vibraciones de los setenta?

KRYPTOGRAF (Vegard): Como dije antes, escuchamos muchos tipos diferentes de música y también nos gusta infundir algo de eso en nuestra propia música. Somos, por ejemplo, grandes admiradores de la música progresiva y psicodélica de los años 60 y 70, pero también de algunas bandas stoner rock de los tiempos modernos. Nos gusta poner muchas de nuestras diferentes ideas en nuestro contexto inspirado en el proto-doom. Supongo que muchos de los años 70 también tienen que ver con nuestra forma de tocar y el tipo de equipo que usamos.

“Cuando nos ves en vivo, no mantienes tus ojos fijos en un líder, ¡miras a Kryptograf!”

DenpaFuzz: Otro de los detalles que me llama la atención, es que al margen de los riffs pesados y pegadizos sobre los que se construyen las canciones, las melodías vocales tienen mucha importancia en cada canción. Por lo que he escuchado, parece que no todos los temas los canta la misma persona, sino que existen variaciones. Hablarnos de esta parte de la banda.  

KRYPTOGRAF (Vegard): Así es, ¡en realidad somos tres cantantes en la banda! Creo que esto es algo que sucedió de forma espontánea, ya que ninguno de nosotros nos identificamos como vocalistas o líderes cuando comenzó la banda. Los tres tenemos diferentes cualidades como cantantes y algunas voces encajan en diferentes canciones. Creo que esto es algo genial para la banda. Cuando nos ves en vivo, no mantienes tus ojos fijos en un líder, ¡miras a Kryptograf!


DenpaFuzz: Que le diríais a alguien que jamás os escuchado sobre lo que puede esperar de KRYPTOGRAF. ¿Cuál sería la definición del contenido de vuestro álbum?

KRYPTOGRAF (nombre de miembro): Doom y rock progresivo inspirado en los años 70.

DenpaFuzz: ¿Cuál es vuestro tema favorito del álbum y por qué?

KRYPTOGRAF (Vegard): ¡Esa es una pregunta realmente difícil de responder! Me gustan todas las canciones del disco y todas son muy diferentes. Por ejemplo, me encanta el ambiente psicodélico de “Seven”, la simplicidad de “The Veil” y la brutalidad de “New Kolossus”. ¡Es realmente imposible para mí elegir tema favorito!

Denpafuzz: Personalmente, después de haber escuchado vuestro álbum varias veces, en “Seven” percibo un mayor trabajo compositivo y muchos momentos tanto psicodélicos como progresivos. ¿Qué me podéis contar de este tema?

KRYPTOGRAF (Vegard): Esta canción es un ejemplo perfecto del resultado de que simplemente nos juntamos y nos volvimos locos en nuestra sala de ensayo. El trabajo compositivo se realiza prácticamente por sí solo, pero pasamos un tiempo trabajando en las voces con todas las armonías.

“Solo tratamos de darle al público un show honesto y ruidoso de rock and roll”.

DenpaFuzz: En algún lugar he leído que el álbum ha tratado de reflejar vuestro sonido en directo, sin producirle demasiado. ¿Como es un concierto de KRYPTOGRAF?

KRYPTOGRAF (Vegard):  Kryptograf es una banda bastante nueva, por lo que aún no hemos tocado más de 4 shows. Solo tratamos de darle al público un show honesto y ruidoso de rock and roll. Algunas de las canciones se mantienen más o menos igual que en el disco y en otras canciones, reproducimos versiones extendidas con más improvisación.

DenpaFuzz: Supongo que toda esta situación del Covid 19 habrá trastocado de alguna manera los planes del lanzamiento. ¿Cómo se presenta el resto del año para la banda? ¿Tenéis previstos actuaciones en directo?

KRYPTOGRAF (Vegard): Lanzar un álbum en una situación como esta definitivamente no es ideal para nadie, y ha hecho imposible la gira. Sin embargo, este es un buen momento para que la gente vea nuevos álbumes mientras se quedan en casa. Esperamos que al menos podamos tocar algunos conciertos en Noruega a finales de este año.

DenpaFuzz: Muchas gracias por vuestras palabras y os deseo mucha suerte con vuestro álbum.  Si queréis decir algo a toda esa gente que se ha visto sorprendida con vuestros primeros singles (que me consta que ha sido mucha y esperan con ansia que llegue el momento de la publicación)

KRYPTOGRAF (Vegard): ¡Muchas gracias por todos los excelentes comentarios sobre nuestros ssingles! ¡Esperamos compartir el álbum con todos ustedes y esperamos verlos de gira cuando el virus se estabilice!

Traducción: Abigail Simpson

Interview to WIGHT

On April 24 will be releassed vía Kozmik Artifactz, “SPANK THE WORLD”, the fourth studio album by the Germans WIGHT, will be released. We talked to the band to tell us all the details of an album in which we will find the incorporation of Steffen Kirchpfening doubling on percussion and keyboards and involved in songwriting from the first minute, adding sounds and textures to the album that haven’t been previously heard from WIGHT. But that’s not the only thing that’s different – drummer Thomas Kurek dabbling in synthesizers as well, guitarist/vocalist René Hofmann recording all types of crazy instrumentations well outside of his classic role, bassist Peter-Philipp Schierhorn ditching his signature Flying V for a fretless bass more often than not.

“SPANK THE WORLD” smells like rhythm, it smells like fusion, it smells like funk.


DenpaFuzz: It’s been four years since your last studio album. How as WIGHT changed since then?

Wight (René): I think the biggest change is that nobody is a student anymore and I built the studio to create a playground for all my ideas. The whole band’s workflow just changed completely from jamming together two times a week (2015-2017), building the studio (2017-2018) and being a producing band in the last two years (2018-2019). It wasn’t planned, it was somehow a natural change like it was always in the last 12 years and I think the strength of the group is to always welcome change and deal with variation.

“I think some will love it, some will hate it, and it will confuse the hell out of a lot of people – which it should, music can be anything but boring”.

DenpaFuzz: Everyone fell in love with Wight in the past with the heavy, psychedelic sound on your debut album, “Wight weed wight”. How do you think this new album will be received?

Wight (René): I really don’t care so much. I am doing all this as an emotional „work off“ – A musical expression of the daily output of my life. How could anyone judge this? People can only react on it because it hits them emotionally or it doesn’t. If you always listen to the same style of music and you don’t like other moods, that’s ok for me. I have a wide range of feelings that goes into and out of my person.

Wight (Peter): I think some will love it, some will hate it, and it will confuse the hell out of a lot of people – which it should, music can be anything but boring. And unpredictability is one of our unique selling propositions anyway.


DenpaFuzz: Having seen your shows live a couple of times-at Sonicblast five years ago, and in Krach am Bach three years ago, I saw that the hottest moments of your shows were precisely when you incorporated funk rock moments. The people went crazy! Now your new album is mostly a fusion of funk sounds and even “disco” in some moments. Why?

Wight (René): I think it has a lot to do with discovering dancing and moving the body freely, as another layer of music and rhythm. If I weren’t able to play an instrument, I am still able to jam along by dancing. So everybody can join and the audience and the band become one big unit.

“Yes. I don’t like seeing music in genres. There is always an overlap of genres which is mostly the interesting part”.

DenpaFuzz: In your last studio album “Love Is Not Only What You Know”, you started to incorporate more of these funk sounds that I am talking about, but there were also high doses of psychedelia, and heavy hard rock sounds. Is “Spank the World” the step you took to renounce your pasts sounds; or at some point did you decide that the stoner or doom that inspired you in the beginning is something the past?

Wight (René): I never gave anything of your question a thought. Creativity mutates all the time, I give it all the space it needs and just decide if I feel comfortable with it. There is nothing bad in getting inspired by things you already had as an inspiration in the past. But life has only one direction. So I think, still if we would do heavier music again it will be different than a copy of the past.

Wight (Peter): I just had a conversation with Thomas about this yesterday, and we agreed that the one thing that connects everything is the blues. There’s blues in all of our albums, lots of it, just interpreted in very different ways.


DenpaFuzz: Is it just my perception, or apart from the fusion sounds, in the new album we also find electronic vibrations and “disco” music that you have never used before?

Wight (René): Yes. I don’t like seeing music in genres. There is always an overlap of genres which is mostly the interesting part.

DenpaFuzz: Parliament / Funkadelic seems to be a source of inspiration for you as evidenced by songs like “Nervous”, which other bands have influenced the songs on the new album?

Wight (René): I think first to mention is Phunk M.O.B., which was a local band from the mid 90s to mid 2000s. We listened to their live album so many times in the tour bus in the past years and they did a mix of Acid Jazz, Psychedelic Rock and Funk already 20 years ago. The Band fitted so good in my musical taste because I loved 70s fusion Jazz at that Time like Herbie Hancock, Weather Report, Billy Cobham, all the guys who met at Miles Davis Sessions in the Late 60s early 70s, next to Stevie Wonder and horn bands like Average White Band, Chicago, World music from Fela Kuti to Ali Farka Touré, Buena Vista Social Club and also selected Prog Rock Albums like Steve Hillage‘s Green. I think I could Name more and more here, 90s Hip Hop as well… and yes Disco, too. Also every song of the album deserves a detailed explanation how it was created by what influences.


DenpaFuzz: The sound of “Spank the world” seems to be influenced mainly by the music that was made in the late seventies. Is there a contemporary band that inspires you now, or that you listen to more often than others? What bands do you listen to currently when you are at home?

Wight (René):  I have a huge LP collection from the 1960d to let’s say the mid 80s. I am listening to this the most. Contemporary music is too often either a copy of this era or a copy of each other. I have the impression that the world is to shy to be open for innovations when it comes to music. People need to put it in categories. If it does not fit I. Their safety zone it’s hard to make the curious about „new“ sounds. On the other hand I like that a teenager girl Billie Eilish and her Brother produce fragile vocal pop music with completely distorted effects and kind of honest lyrics (for a teenager). Same with Jamie Lidell, who made it being known with his big variation of style every Time he releases something. Artists should show that everybody takes a shit and stinks sometimes and pulls boogers out of his nose and I really think that a big part of the people have the tendency to be fed up with the glitter clean larger than life pop stars. That is my wish in the end. Honestly I don’t discover contemporary music by myself. Due to my job working with musicians all the time, music is shown to me constantly. I think that’s enough discovery.

DenpaFuzz: Continuing with the changes that I notice in your sound, as well as some electronic elements and drum machines, there are songs where I hear wind instruments, who plays these?

Wight (René): Our friends, we have a big local and international network of musicians.

“I have the impression that the world is to shy to be open for innovations when it comes to music. People need to put it in categories. If it does not fit I. Their safety zone it’s hard to make the curious about „new“ sounds”

DenpaFuzz: To me, ¨Motorgroove” seems to be the song that can consolidate Wight’s new sound. A hundred percent melting sounds, isn’t it? The mix of styles and elements makes the song one of the highlights of the entire album, in my opinion.

Wight (René): Could be. It’s funky, it’s prog, psychedelic and electronic somehow.

Wight (Peter): That’s quite interesting, I have heard Motorgroove ranked at everything from the best to the worst song on the album. I guess it’s really a matter of taste. It’s also one of my favourite tracks.


DenpaFuzz: The album seems designed in an almost mathematical way. It begins with a brief introduction of just over a minute “intro”, halfway through the album “interlude” with another minute and to close “Outro”-another minute long. After listening to thousands of works in my life, it has always been difficult for me to understand most of the brief songs like that. Could you shed some light on why this is done, at least in your case?

Wight (René): It was on purpose. The interlude are produced all spontaneously in the studio. We got some more left. The intro was written and spoken by our friend Joshua. I told him the story of the cover and the whole theme of the album. You should know that the cover and the topic was made parallel with the songwriting. It’s not that we make an album and call Ingo (artist Ingo Lohse) to draw something. We both talk about ideas and we influence each other, so the cover and the music is also one unit. We will continue this method also with our film maker friends in the future.

Wight (Peter): I think good interludes improve the flow of the album. I’m not a great fan of interludes myself, but the main reason for that is that most rock bands just throw some short acoustic guitar cling-clanging or a minute of cheesy “creepy” keyboards sounds between the songs. But I think ours make sense – if you listen to the entire album all the way through, that’s what they’re for.

DenpaFuzz: What’s your favorite song on the album and why?

Wight (René): Nervous makes me dance, I like the energy and the message. It will change in the next weeks like it changed in the last months already.

Wight (Peter): Tie between Motorgroove and Nervous at the moment.

Wight (Thomas): Motorgroove and Time’s Up as of today, but it also changes all the time for me.

Wight (Steffen): Definitely Nervous. It’s got the energy of a good metal track, but the sound aesthetics of funk. We’ve already played that one live, and I felt like I wanted to stagedive into a pit of ugly long haired metalheads, while playing a song that sounds more like James Brown.

“Working in the music business and earning 70% of my income with being a live sound engineer, means I will not earn much money this year. I have no idea if there will be concerts at all this year”.


DenpaFuzz: The recording process of the album has also been different from how you did it on other occasions, as far as I understand it. This time you have focused more on pure and simple recording in the studio, haven’t you? At the same time, the album has been recorded in a studio owned by René, which has undergone some modifications to be able to do what you wanted. Tell us about that process.

Wight (René): I try to make it short – I rented a small mixing studio since 2012. too small to put a band inside. In 2016 a 48qm room got free to rent and a year later I started building a recording room. I spent all the band‘s money and my money and handcrafted everything by myself. One year later I wasn‘t finished but it was build enough to work with. I couldn’t continue because I became a father and I spent my time for the family and the music only. The plan in building the Studio it quite old and we were just patient and now we got it.

DenpaFuzz: I suppose that when all this Covid 19 madness is over, you will return to the stage. I have two questions regarding this. How are you dealing with the issue of confinement? Also, what are the plans for a return to live shows? How are your next shows going to be? Will we have a mix of your primitive sound with this new type of music? Will you focus on this new sound?

Wight (René): Working in the music business and earning 70% of my income with being a live sound engineer, means I will not earn much money this year. I have no idea if there will be concerts at all this year. We have no influence in this so we should make the best out of it an create new music. How the sound will be on a next album? I don’t know, there are so many directions and possibilities. Right now I can tell you that I wrote some simple bluesy songs because me and my family love listening to ZZ Top at home, also Janis Joplin and Bill Withers.

Wight (Peter): On the live side, we’re arranging the new songs into playable live versions at the moment. These may turn out a bit rawer and grittier than on the album – but maybe not all of them. But as soon as live activities can resume, you’ll find out…

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DenpaFuzz: Thank you so much for your words and if anyone wants to add anything, feel free. One last question, will we see Wight playing in Spain soon?

Wight (René): We are a DIY band. If you want to see us down there, get in touch with a booker who wants to set up shows in Spain and someone in France and get in contact with us. I would love to come to Spain. I have been there a couple of times with My Sleeping Karma and I enjoyed it everytime.

Translation: Abigail Simpson

Entrevista a WIGHT

El 24 de abril verá la luz vía Kozmik Artifactz “SPANK THE WORLD”, el cuarto álbum de estudio de los alemanes WIGHT. Hablamos con la banda para que nos cuenten todos los detalles de un álbum en el que vamos a encontrar la incorporación de Steffen Kirchpfening doblando la percusión y los teclados e involucrado en la composición de canciones desde el primer minuto, agregando sonidos y texturas al álbum que no han sido previamente escuchadas en WIGHT. Pero eso no es lo único diferente: el bateria Thomas Kurek incursionando sintetizadores también, el guitarrista / vocalista René Hofmann grabando todo tipo de instrumentaciones locas fuera de su papel clásico, el bajista Peter-Philipp Schierhorn abandona su firma Flying V por un bajo sin trastes la mayoría de las veces.  

¡¡¡”SPANK THE WORLD” huele a ritmo, huele a fusion, huele a funk!!!.


DenpaFuzz: ¿Cuatro años han pasado desde vuestro último álbum en estudio, En que ha cambiado WIGHT desde entonces a ahora?

Wight (René): Creo que el cambio más grande es que ya nadie es estudiante y fundé el estudio para experimentar con todas mis ideas. El modo de trabajo ha cambiado para todo el grupo. Solíamos quedar dos veces a la semana para ensayar (2015-2017). Los últimos dos años hemos empezado a auto-producir, gracias al estudio que hemos creado en 2017 y 2018. Esto no fue planeado, sino que fue un cambio natural como todo en los últimos 12 años, y creo que uno de los puntos fuertes de este grupo es como afrontamos los cambios.

“Creo que a algunos les va a encantar,  otros lo van a odiar, y muchos se van a sentir confusos, como debería ser. La música puede ser cualquier cosa, pero no aburrida”

DenpaFuzz: Cualquiera que se haya enamorado de Wight en el pasado con el sonido pesado y psicodélico que ofrecía vuestro debut “Wight weed wight”. ¿Cómo creéis que va a recibir este nuevo álbum? 

Wight (René): Eso no me importa demasiado. Yo hago todo esto como un desahogo emocional, un reflejo musical de lo que sale de mi a diario. ¿Cómo se puede juzgar esto? La gente puede sentir algo por esto o no. Si solamente escuchas un estilo de música, lo respeto. Tengo un amplio rango de sentimientos que se crean dentro y salen de mi.

Wight (Peter):  Creo que a algunos les va a encantar,  otros lo van a odiar, y muchos se van a sentir confusos, como debería ser. La música puede ser cualquier cosa, pero no aburrida. Además, lo impredecible es uno de las cosas especiales que pueden buscar en nosotros.


DenpaFuzz: Habiendo visto vuestro show en directo en un par de ocasiones, tanto en el festival Sonicblast hace unos cinco años,  como en el Festival Krach am Bach, hace tres, comprobé que los momentos más calientes de vuestros shows eran precisamente cuando incorporabais momentos de funk-rock. ¡¡¡La gente se volvía loca!!!. Ahora lanzáis un álbum en el que la fusión del sonido funk e incluso “disco”, en algunos, momentos domina todo el trabajo. ¿Porqué?

Wight (René): En mi opinión, tiene mucho que ver con el movimiento y el baile, como expresiones musicales. Si no tocara un instrumento, estaría bailando y moviéndome con la música. De este modo tanto el público como el grupo puede sentirlo y unirse como un todo.

“No me gusta clasificar la música en géneros. Siempre hay una superposición de ellos, lo que lo hace más interesante”.

DenpaFuzz: Ya en vuestro último álbum de estudio “Love Is Not Only What You Know comenzasteis a incorporar más estos sonidos funk de los que os hablo, pero había también altas dosis de psicodelia, y sonidos pesados hard rock. ¿”Spank the World” supone el paso definido a ese sonido renunciando al pasado? O ¿En algún momento el Stoner o doom que os inspiró en vuestros inicios son algo únicamente del pasado? 

Wight (René): Nunca lo he visto así. La creatividad siempre cambia, le doy todo el espacio que necesita y después decido si me siento cómodo con ella. No hay nada malo en inspirarte en cosas que ya te habían inspirado en el pasado. Pero la vida tiene solo una dirección, así que pienso, si volvemos a un estilo pesado de música, será diferente, no una copia del pasado.

Wight (Peter): Justo ayer, hablé con Thomas de eso y estamos de acuerdo que lo que conecta todo es el blues. Hay blues en todos nuestros álbumes, y mucho, en maneras diferentes.


DenpaFuzz: Al margen de los sonidos de fusión, en el nuevo álbum encontramos también vibraciones electrónicas y de música “disco” que nunca antes habíais utilizado. ¿Es solo una percepción mía?

Wight (René): Sí. No me gusta clasificar la música en géneros. Siempre hay una superposición de ellos, lo que lo hace más interesante.

DenpaFuzz: Parliament/Funkadelic parece ser una fuente de inspiración para vosotros como demuestran temas como “Nervous”, ¿Que bandas han influenciado los temas del nuevo álbum?

Wight (René): El primero que yo mencionaría es Phunk M.O.B., un grupo local de los  años 90 y 2000. Hemos escuchado su disco en directo muchísimas veces en la furgoneta de giras los últimos años. Hicieron una mezcla de Acid Jazz, Psicodélico, y Funk hace 20 años ya. El grupo encajó muy bien en mi gusto musical porque me encanta el Jazz fusión de los 70-gente como Herbie Hancock, Weather Report, Billy Cobham,  todos esos tipos quienes se conocieron en las Sesiones de Miles Davis a finales de los 60 y principios de los 70. Otros grupos serían Stevie Wonder, y bandas de viento como Average White Band, Chicago, músicas del mundo de Fela Kuti, Ali Farka Touré, Buena Vista Social Club, y unos discos de Prog Rock, por ejemplo Green de Steve Hillage. Podría nombrar más, Hip Hop de los 90, y sí, Disco también. Además cada canción tiene una explicación detallada sobre cómo fue creada y bajo que influencias. 


DenpaFuzz: El sonido de “Spank the world” parece influenciado sobre todo por la música que se hacía a finales de los años setenta, ¿Hay alguna banda contemporánea que pueda inspiraros ahora, o que escuchéis con más asiduidad que otras? ¿Qué bandas escucháis actualmente cuando estáis en vuestra casa? 

Wight (René): Tengo una gran colección de discos desde los años sesenta hasta, digamos la mitad de los años ochenta. Escucho sobretodo esto. Muchas veces, música contemporánea es una copia de esta época y sino de otras. Tengo la impresión de que el mundo es demasiado tímido para abrirse a innovaciones musicales. La gente necesita clasificarse por categorías. Si la música no se ajusta a su zona de confort, es difícil generar curiosidad por nuevos sonidos. Por otro lado me gusta que una adolescente, como Billie Eilish y su hermano, produzca una música pop vocalmente frágil pero con sonidos distorsionados y letras muy sinceras (para ser adolescente). Lo mismo ocurre con Jamie Lidell, quien se hizo famoso con sus frecuentes variaciones de estilo. El artista debería mostrar que todo el mundo caga y a veces huele mal, algunas veces hace pelotillas con los mocos. Y yo realmente espero  que la mayoría de la gente esté harta de ¨La Vida Perfecta” de los pop stars. La verdad es que no investigo música contemporánea, trabajo con músicos todo el tiempo y por tanto descubro música constantemente, y creo que es suficiente para mi. 

DenpaFuzz: Continuando con los cambios que noto en vuestro sonido, al igual que algún elemento electrónico y de cajas de ritmos, hay temas en los que los vientos aparecen, ¿Quién es el encargado de esto?

Wight (René): Nuestros amigos, porque conocemos muchos músicos locales e internacionales. 

Tengo la impresión de que el mundo es demasiado tímido para abrirse a innovaciones musicales. La gente necesita clasificarse por categorías. Si la música no se ajusta a su zona de confort, es difícil generar curiosidad por nuevos sonidos.

DenpaFuzz: “Motorgroove” me parece el tema que puede conjugar la nueva apuesta sonora de Wight. Un sonido de fusión cien por cien, ¿no es así? La mezcla de estilos y elementos hace del tema uno de los destacado en mi opinión de todo el álbum.  

Wight (René): Puede ser. Es funky, es progresivo, es psicodélico y de alguna manera electrónico.

Wight (Peter): Que interesante. He oído que Motorgroove es valorada por algunos como la mejor y por otros como la peor, o lo aman o lo odian. Supongo que es cuestión de gustos. Por cierto, es uno de mis temas favoritos. 


DenpaFuzz: El álbum parece diseñado de una forma casi matemática. Comienza con una breve introducción de poco más de un minuto “intro”, a la mitad del álbum “interlude” con otro minuto y para cerrar “Outro” con otro minuto de duración. Después de haber escuchado miles de trabajos en mi vida, siempre me ha costado entender la mayoría de las canciones así, tan breves. Aportarme luz a esto por favor.

Wight (René): Ha sido a propósito. El interludio ha sido creado espontáneamente en el estudio. Y tenemos más cosas compuestas. La “intro” ha sido escrita y grabada por nuestro amigo Joshua. Le conté la historia de la portada y el tema de que habla el disco. Debes saber que dichas portada y temática se hicieron paralelamente a las composiciones. No hacemos un álbum y llamamos a Ingo (artista Ingo Lohse) para dibujar algo después. Nosotros hablamos de ideas y nos influenciamos unos al otro, así que la portada y la música forman una unidad.  Seguiremos con este método en el futuros, también con nuestros amigos filmógrafos. 

Wight (Peter): Creo que un buen interludio puede mejorar el álbum. Yo personalmente  no soy muy fan de los interludios, pero creo que me veo influido por la mayoría de las banda de rock, que meten pequeños solos ¨cling-clang” con su guitarra acústica o un minuto de teclados cursis e inquietantes entre las canciones. Pero creo que los nuestros tienen sentido si escuchas nuestro álbum al tirón, por eso están. 

Denpafuzz: ¿Cuál es vuestro tema favorito del álbum y por qué?

Wight (René): “Nervous” me hace bailar, me gusta la energía y el mensaje. Cambiará en las próximas semanas, igual que ha cambiado en los meses anteriores. 

Wight (Peter): Actualmente, me siento dividido entre Motorgroove y Nervous.

Wight (Thomas): Hoy diría Motorgroove y Time’s Up, pero cambia por momentos para mi también. 

Wight (Steffen): Nervous, sin duda. Tiene la energía de un buen tema metal, pero con el sonido estético de funk.  Ya lo hemos tocado en vivo, y sentía que quería saltar al publico, contra esos metaleros feos y melenudos mientras tocamos algo muy James Brown.

“Trabajando en la industria musical y ganando un 70% de mis ingresos siendo técnico de sonido significa que no voy a ganar mucho dinero este año. No sé si habrá conciertos este año”


DenpaFuzz: El proceso de grabación del álbum, también ha sido diferente a como lo hacíais en otras ocasiones según tengo entendido. En esta ocasión os habéis centrado más en la grabación pura y dura en el estudio, ¿no es así? Al mismo tiempo,  el álbum ha sido grabado en un estudio propiedad de René, el cual ha sufrido alguna modificación para poder hacer lo que deseabais, habladnos de ese proceso. 

Wight (René): Intentaré ser breve – alquilé un pequeño estudio en 2012 para mezclar. Era demasiado  pequeño para meter un grupo dentro. En 2016 me pasé a uno de 48m², un año después empecé a construir una sala de grabación. Gaste todo el dinero de la banda, mi dinero, y mi tiempo para hacer todo yo mismo. No pude seguir porque fui padre y dedique mi tiempo solo a mi familia y mi música. El plan para tener el estudio quedó aparcado pero por fin ya lo tenemos. 

DenpaFuzz: Supongo que cuando toda esta locura del Covid 19 acabe, volveréis a los escenarios. A este respecto varias preguntas. ¿Cómo estáis viviendo el tema del confinamiento?, y por otro lado, ¿Cuáles son los planes para una vuelta a los shows en vivo? ¿Cómo van a ser vuestros próximos shows? ¿Tendremos una mezcla de vuestro sonido primitivo con esta nueva oferta? ¿U os vais a centrar en este nuevo sonido.

Wight (René): Trabajando en la industria musical y ganando un 70% de mis ingresos siendo técnico de sonido significa que no voy a ganar mucho dinero este año. No sé si habrá conciertos este año. No controlamos nada de esto así que estamos aprovechando para crear música nueva. ¿Cómo va a ser el sonido en el próximo disco? No sé, hay muchas direcciones y posibilidades. Ahora mismo puedo decirte que he compuesto algunos blues sencillos porque mi familia y yo escuchamos en casa como ZZ Top, Janis Joplin, o Bill Withers.

Wight (Peter): Por el lado de música en vivo, estamos arreglando las canciones nuevas para ser viables en vivo. Pueden ser más crudas y brutas que en el disco-pero tal vez no todas. Pero en cuanto vuelvan los directos, lo descubriréis. 

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DenpaFuzz: Muchas gracias por vuestras palabras y si queréis añadir algo…. y una última pregunta, ¿Veremos a Wight por España tocando próximamente?

Wight (René): Somos un grupo bastante independiente. Si quieres vernos ahí, ponte en contacto con quien puede montar conciertos tanto en España como Francia y contacta también con nosotros. Me encantaría ir a España. He estado un par  de veces ahí con el grupo My Sleeping Karma y lo disfruté mucho.

Traducción: Abigail Simpson

Interview: SIENA ROOT.

This 20th of March “THE SECRET OF OUR TIME”, the new album by SIENNA ROOT, will be released through MIG Records. Love, their drummer, and Samir, their bassist, tell us all the details about their new album, along with curious facts about the band.

A lot actually, we’ve constantly moved in a new direction musically although keepin our trade mark sound alive

DenpaFuzz: Twenty years since you founded the band and 16 since you released you first record “A New Day Dawning”, which established you as the pioneers in what has come to be labed as “Retro Rock”. After so much time, what had change within Siena Root?

Sam: A lot actually, we’ve constantly moved in a new direction musically although keepin our trade mark sound alive. We’ve worked with many different great musicians over the years and as of now Love and I are the only ones left from the new day dawning-era. We always try to develop and find new ways to be creative and not do the same stuff over and over again. If we succeed or not is of course in the eyes/ears of the beholders, our fans and listeners, but that’s at least what we aim for  J.

Love: Yes, that’s a lot of changes. Just like life itself, the band changes all the time. When we try to fight the changes, this is often when the problem starts. Changes is a natural thing. This new album will be a change to previous albums for example.


DenpaFuzz: I think I’ve never said this to you, but you are one of the band that made me interested in new bands that led me to the creation of DenpaFuzz. After many years listening the good old 70’s rock classic, backed by the idea of “If I have the roots, why choose the fruits?” An enormous mistake. What would you say to these people like me that just keep on listening the same bands? How do you define you sound?

Sam: Wow cool, much obliged. Glad you tell us. Don’t know what to say actually, I did the same thing back then and that was the reason why I formed Siena Root together with Love. I was listening to the old stuff and had the idea that all the vibe was lacking in the contemporary music of the late 90s/early 2000s. Now it’s different, but I still believe that in order to know what’s going on you need to know your history, and that goes way beyond music.

Love: Thanks, we are very flattered to have inspired you. It’s important to know the roots to be able to appreciate the real good fruits.


DenpaFuzz: You’ve been an open minded and curious band and more than 20 musicians have been in your ranks. What is the engine that keeps Siena Root together and looking forward?

Love: Sometimes I forget why I keep this slow train going. I guess, it’s fun as long as you keep a steady solid foundation of the band where your soul resides. It has to be fun, challenging and rewarding, and not too much focus on the business part. Siena Root has always been an underdog, or subculture, never mainstream.

Sam: I think the energy all the musicians we’ve worked with brings new blood into the mix and that is definitely a part of fueling the engine. But also this ongoing dream about making a really special album and being able to communicate the bands vision to the audience makes us looking forward. Being a member and even a founding member of this band makes it hard for me to see the band from the outside and it’s obviously impossible for me to know if the fans and the audience see the band as we do. We know some har core fans do J but how does the bigger audience see Siena Root?

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“…not too much focus on the business part. Siena Root has always been an underdog, or subculture, never mainstream”.

DenpaFuzz: You’ve had several singers at different points in time. In fact, after the Samuel Björö left the band in 2017, I saw you live with Sanya. Lisa has been with you for more than a year. And, now, in the same record, you have two female singers; Zubaida and Lisa. How this idea was conceived? Will both of them in the upcoming shows?

Sam: We had always worked with Sanya on and off from time to time ever since the time she came back in for the Root Jam recordings/concerts so when Samuel left it was pretty natural to bring her on tour again. Lisa joined us as a guest for a tour and things worked out great so when we started writing some new stuff it was also a natural thing to ask her to join us for some of the writing sessions. We had known Zubaida for quite a while and knew she had a great voice so when we were about to record the new album we wanted to ask her to do some songs and the result was amazing so one thing led to the other so to speak. On the new album there are like 11 musicians featuring or so and I don’t think it’s gonna be possible to tour with all of them at the same time except for some special occasions but I think you can expect to see both Zubaida and Lisa with Siena Root in the future but not always on the same tour so to speak.

Love: Once again, it was changes and chance that showed us the door into the next album. We just had to open it and seize the moment. The two shows in Stockholm and Gothenburg will feature most of the people that play on the record. We call this the Siena Root delux. It will mainly be a smaller lineup with mostly Zubaida on vocals that will tour this spring, because of practical reasons.

DenpaFuzz: During the recording process of the recording of the new record you visited Colour Haze studio in Germany, where you recorded some of the songs. Moreover, Stepfan Koglek played the guitar in some songs. Did you planed it or it just happened that way?

Sam:  We’ve toured side by side with Colour Haze ever since the early days and our first tour of Europe and we’ve always been  in touch with Stefan from time to time. So we talked to him about his studio and the possibilities to do something there, one thing led to another and eventually we stopped by his studio this summer after some festival shows. We had a 2” tape in our hand and asked him to do some guitar work, it was great! 


DenpaFuzz: I’m curious: that bus I’ve seen so many times in pictures and where you’ve recorded the video for “In the Fire”, what do you use it for? What’s the story behind it?

Sam: We use it for touring from time to time, it’s an old Scania from 1966 that I own together with some friends. We’ve had it on longer european tours and for festival weekends etc. It’s gonna get on the roads again this spring/summer. It’s a great piece of history, runs like nothing else, they just just don’t make things like they used to anymore. That bus has been to all over the globe, India, Africa you name it, I’m sure it’s gonna keep on runnin’ forever hahaha…

DenpaFuzz: You’ve had several collaborations from other musicians like KG West, that comes and goes from your recordings and live performances, Johan Borgström or Lisa Isaksson, what’s the role they play in the album and in the band? Will we see them playing at some point on the presentation tour?

Sam: You will definitely see Johan on tour, we work a lot with him nowadays and he brings a lot to the band. KG was a very important member of Siena Root and we always keep in touch. But he spends most of his time in India nowadays so it’s not likely that he’s gonna be on the road with us for any long tours or so but that doesn’t mean that he can’t show up for one offs from time to time but at the moment there are no such things planned.

Love: These excellent musicians will be performing with us when there is an opportunity and bring in more inspiration to the music. Johan Borgström will be touring fill time with the band this year, playing guitar.

DenpaFuzz: Regarding “The Secret of our Time”, you have created a concept album about human nature and its relationship between technology and artificial reality. What drove you to walk this way?

Love: This is a contemporary crossroads, where we stand today. It’s right now, right here we decide the kind of world we hand over to our children. Are we capable of thinking as a species, or only as 8 billion individuals? We are on a path towards  disunion, climate change and autonomous intelligent weapons. I think this is important stuff that concerns us more than we think, things that influence us more than those who used to hold the decisions up til now.

Sam: I guess it’s in our time, we are influenced with what’s going on in life and society at the moment and the relation between man and machine feels more relevant now than ever before I would say. But it wasn’t planned like “hey let’s write an album about this or that” it was more something that happened or grew stronger while the first pieces got written and came together. 

“For this album, each song was created in different ways. It is also a matter of production. We wanted to enhance the different vibe of each song, making a complete album”.


DenpaFuzz: The topic of the album has been an influence to showcase more prog and folk elements in the recordings?

Sam: Maybe… I like prog and folk but it wasn’t conscious from our part.

Love: Yes, maybe, but still it sounds like a good old root rock album.

DenpaFuzz: After listening the whole album, we can conclude that it has its roots in the blues and, to a lesser degree, in that vintage rock that has been characterising Siena Root all these years. Does Lisa’s register any special influence or it is that you just inspired more on blues than in hard rock for this record?

Sam: I can’t hear it that clearly, I guess I’m too involved in the album to hear it objectively. I like blues and I like hard rock but my answer remains the same as the previous question, it wasn’t conscious… We very rarely speak about let’s do this or that, we jam, write and see what comes out.

Love: Lisa has brought some sparking inspiration for sure, but we are many who listen to blues a lot.

DenpaFuzz: I know that the hard rock is in the album in songs like “In your head” or “When a fool wears the crown”, but, at the same time, I perceive a huge folk flavour in it. Do you compose the songs mixing different elements or each song has its own identity?

Love: For this album, each song was created in different ways. It is also a matter of production. We wanted to enhance the different vibe of each song, making a complete album.

Sam: A bit of both, in the beginning I think the songs have their identity (I hope they still do J), but when the smoke clears away and we start to see the complete album we always try to make it come together as a unity. 


DenpaFuzz: Songs like “Siren song” has different stages in which the blues is in first place to share its predominance to retro-rock and to this organ sound that resembles more and more to Deep Purple, don’t you think? As far as I know, you’ve shared stage with them, how that experience was it like?

Sam: Playing with Deep Purple was great! In all respects it really was. It’s a band that’s been part of my life for a very long time musically and I think we are related to them somehow in a musical way that goes beyond being a band with organ. They were really nice people and one of the great moments was when we played our first song and look to the side of the stage we see the guys from Deep Purple diggin’ the show and filming the gig with their telephones. After we had enjoyed their show we were sitting backstage in our locker room and suddenly somebody knocks on the door, I open and in comes Ian Paice with a case of beer – Cheers guys, let’s celebrate! 

DenpaFuzz: For a long time, I’ve been holding the opinion that your songs have sections of force and rhythm and, at the same time, they have relaxed sections. This is the case with “Mender”, do you agree with me? How do you achieve such changes?

Sam: We always work the dynamics, when some sections are relaxed the heavy stuff comes across heavier. I remember very early on, when we formed the band, we said we’re always gonna be light AND shade not just heavy riffing. It was a joke but it lived with us until today.

Love: We describe our music as dynamic root rock. I think this is true also for this album. It is indeed dynamic, both in vibe and volume. We try to use the compressor with moderation.


DenpaFuzz: “Final Stand”, the opening song, without rejecting classic rock, showcase some progressive elements that, somehow, soften the edges of the song. The good work at mixing & mastering results in an amazing song but, do you think this could lead listeners to think your sound had become softer, as it happened with other bands?

Sam: I don’t think so, but again I don’t really hear it that way haha. I think it’s heavier than our previous 2 albums but it’s gonna take me another few months before I can hear the album with fresh ears. When you work with writing, mixing and mastering you don’t hear anything after a while hahaha. That said, you are probably right but to me I think our fans wants the broad palette that Siena Root offers. 

“Playing with Deep Purple was great!… After we had enjoyed their show we were sitting backstage in our locker room and suddenly somebody knocks on the door, I open and in comes Ian Paice with a case of beer – Cheers guys, let’s celebrate! 

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DenpaFuzz: What is the role of Siena Root within the underground scene? I mean, which kind of people your music is addressed to?

Love: We leave no one out, all people are addressed and included in our music.

Sam: It’s for everybody! I don’t really know our role, we just do our thing, it’s probably easier for you and our beloved fans to determine our role.

DenpaFuzz: In the lasts songs of the album, like the wonderful and bucolic “Daughter of the Mountains” or “Have no Fear”, you led yourselves carried away by folk vibes, adding the sound of the sitar. Even more, in “Have no Fear” you sway towards progressive elements. This is, somehow, a counterpoint against the earlier songs. Is this part of the conceptual nature of the album?

Love: Yes, the hole album makes sense as it is composed. It is the complexity of the mankind, the diversity of nature. One riff or one beat is not enough to tell the whole story.

Sam: I don’t know what previous albums you refer to but both “Different Realities” (2009) and our debut “A New Day Dawning” (2004) have their fair share of prog and folk don’t you think? So in my mind it’s always been a big part of the Siena Root sound and also maybe the thing that separates us from the stoner bands and classic hard rock bands. 

DenpaFuzz: The work closes with “Imaginary Borders”. Here, I perceive a melting pot of the different elements present in the whole record. Different styles in the same song, with a west-coast influence and big progressive moments, as well as some retro riffs. Please, talk us a bit about this song… 

Sam: It’s one of my favorites on the album, I’m very happy with that one. The irony is that it was very quick for us to write… Melody came first, some jamming and finally we sat down with the lyrics and there it was.

DenpaFuzz: How do you expect the audience to receive this album? Do Siena Root have any goal to achieve?

Sam: We want to move forward and do new stuff musically, artistically and also touring wise, like tour places we haven’t played before. We want every concert to be unique, like we usually say we don’t wanna do the same songs over and over again, a lot of bands do that very convincingly but it’s not for us. We hope our fans, young and old, new fans and old fans, are gonna spin this album many many times!

Love: To know the impression is rather hard. I think we’ve managed a very good sound production and some very cool tunes. I hope that this will open doors to new audiences, in other parts of the world and music preferences.


DenpaFuzz: Thanks a lot for your word and I expect listening live these new songs soon. Will you visit Spain? Good luck!

Sam: Thank you my friend! I really hope to see you soon and also hope to visit Spain very soon, nothing confirmed yet but we are working on it.

Translator: Omar Prieto