Firstly, I hope you have all stayed safe through this unprecedented period. How was your lockdown experience, did you take time to reset or get creative, write, and throw yourself into your craft?
We all handled things a bit differently I think. Our work and homes lives were all effected in different ways. I went in lockdown a few weeks before it really hit the UK due to my work restrictions and partner getting ill. So first thing I did was bought myself an interface, downloaded a DAW and some plugins and started demoing tracks. I had a super creative initial few weeks, busting out song ideas and learning new skills. I know that Ste hit a huge writers block which lasted quite a while but that gave him some time to work on other aspects of the band, stuff that happens being the music. So for the most part, we continued to plodding along in one way or another.
Were you directly impacted by Covid-19 – any tours or releases impacted by the pandemic?
Sadly we had several shows and tours, some that hadnt been announced yet, postpone or cancel. We are hoping that we are able to reschedule soon but the UK looks to be in a more difficult position than some other European countries that have already started to see shows begin to emerge again.
How has the pandemic effected things like writing or rehearsing?
Rehearsals completely stopped sadly as Vulcan Studios, our main rehearsal room in Liverpool was completely closed. We did discuss trying to set up skype or some form of online rehearsal but we were not really well equipped or knowledgable enough to sort that out. We did however, as mentioned earlier, record some rough demos and share tabs and ideas with each other. We also spoke alot about future ideas, inspirations both musical and thematically that we wanted to included in the writing process for the album.
How do you see the music industry adapting coming out off the back of COVID-19?
The UK is really struggling with the lack of support from the governement and the continued restrictions that are in place. Between social distancing and venue volume control, small and more underground shows are just not likely to happen in the near future. Venues are dropping like flies around the country and only the larger venues are seemingly able to stay in business. I can see the music industry trying to innovate and adapt, especially the live events industry, in how it presents music to audiences. We have already seen a huge rise in live streaming of events, various digital mediums and platforms being brought to the forefront of live music entertainment. European festivals have been running digital/virtual live shows from mainstream bands, DJs have been selling access to live streams, outdoor live events have attempted socially distanced concerts and even drive-in concerts. While this pandemic is a massive blow for the industry, I think it is forcing people to be creative and I hope that this level of innovation will continue throughout and after the pandemic is over.
Do you think that the music industry has pulled together to support each other through this time?
Its hard to say really. I think in the UK that the industry has came together and bonded over a mutual loss of work, income, enjoyment, entertainment and general livelihood. With the #letthemusicplay movement bringing together displays around the UK from music industry professionals, its obvious to see how much care and culture there is within the music world. A shared concern across the music and the arts industries due to the frustrations of having no end in sight, no firm hope and little to support the grass roots professionals: indepenent venues, sound techs, lighting riggers, stage teams and roadies etc, I do believe that many sectors have a new found understanding and empathy for the industry at large.
What artists influenced or inspired the members of the band to become involved in music.
I think that is probably too huge a question really. I think Ste would say Dino Cazares as he is a huge Fear Factory fan and that would be one of the bands that really got him into playing guitar. For me, I would have to say Les Claypool because of both his ability and attitude towards the bass guitar and using more as a lead instrument in a band sense that a supporting instrument. I know that Jon had previous correspondence with JR Hayes from Pig Destroyer when seeking some vocal advice although his stlye is more akin to the likes of Ruben Rosas or Angel Ochoa. Lewis is a huge fan of The Black Dahlia Murder and Megadeth so brings quite a twist into the musical mix with the rest of us.
What has been the biggest challenge that the band have faced pre Covid-19?
We had some unfortunately lineup setbacks but the biggest challange was really creating a name and building a reputation in the worldwide brutal slam scene, of which there are many bands, a lot of whom are very good at what they do. Its hard to nail a sound that doesnt ostricise an audience but is in line with what your own interests are and what your idea for the band is. On the Human Dignity Violated EP I think we really nailed the sound we want going forward and finding a label home in RealityFade, the owner of which has been incredibly supportive in the short period we have been working together.
Would the band have done anything differently in the past?
Personally I would say nothing really. The band has developed organically and while some lineup changes have occured, they were for good reasons and have not caused any issues in the development of the bands. It did effect our output for quite awhile as we had to source a new drummer and vocalist, but now we have developed into a stronger, more cohesive unit because of it all.
When the band was formed, what was the vision and is it different to your current standing? If so, do you still aim for that vision and how will get try to get to that position?
The band formed as 3 piece with the aim of creating the most brutal caveman slam type of music possible. I am sure that many bands would answer the same way, but all the founding members had other projects but did not have the necessary output for bludgeoning, caveman slam riffs akin to that of Cephalotripsy and Epicardiectomy. There were few bads in the UK at the time doing music like that due to the rise in the newer wave of slam meets beatdown meets deathcore type bands.
What’s Happening Now: Tell us about what you are currently up to?
Now we are back to writing full time towards album number 2, tentatively titled ‘Elegant Degradation’. We are about 6 songs into the writing process and are experimenting a lot, bringing in the infuences of each member but refining them into the overall Colpocleisis sound. We are hoping for an early 2021 release.
If you could give any advice to anyone who wanted to become involved in the Brutal Death Metal side of music, what would it be?
Dont try and clone your favorite bands. Taking inspiration is one thing but try and find your own niche to help stand out from the crowd. Dont be afraid to experiement and always be your own biggest critic.
Where do you see the future of extreme music going?
I would like to see the future of extreme music staying the same. Extremity comes from the underground, creativity comes from oppresion, desire, from experience. If the situation changes then so will the music. Extreme music has many faces and is continually growing into something else, but it rarely reaches such high peaks and when it does, chances are its not ‘extreme music’ any more and has evolved into something else.
What are the plans for the future of the band and the bands members?
Continue writing, continue gigging, keep trying to push the band and keep developing as musicians. We have a postive outlook for the band now that we have signed up with RealityFade. Dimitri Sagaidak is incredibly supportive as I mentioned earlier and he is an actual fan of the music, not just a label boss who knows how to run a business (although that is indeed a welcome bonus)
Thank you for your time and wishing you all the best through this difficult time.