The Great Discord Interview
Hi guys!!! Welcome to another Q&A session with Mayhem Music Network. This is the beginning of the holiday season, specifically, Thanksgiving! One thing I am VERY thankful for is the existence of fabulous music made by extraordinary musicians. And I am very grateful and thankful to all the members of The Great Discord (TGD) who took time out of their busy schedules to answer some questions. TGD are: Fia Kempe (vocals), Aksel Holmgren (drums), Gustav Almberg (guitars), André Axell (guitars) and Rasmus Carlson (bass). So here it is! A very special Q&A session with Mayhem’s own Lady Siren Song and The Great Discord! Enjoy!!!!
1. Can you tell us how TGD came together and what inspired the band’s sound?
TGD was initially a musical experiment between Fia and Aksel. We basically set up a studio in the middle of the Swedish woods and made music. No preconceptions of what it would be, other than it would probably be some sort of metal. Completely free and fun. So we guess you could say that the sound initially was a mix of our personal tastes, and probably pretty introverted. It was a lot of fun and rewarding and we worked fast, we wrote the basic ideas for a few songs in just a day or two, most of them ending up on the album.
As far as thematic inspirations go the music sort of called out for something theatrical, and dark. From there we devised Fia’s character and the story of the first album, tying things together. Good times!
The sound has since then developed into something more refined and focused. Also, the proper addition of the writing flairs of our fellow band members, have elevated things even more.
2. TGD has released ‘Duende’ as well as the EP ‘Echoes’ in 2015. Both unique in their own right. The band is working on another release for 2017. Can you tell us a little bit about how that process is coming along?
We’re about 95% finished with the writing. We know what the album will sound like, what the songs are, what their names are and what the next step for us will be. We literally cannot wait to begin to share it with everyone, so snippets from our sessions will probably find their way to the web. In fact, a first glimpse of Fia laying down vocals is already out there. The new album is a bit different, make no mistake. Doing the same album twice won’t work for us. But we feel we have made the perfect move for our band, and for us as songwriters and artists. We hope you will like it.
3. As a tie-in to the first question, how will this album differ from the previous album? Duende seemed to be a very deep album that touched on many issues relevant to the world today. Will the next album be on the same path, or do you see it, creatively, going in another direction?
We’d say that the new album is a little more…red. Whereas the first album was generally blue, red is the color of danger, violence, love, anger, passion, energy. What that means for us musically is something you will find out in 2017. It’s going to be different. Change is completely essential in art, but we are still The Great Discord, and we feel that we’re only at the very beginning of this journey.
4. Are there any touring plans for the band next year? If so, where?
Ah, plans! Yes, there are plans. Unfortunately, before they become very close to reality, we cannot comment on this. We can tell you that we have things in the pipeline; some are closer to announcement than others. We are looking at a busier year in the live department in 2017 than this past year, that much we can tell you. Stay vigilant!
5. Fia the vocals on both the album and EP are amazing. When I listen to ‘The Aging Man’ it seems like the vocals would have been challenging with the rhythmical changes to the music. Can you tell us about your experience recording the vocals for this song? If it wasn’t the most challenging song for you to sing, what song was the most challenging?
First of all, thank you very much! The Aging Man was one of the first songs written by me and Aksel in the beginning of the process of TGD. Actually, the rhythmical aspect of the song was something that latched on quickly since it was so much of a hook for us. And listening to so much rhythmically challenging music (TDEP* being a shining example of this), it becomes something almost natural. What became more challenging was the acoustic version of the same song, with all the off kilter changes in harmony and rhythm. Taking something intense and energetic, and transforming it into something that translates well into a strict vocals and piano arrangement was very fun to work on. *The Dillinger Escape Plan
The most challenging song on Duende for me vocal-wise was A Discordant Call. I really went for the shifting between soft leaky jazz vocals, my more powerful voice and on the brink of screaming in that soul type fashion. Those long notes in the chorus left very little time to breathe, hehe. Unfortunately we have not had the opportunity to perform this song live yet because of practical circumstances (logistical, seven string guitars) but when we do it, it will be a challenge for sure, and I can’t wait.
6. André and Gustav, the guitar work is incredible! Can you each tell us about your backgrounds in music (do you only play guitar or do you play other instruments; what/who provided inspiration for you musically)? I have to say that the guitars in Ephemeral are intriguing. It starts off absolutely gorgeous! Then it shifts into heavier riffs with a quirky little twist. Then they get melodic again. Can you tell us about the composition of that song? Can you each tell us about what inspires each of you musically?
André:
Thank you! I started playing guitar at 17 or so, and started my first band with Aksel and his brother Joel. We continued playing together under different monikers for 7-8 years or so. Fia’s brother, Erik (who provided guest vocals for Selfaeta on Duende), joined us on vocals after a while. Keep it in the family, you know! I’ve never had any formal musical training, but I’m constantly learning new things from playing with these guys, which is a real privilege. I’m trying to teach myself how to play piano and keyboards, with moderate success.
I think Ephemeral is a shining example of what makes our songs intriguing, being thrown between the contrasts of harmony and disharmony. The crescendo is also one of the most fun passages to play live, ever!
Mastodon is a band that has influenced my playing a lot over the years. But lately, inspiration comes from just about anything and everything. When you let go of silly ideals about what metal should or should not be you end up with interesting results.
General comment: Everyone in the band has their fingers in the pickle jar in all of the instrumentation pretty much, so we write a little of everything together. An exciting experience since different angles when approaching instruments can yield results that a comfortable person might not think of regarding a particular instrument.
Gustav:
Thank you very much!
At the age of six my mother came home and put a violin in my hands. I have no memory of ever telling her that I wanted to play the violin, but then again how much do you remember from when you were six years old. And even if it was her idea, I am very grateful for it. Later on in my early teens, I started to play the guitar. It was when the Swedish hardcore scene was at its peak, and my friends and I got lessons in the mosh pit almost every week. It didn’t take long before we had started our own band.
After that I continued studying music in school, playing all kinds of music. But the education I got from all those visits to the local youth clubs still trumps that. After school, I played with some different bands but the most notable one (except for TGD), is the post-rock band “pg.lost” that I’ve been playing with for over ten years now.
If I would list the musical inspirations I’ve had throughout the years I would come off as some kind of schizophrenic. Let’s just say it’s very diverse but also kind of narrow even though it ranges from “Nasum” to “D’Angelo.” I have a big need to find new music all the time.
When I joined the band, Ephemeral was a song that was more or less complete and my contribution, composition-wise, is very small. It was the first one I heard and still one of my favorite TGD-songs to play and listen to. The ending riff of is one of those parts were it’s hard to contain your cool and you just want to
break stuff.
7. Rasmus, how did you become a member of TGD? Were you involved in other bands that showed off your bass skills—did that play a part in how you came to join TGD? The bass you play appears to be a 5 string with some unusual frets. Can you tell us a bit about the basses and gear you use when playing with TGD? How long have you been playing bass (and other instruments if you play anything else)? Does anything inspire you when it comes to your bass playing or music in general?
I actually got a text message one day from someone called Fia Kempe. She had seen my Jamiroquai bass covers on YouTube and asked me if I wanted to play some progressive metal. I wasn’t really into that type of music, but I gave it a chance and completely fell in love with it! I’ve played in a couple of bands before TGD of course, styles ranging from Genesis influenced prog rock to folk music from Serbia, Bosnia, Turkey and so forth.
The bass I’m using now is a Dingwall Combustion 5-string that has what’s called fanned frets. It’s basically a varying scale length that preserves the tone of the instrument from highs to lows, and helps with the intonation. A very good sounding bass with lots of character. I also use a Darkglass B7k for some distortion, and a Markbass amp that shapes the tone. It really does the trick for me and gives me a nice growl.
On the previous record, I used a Warwick Katana five string that unexpectedly transformed into a four string when one of the tuners broke in the beginning of the session. Turned out to be quite tricky, but hey, I’m not one to back down from a challenge.
I started out as a “drummer” when I was about six years old. Just smashing and bashing to a CD with “The greatest hits from the 50’s.” I learned a few chords on guitar at age seven, and once again played some 50’s rock and roll. I kept on doing that for a couple of years, until I picked up the bass and started my first band at the age of ten. I’m twenty two now. Oh and nothing turns me on more than a disco bass line.
I often get inspired and creative when I’m outdoors in the woods, or when I hear sounds that are not inherently or purposefully musical. It doesn’t have to be music, but everything that triggers some sort of feeling. Cheesy but true.
8. Aksel, VERY intense drum work! When did you start playing drums? What are your musical inspirations? Is there a particular song with TGD that is particularly challenging for you to play? I noticed with songs like, “The Aging Man,’ as well as others, that the rhythm of the drums can change drastically. Do you like to have dramatic shift in time signature/rhythm when it comes to your drum work?
Thank you! I started at the humble age of 14, playing with friends as most people do, covering Metallica, Nirvana, bands like that. Then my brother and I formed a band with André and things went from there. As far as inspirations go, (drumming-wise), nowadays I’m a sucker for gospel drummers, and fusion drummers. I love Benny Greb and Chris Coleman, two extremely musical drummers and technically out of this world. In the metal world I really like Mario Duplantier, Brann Dailor, Matt Gartska, guys like that.
Inspirations–musically or in general, I couldn’t tell you, it’s just too much. It varies greatly from day to day. One day it’s Thomas Newman or Clint Mansell (movie composers), the other day it’s Esbjörn Svensson Trio or Jon Hopkins, the next day it’s Stravinskij, Cattle Decapitation and Terra Tenebrosa. And some days it’s just Pink Floyd. And some days it’s the Spotify Top 100 just to get the pulse of fast good music, sometimes you find real gems. I like to change it up as much as I can stomach and as much as I can absorb. This probably reflects itself back to our music, as we’re all pretty much like this. The challenge is to not overdo it, to keep the idea intact.
Deus Ex Homine is a challenging song to play. It’s probably our most dynamically challenging song (so far) and has some pretty off kilter fills and frills.
9. Can you tell us about how your live performances (shows) came together, and how the production of those performances came about? Set decorations, lighting, stage outfits, artwork?
The idea was to offer something more than just us playing our songs, staring at our instruments or the floor. Don’t get us wrong, we love a good staring-at-the-guitar-neck show, if the music can carry it. But that is not us. We want to interact, to be dynamic, and to give a show you want to see not only based on the music.
The production right now is limited because of logistical and monetary constraints. We want to make something big, and big takes time. On the other hand we know our strengths and play with that.
Fia’s character is, for us, a logical representation of the music. An entity, not entirely human or even has a gender. Its role is to convey the songs, plain and simple. The other band members’ roles are not to be the center of attention. Therefore, we all wear the same outfit, simple and black. The artwork (made by the eminent Mattias Frisk), represents the dark side that lives inside, threatening to take control. The thing that makes you do the things you regret; your dark thoughts and impulses telling you who and what you really are. Everything depends on how you respond to it. Some do it well, others don’t. The looming, threatening shadow over the small figure.
10. Since this site is about our love of music, can each of you tell us what is on your iPods or MP3 players right now?
Fia: The new Dillinger Escape Plan album, Dissociation. It breaks my heart to hear that they’re not going to make more music together after this run, but I wish them all the best in whatever they take on in the future. And of course thank them for the madness.
Aksel: Right now, mostly TGD demos, hehe. Other than that it’s a lot of Converge and Code Orange to clear my head with aggression. Meshuggah’s new album is great, but demanding. TID is also on heavy rotation, they’re friends of ours and their new album Fix Idé (where Fia is contributing on the song “Dumhetens Gudinna”) is amazing.
André: Bon Iver’s ’22, a million’ gets listened to a lot. If we’re talking metal, Oathbreaker’s new album ‘Rheia’ is incredible.
Rasmus: As Aksel said, “It varies greatly from day to day.” I’m not that committed to a specific genre. It’s a span between Humanity’s Last Breath and Abba. Lots of Periphery, BB King, Brian Bromberg and Rammstein right now.
Gustav: Same as André, the new Bon Iver has been spinning quite a lot. Other albums right now would be: Weyes Blood – Front Row Seat to Earth, Cymbals Eat Guitars – Pretty Years, Kevin Morby – Singing Saw, Jank – Versace Summer, The Hotelier – Goodness, Andy Shauf – The Party and the new single “Taekwondo” by Dim Out. Not really close to the kind of music we make with TGD but I see that as an asset.