Posts Tagged ‘Nightbringer’

Nightbringer förklarar Lucifer Trismegistus: ”Övertonerna var ett sista-minuten-beslut”

28 september, 2011

Wow. Första gången jag hörde Nightbringers låt Lucifer Trismegistus från aktuella Hierophany of the Open Grave var det som se en smart utformad labyrint ovanifrån, med snygga, kluriga lösningar på hur riff och sång skulle passa ihop.

Sånt får mig att bli nyfiken, och eftersom Bara Metal strävar efter att sprida och dissikera bra metal ville jag ta reda på hur låten kom till. Naas svarade på frågorna:

Förklara hur Lucifer Trismegistus kom till!
– Jag experimenterade med duellerande gitarrer stämda i H och E, och känner att resultatet var väldigt effektfullt. Övertonerna var ett sista-minuten-beslut vilket jag verkligen tycker gav karaktär till låten. Trummorna sköttes av VJS. Sången la vi sist, ar-Ra’ad al-Iblis har bidragit med en del text, så vi tänkte att det skulle passa om han ville lägga sång också, eftersom han är en bra sångare. De duellerande sångpartierna gav dynamik till låten, tycker jag.

Vad skrev du först av låten?
– Öppningsriffet. Allt byggdes runt den här första biten.

Hur lång tid tog det att göra låten från scratch?
– Jag komponerade största delen av Lucifer Trismegistus långsamt under en period av sex månader. Öppningsriffet är till och med några år äldre. Det tog så lång tid bland anant för att jag jobbade med andra låtar till och från samtidigt. Huvuddelen av låtkompositionen skrevs dock under en tremånadersperiod med många ändringar och finjusteringar.

Refrängriffet med övertonerna är makalöst – hur kom det till?
– Detta är verkligen det drivande huvudriffet. Vi försöker att inte upprepa oss, och om vi upprepar samma idé som kommer tillbaka senare i en låt, gör vi små avvikelser. I det här fallet med körpartiet la vi till en högre kvinnlig vibratoröst, vilket gav det spöklika och dramatiska sound som jag var ute efter, som i sin tur gav låten sitt klimax.

Vad siktade du efter när det kommer till låtens atmosfär, med till exempel körer och den lugna delen utan trummor?
– Jag försökte fånga något som lät väldigt ondskefullt med ett plågat barockt sound som var både aggressivt och atmosfäriskt.
– Körerna passade in med tanke på texten, som är en sorts hyllning till Lucifer. Delen utan trummor VJS idé, och jag tycker det fungerade bra eftersom det är ett väldigt atmosfäriskt riff, och det förde med sig att låten luckrades upp lite och gav den luft.

När kändes den klar?
– Jag tycker nog det var när melodier och kör lades till. Det gjorde den komplett.

För att läsa om vad texten handlar om – klicka här, scrolla ned.

Nightbringer: ”The pinch harmonics were a last minute addition which I feel really added character to the track”

28 september, 2011

Lucifer Trismegistus (from the album Hierophany of the Open Grave) – best black metal song of the year? A labyrinth of unrivalled riffs and dark atmosphere. Since it is such a great track, I had to ask Nightbringer – how did they make this work of art?

Naas gives us the musical details, Ophis and ar-Ra’ad al Iblis explain title and lyrics:

Please explain in detail how Lucifer Trismegistus came about – like where and when and how!
Naas: I wanted to make something that was very wicked with a haunting baroque sound that was both aggressive and atmospheric. I was also experimenting more with the duel B and E tunings between guitar one and two. I feel the result was very effective. The pinch harmonics were a last minute addition which I feel really added character to the track. The drumming was all handled by VJS. The vocals were placed last per usual. ar-Ra’ad al-Iblis had contributed some of the lyrics for this track so we thought it would be fitting to get his vocal contributions as well given he is an exceptional vocalist. The duel vocals added a lot to the dynamics of the track I would say.

What did you aim for with the atmosphere of Lucifer Trismegistus, e.g. the choirs and the tranquil drumless part?
– Again I was attempting to capture something between a baroque sound and something more aggressive yet overall dark and sinister. The choirs just seemed fitting given the lyrical context, as it is a hymn of sorts to Lucifer. The drumless section was VJS’ idea and I think it worked out well as it is a very atmospheric riff and served to break up the track a bit and let it breathe.

What part of the song came first?
– The opening riff. Everything was built open this initial part.

How long did it take to make the song from scratch?
– I composed the majority of the music for Lucifer slowly over about a six month period as I was working on other tracks off and on as well. The opening riff is even older by a couple of years. The bulk of the composition was done in about a three month window with lots of changes and refinements.

The chorus riff with the pinch harmonics is incredible – how did that come about?
– This is really the main driving riff. We try not to be too repetitive and when there is repetition of an idea that reoccurs at a later point we typically make sudar-Ra’ad al-Iblis subtle variations. In this case I did this with the choral part adding the higher vibrato female vocals, which gave it the haunting and dramatic sound I was looking for. I think the result was very climactic.

When did the song feel complete?
– I would say that once the harmonics and choirs were added that it felt complete.

What about the title and the lyrics?
Ophis: The part of the lyrics that I authored was inspired by several sources. The title is of course taken from the epithet Hermes Trismegistus, a designation for the founder of the Hermetic Tradition.  He is ”thrice-great” as ruler of the three worlds: the corporeal, the subtle, and the causal. In subsituting Lucifer for Hermes I am indicating Lucifer as our antinomian ”source,” ”god-form” and inspiration.

– The first line of the lyrics was derived from the Azoetia: ”Those soley of the Clay, knowing not the Arcana of I, are the Feast of all Nature [. . .] Thus are They given in sacrifice unto That which gave them Substance.” This is also reminiscent of Vedic tradition, according to which those who follow the Way of the Ancestors and not the Way of the Gods go to the moon after death, where they provide sustenance for the gods.

– The emphasis is on spiritual realization through death, without which there can be no true survival after the end of the body’s life. The ”smagdarine” crown-stone refers both to the ”emerald tablet” and to the tradition according to which the grail was actually a jewel which fell from Lucifer’s crown after his fall. This also refers to the awakening of the Ajna chakra or ”third eye” and the vision of eternity which destroys illusory appearances, the Edenic state reclaimed. Lucifer is referred to as ”janus-faced,” the hermetic Androgyne, lord of the two subtle currents of solve and coagula,  whose third face is however unseen and thus central, the third eye as was just mentioned.  Beyond this state, what arises is the vision of the Absolute, symbolically Silent, Void, and Black (to be understood as light surpassing).

ar-Ra’ad al Iblis: The second half of the lyric that I wrote was mainly thought to represent the paradoxical nature of Lucifer as the bestower of spiritual illumination as well as the wrathful destroyer of illusions. Also it is somewhat a meditation upon the mythological aspects of the Lucifer connected to the ”hidden” sephirah Daath, which can be thought of as an abyss of endless potential, paradox and possibility and is seen as a secret path to the highest sephirah Kether as well as what Michael Bertiaux calls ”Universe B”.

– This is linked to the luciferian archetype uttering the primal negation by refusing to submit to the binary current of creation (”The lie” or the zoroastrian term Druj), thus surpassing the universal order and opening the gate of formless perfection that is the ”stead of the Dragon” (AZ or Tiamat/Tehom). Although in itself being the formulation of duality (diversity in lower worlds), it is also the vehicle unto the boundless totality of the Absolute which is both ALL and NONE in union.