ALBUM PREMIERE & INTERVIEW: ‘✥ FUTUE TE IPSUM ✥ Angel with Many Faces’ by VAINA

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Escape to darkness

Kill all light

Black is the triumph

That has no site

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Spiritual transcendental art, karma for the dark subconscious. That’s how the press release describes ✥ FUTUE TE IPSUM ✥ Angel with Many Faces, the second experimental full-length album of Finnish strangelings VAINA that we have the grandest pleasure of premiering for you today – and that description is not too far from the truth.

For starters, “spiritually transcendental” may even be an understatement. Willfully and violently disregarding all established genre norms of “black metal” to become more black metal than black metal itself, Futue Te Ipsum focuses and traverses so many internal and external dimensions, stripping away what is real and tangible and leaving only an emptiness that fills immensity, that it becomes astonishingly profound. It is all and nothing; completely mind and spirit expanding in the truest sense.

Yes, the black/electronic/ambient/avantgarde Futue Te Ipsum is made to tear your psyche apart; to wrap slow neon tendrils of negative light around your mind, dissolve your consciousness and reassemble it as you could never have imagined. It’s a journey not for the fearless, and CERTAINLY not for the closed-minded. Whatever you may be looking for on your musical journey, I can almost guarantee that this is not it – but give yourself over to its mysterious ways and it will show you more than you’ll ever have dreamed.

Releasing March 4th via the exemplary purveyors of non-conformist arts Aesthetic Death, you can listen to our early full-stream below and as a bonus peruse an interview that we fortuitously conducted with its enigmatic creators. Will it illuminate things further? Yes and no… but that’s all part of the journey.

Oh, and the “karma for the dark subconscious” part? That’s up to you to discover. Hails.

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Greetings, Vaina! It’s a pleasure to be speaking with you today for the release of ‘✥ FUTUE TE IPSUM ✥ angel with many faces‘. Now, there is something I simply must ask about first – as near as I can tell, “Futue Te Ipsum” translates as “Fuck You”, which would be quite the confrontational and odd album title. What’s the story behind this title?

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Futue te ipsum is our
De mysteriis dom sathanas.

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This album is markedly different from your first full-length P U R I T Y, being much less of a harsh noise oriented affair and more… spiritual. The press release tells the story of a remarkable first gig that shaped the direction of the band from that moment onward, becoming a violent and transcendent experience for you. This is especially noteworthy because on Futue Te Ipsum you pose an interesting question: what is the true nature of “god”. Was that gig the genesis of the theosophical slant behind this record? How do you explore this question through your compositions (if that is indeed the overarching theme behind the album)?

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What’s the true nature of it all?
The question itself reveals the answer.

As albums subtitle hints, there are millions of interpretations of the same thing. We give just major middle finger to this kind of coffee table discussions and go dig up the actual bones.

Topics like this are basic shit in our works. “Futue te ipsum” is not a typical theme/concept album from that point of view. It’s certainly nor just collection of songs.

The gig itself didn’t set the new direction for us, however the preparation for it kind of forced us to think new ways of expression. We understood the benefit of well-designed framework. When certain things are done correctly, you have also space for messing around. However we barely had these things in place on the gig.

As they say, failure is the best teacher. We would rather put it: experimentation is a path to victory.

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As you chose to largely improvise that aforementioned set, does that indicate that improvisation features heavily in these album compositions as well?

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Unfortunately improvisation has a bit bad reputation, even its a trainable skill (and a tool) to be in connect with your true nature.

When you are really skilled e.g. guitar player, usually the first recording take (like guitar solo) is the most powerful. There are things that you can only do once.

Often abstract or expressionistic expression and improvisation have common ground. If you compare this kind art e.g. to photorealistic drawing, which one you feel reveals more from the artist?

Everyone should use all of their three eyes.

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What WAS the usual creative process for a Vaina composition this time around, if indeed there is one? How has your creative process changed since the inception of the band?

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There’s not “usual creative process”. If your “heart is open”, you can experience wonders that are inexpressible with words. What comes out is (so-called) art.

Creative process in this case naturally shaped out to be chaotic but full of essentials. In our sub-consciousness we surely knew it was going to be sort of world ending album. There was so much negative feeling spilled in the songs that surely we felt anxiety at times. But it’s fulfilling to deliver it all into form somewhat enjoyable to ears.

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Although still sitting fairly comfortably – or uncomfortably – within the realms of black metal, the record is definitely quite unorthodox, to say the least. What sort of musical inspirations or touchpoints did you have during the creative process of this beast, if any at all?

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Tony MacAlpine, Brian Eno, Vangelis, Kraftwerk, John Bergin, Justin Broadrick, Marko Laiho, Thomas Tannenberger, Peter Kubik, Vindsval, Rune Eriksen, Martin Gore, Dominick Fernow, Mr. & Mrs. Arafna, Michael W. Ford, Robert Smith, Liam Howlett, Snorre Ruch, Yusaf Parvez, Varg Vikernes, Mark Frederick Pearman, Adam Jones, Thurston Moore, Peter Hook, Jaz Coleman…

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Whilst this entire record feels fairly minimal, one particularly intriguing aspect of your compositions is the use of negative space. Tracks like ‘Yksikuisuus’ at times impart as much with what they don’t say with what they do. Was this something you intentionally focused on or gave weight to?

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Glad that you pointed this out. Majority of the songs use this style.

There’s a buddhist saying that form is emptiness, emptiness is form. Every thing has come from emptiness, is surrounded by emptiness and will return finally back to emptiness. Physics has also found that even our bodies consist almost entirely of emptiness. Emptiness makes things possible to exist. Walls don’t create a room, but emptiness does. When we want peace of mind, we need silence and space. There we can find ourselves.

Let’s say, that “metal” is much less important than “black” in the context of black metal. By eating all the space with “metal” (distorted guitars and bass, blast beat, screaming, synths…whatever), you usually eat the “black” too. Of course “black metal” is also much more than just an “ambience”.

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In the track ‘puramís’, there is quite a profound moment – a moment of death. Could you explain this composition and moment of the album in particular for us?

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We could copy-paste the previous answer here as well. Snake that bites its own tail. Circle is complete and cycle is eternal.

Hopefully you noticed also that this moment is in the middle of the song. What happens after is equally important. There’s a gate.
We could also say that this is actually a cover song, but of course not in its typical way. A new entity after certain moment. Version of otherness.

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I could ask about many more fascinating moments on the album as there seem countless secrets to unlock, but just one more will do: the entire track ‘–. .-. . . -.’ As the lyrics say: “Melt into danger. Melt into green.” What does it all mean?

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Antichrist.

If you familiarize yourself with art of the new millennium, I think you can unlock this pretty easily. We can’t give more hints, without spoiling it all.

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The female voice on that aforementioned track is an excellent addition as well. Is this person a member of Vaina or a guest? Did you have many guests on the album, or was all the composition the product of Santhir The Archmage (as Metal Archives tells me is the main composer)?

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Hopefully Metal archives is not your only source of truth, also what comes to Santhir The Archmage. Physical copies work usually better for today’s news.

Even in this interview, there’s lot’s of “we” instead of “I”.

Vaina is like ecosystem. Changing or killing one part, will have a tragic impact to the whole entity.

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Given the evolution of Vaina that has already taken place, I’m curious – where do you see yourselves going from here? Have you already begun to work on new material?

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I’m afraid we stay still here for a while, but the borders between observer (us) and observed have already started to disappear.

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And finally, seeing as we are premiering the full stream of it today – what advice would you have for someone about to immerse themselves in the album for the first time?

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FUTUE TE IPSUM is kind of hunting trip. You have possibility to experience lots of beautiful things and breath fresh air, but you also need to spend hours in cold, dark and other possible discomfort. If you are lucky, you might get a moose or see bears footprint. Snake might also bite you.

If you are into fast food culture… don’t bother.

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Sincerest thanks for your time once again, Vaina. Any final words or wisdom you would like to leave us with?

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We need more crucified ones
to save our souls!

✥ FUTUE TE IPSUM ✥ Angel with Many Faces releases March 4th via Aesthetic Death.

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Pre-order ✥ FUTUE TE IPSUM ✥ Angel with Many Faces on CD or digital from the Vaina Bandcamp HERE, or order from the Aesthetic Death webstore HERE and Bandcamp HERE on March 4th.

Support VAINA:

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