Explore the origins, influences, and creative process behind Tunisian metal band Primordial Black with founder Yasser Mahammedi Bouzina. Discover the essence of their debut EP 'MONAS HIEROGLYPHICA' and future plans.
1. Can
you tell us about the origins of Primordial Black and how the band came
together?
Last year, I initiated the formation of the band with a primary objective: to
create songs that could act as a release for the intense emotions I was
grappling with after parting ways with my previous group (a breakup that wasn't
exactly amicable).
I independently crafted the majority of the songs, transforming them from mere
ideas into detailed frameworks or blueprints outlining the varying levels of
intensity for each track.
Mohamed was the first person to join me on drums, and then we welcomed our
first guitarist, Houssem (Arnost, Vielikan), who helped us evolve as a
trio for a period. After that, we had Fedor (Vielikan, Omination) join
us as a bassist, and following his departure, Walid joined us on bass before
switching to lead guitar when Houssem left.
2. Yasser
Mahammedi Bouzina, as the mastermind behind Primordial Black, how do you
approach the creative process in crafting the band's distinctive sound?
Let's be
upfront: I am NOT a skilled guitarist. I hold my own as a composer, but I'm
truly lagging behind in terms of technique. Walid and Dalii are light-years
ahead of me. However, I leverage my shortcomings to my advantage by crafting
"dumb riffs." To me, a good riff must teeter on the edge of
simplicity to be catchy. That's how I go about writing songs, I know what works
and know what doesn’t work. I know what the guys are capable of and stuff like
that.
But I believe what makes our band strong is the influences brought in by
Mohammed (our drummer) and Walid (guitarist).
Mohammed is a devoted fan of Norwegian Black Metal, and his drumming style is a
surprising blend of the technicality inherent to that scene and the wildness of
Thrash and tribal elements.
Walid is an aficionado of Polish Black Metal, and the leads he adds beneath my
rhythm guitars contribute significantly to the dissonant aspect of our music.
Dalii didn't participate in the recording of the EP as he wasn't with us yet,
but it's undeniable that he is truly excellent on the new tracks we are
currently composing.
3. The
debut EP, "MONAS HIEROGLYPHICA," is set for release on January 12th,
2024. What can listeners expect from this release, and how does it represent
the essence of Primordial Black's music?
I'm not sure if this EP fully encapsulates the essence of Primordial Black, but
what's certain is that the themes we explore in it resonate with everyone who
has discovered it. We have received very positive reviews about it.
I can confidently say that people can expect a lot of violence, savagery,
groove, and philosophical reflection, provided they look beyond the surface.
4. Your
lyrical inspirations include Hp Lovecraft, John Milton, and Clive Barker. How
do these literary influences shape the thematic elements and atmosphere of your
music?
My response might be a bit lengthy. Lovecraft's exploration of scale is
captivating. He delves into the overarching theme of the insignificance of
human life, often centering his narratives on individual perspectives. These
characters catch a fleeting glimpse of something beyond their comprehension,
leading them down a path of insanity or towards suicidal tendencies. I used it
as a literary device, operating on the principle that the Great Old Ones and
other monstrosities from his works can be metaphorically employed to illustrate
more down-to-earth states of mind and sufferings.
John Milton's "Paradise Lost" is another work that has a
significant impact on how I approach my lyrics. "Through music, the
universe is not empty but full: 'I am the one who fills the infinite.'" This
quote had a profound effect on the adolescent I was when I discovered it, and
its implications continue to resonate with me to this day.
Barker is one of my favorite writer. The way he explore previously
uncharted realms of horror and imagination, presenting them with the clarity
and vividness of a high-def documentary, left an indelible mark on me and my
writing style.
5. The lineup of Primordial Black includes members with diverse musical
backgrounds. How does this diversity contribute to the band's overall sound and
style?
As I mentioned earlier, I believe it's the diversity of our musical approaches
that strengthens us. The guys in the band are very skilled musicians, and I am
by far the least talented among the four. However, their confidence and
open-mindedness turn my demos into memorable pieces quickly. Many people sing
the first verse of our first single (I'm Hatred Spitting Blood) when we meet,
and what has made that phrase stick in their memories is not only its inherent
violence but also the musical introduction we crafted leading to it.
6. The
band is described as aiming to create a "disconcerting, hypnotic, and
addictively dark ambiance." How do you go about achieving this specific
atmosphere in your music?
Sometimes metal approaches heavy topics such as death in an almost cartoonish
way. I wanted to distance Primordial Black from it. We aimed to approach it in
an aesthetic manner. Sometimes, it's delicate and intimate. We deliberately
avoided relying on the clichés often employed by many metal bands, steering
clear of being overly cringe and relying on suggestions. The sensitivity of the
authors I mentioned earlier, combined with the melodic and dissonant coldness
of the Polish Black Metal aesthetic brought to our music by Walid, has created
the atmosphere you described in your question.
7. How
does the Tunisian metal scene influence Primordial Black's music and identity,
and what challenges and advantages do you face as a band emerging from this
region?
To be honest, we have virtually no inspiration coming from Tunisian bands. Our
spectrum of influences is predominantly made up of foreign bands. However, the
way the scene is structured has served as a catalyst for many aspects of our
work ethic. Without going into details, we've gained much more by avoiding
certain frameworks.
8. Can
you share any memorable experiences or challenges you encountered during the
recording process of the upcoming EP, "MONAS HIEROGLYPHICA"?
The process of creating this EP was both challenging and rewarding, every step
has been a learning experience. We took the time to record our EP the way we
wanted, making no compromises and, most importantly, ensuring that the drumming
was recorded live. I have a deep conviction that it would be sacrilege to have
a drummer like ours and replace him with a plugin in the recording. It cost us
more, the result is not sanitized and perfectly aligned with the GRID, but it's
a perfect snapshot of his playing. The EP was recorded by us three, Dalii join
us later down the line.
The most memorable thing I guess is the fact that our guitarist left during the
recording sessions forced Walid and me to recompose all the guitars
simultaneously with Mohamed, who was recording his drums, It was madness.
9. With
influences from literary legends, how do you balance storytelling through
lyrics with the sonic intensity of your music?
One of my hobbies besides writing music is writing short stories, so I knew I
wanted to have a EP who convey a vivid atmosphere. Integrating story into music
can be problematic if not handled properly, some of the music came before I
even started thinking of a lyrics while others came the other way around.
What I’m fully aware of is that I need to adapt my vocal delivery to suit the
lyrics. Use different tones and pitches to convey the emotions and nuances of
the narrative. A song like “The Worm That Gnaws at Night” is more into RAW
POWER DELIVERY than the sinister “Monas Hieroglyphica”.
10. What
are the future plans for Primordial Black? Are there any specific goals or
milestones you hope to achieve in the coming years?
Currently, we are deep into the composition of our first album, which holds our
full attention. I've already suggested four demos, and the guys have worked
wonders on them. We hope to create a few more before entering the studio to
record them. As for live performances, due to reasons beyond our control, we
haven't received any offers to play in Tunisia, despite being one of the few
bands with some international recognition. However, we've received proposals
from other places, and we are actively working on those opportunities.
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