The Gates of Slumber return with their self-titled album, marking a powerful comeback after over a decade. We explore the band's journey, creative process, and reflections on music, loss, and resilience.
1. Welcome
back! How does it feel to release your first album in over a decade, and what
does this self-titled record represent for the band?
Karl: For
me, it’s a reset; the band has been through so many changes, and each time was
a reset. I have always wanted everyone in anything I do to have a voice and a
say in the band, so it just turns out that way.
And it’s
just good to make a record, and amazing that people remember.
2. The
Gates of Slumber has undergone several lineup changes since its inception. How
has the chemistry evolved between you, Chuck Brown, and Steve Janiak since
reforming the band in 2019?
Karl: I
think it’s gone really well. Chuck and I had played together for years and it
was like we’d never stopped, really. Steve being on bass brings a new
voice too, literally as he sings on almost every song and takes the lead on We
Are Perdition.
3. Can
you tell us about the challenges of writing and recording this album during the
pandemic, and how that shaped its final sound and themes?
Karl: Well
it was tough not being able to get together. Looking back for my part and
feel like everything we did as a band was to protect the health of our families
and ourselves. So if someone was sick we just didn’t play.
It was a
weird and scary time and I think we all need to reflect on it. A lot of
people made some pretty bold statements and governments took some pretty wide
reaching and not always logically sound actions during that time.
Put short
it was an ugly time and frankly I’m still processing it. Right now I can tell
you that I think for the most part the everyday walking around people had the
best of intentions and the governments and bureaucrats, major industries - they
used it to steal from the people and funnel it into their own pockets.
Right/Left. Whatever…. The oldest tricks work the best. Atomize and
terrorize….. and while they were getting rich. Lots of people died, there
was a lot of loss. And I feel that at some point we need to get a little out of
the nasty and woeful counter-cycle we are in and we need to disengage from the
outrage machine and start to see each other as people. Not as a series of
labels, or identities, or nationalities, or whatever the fuck you want to call
it because people aren’t that shit. We are individuals with our own stories and
souls. And we need to start seeing each other as such. Because if not it
will get even uglier - all the ugly in the world stems from that: not seeing
our analog in our “enemies”. Like the Christmas truce of WWI, only
happened once, because peace and a sense of the human family runs counter to
the plans of the oligarchs and demagogues and ideologues….
Anyway, that’s just what I feel about it all. I don’t speak for the other guys here. I’m just rambling on about my musings about the world. To directly answer your question, lol… I guess when I think about the waste of money and life and time and the grimness of the world recently it makes my music darker. I process the world and my feelings by playing. Ever since I picked it up the guitar has been my conduit to get the feeling I can’t speak about out. There has been a deep need for catharsis.
4. The
new album features lyrics inspired by the Black Death and John
Carpenter’s The Fog. What drew you to these themes, and how do
they reflect the mood of the music?
Karl: The
Fog came about like this: Steve had 3 riffs that we had been jamming on and
nothing else. The middle riff had a feel to it like being tossed on a
stormy sea. And that started me thinking about The Fog and the betrayal at the
heart of the story. And I took the perspective of Blake on his mission for
revenge. I cobbled a rough arrangement together and we all took it from
there.
The Plague
is actually a very old song or rather parts that had been lying around since
the late 90’s. The time had just never been right to flesh it out.
5. Doom
metal is a genre steeped in tradition. How do you balance honoring legends like
Saint Vitus and Penance while carving out your own identity within the genre?
Karl: I
don’t think about that stuff anymore, I used to a lot. My relationship
with music has changed a lot. Life has changed a lot and the adage of a man
never stepping in the same river twice applies most definitely in this
case.
6. Your
reunion began with a performance at Hell Over Hammaburg. What was it like
stepping back on stage after so many years, and how did that experience
influence your decision to write new material?
Karl: It
was a lot of fun. In spite of the incoming pandemic I tried to have as
much fun as I could. And really none of us thought it would get as bad
and as weird as it got…. As far as writing goes. Well…. It’s easier for
me to come up with something new than it is to try and relearn the shit I did
20 years ago. It was never intentional, but it was inevitable that we’d
write new stuff.
7. Jason
McCash was a crucial part of The Gates of Slumber’s history. How has his legacy
influenced the direction of the band and this new album?
Karl: I
think his absence is pronounced in the writing. That is what I
notice. As Steve is the bassist it makes sense for him to answer this I
guess. It’s different for me but it’s cool. Part of loss is finding
a way forward and that’s what I’m trying to do. I’m very happy with how
things are working musically.
8. The
Gates of Slumber has been praised by Decibel Magazine as one of the best heavy
metal bands in the world. How do you approach living up to those
expectations?
Karl: I
don’t even think about it. It’s very flattering…. But I don’t know how
true it is.
9. You’ve
toured with giants like Pentagram, Cathedral, and Reverend Bizarre. What
lessons have you taken from those experiences into this new chapter of the
band?
Karl: The
lessons learned on those tours aren’t half as important to me as the good
memories I have, and the friends I made; and the experiences I’ve had, you
know? I miss all the people we toured with. I often look back, with
tears in my eyes at the grotesque glory that none will ever see fall, and gigs
and tours are like everlasting shadows…….
10. The
album features six tracks. Can you walk us through the creative process behind
one or two of these new songs?
Karl: The general process for all the songs is the same there is a riff, and if I’m lucky a lyric or idea that comes with it. And we work it over until it turns into a song. Or until it goes into the boneyard.
11. You’ve
released this album on multiple vinyl variants, CD, and digital platforms. How
important is physical media to The Gates of Slumber and your connection with
fans?
Karl: So
long as people want a CD or a record I guess they’ll be made. For me it’s
more important to focus on my part of the process and less on the things that I
know nothing about, you know? I have my records, but I rarely buy
anything new anymore. Maybe a CD to play in my car….
12. Looking
ahead, what’s next for The Gates of Slumber? Can fans expect more tours or
perhaps a return to festivals in 2024 and beyond?
Karl: These
days I am the primary caregiver for my dad. Who’s old and in poor health.
It pretty much is the center of every day for me. One day we’ll get back
on the road and hopefully people still care then. But we are staying busy
we’re working up songs for a split that will feature some of the last music
written by Jason. And there is a lot of material that needs to be
recorded. And more on the way…. I’m good with how things are now,
musically speaking…. I want to record and get this backlog of stuff
tracked and released and when the stars align, we’ll play live again.
the Gates of Slumber (@thegatesofslumberdoom) • Photos et vidéos Instagram
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