Dissocia is a visionary project uniting members of Persefone and Wormed. In this interview, Daniel R. Flys discusses their debut album To Lift The Veil, its inspirations, and the creative process behind it.
1. Dissocia is a unique collaboration between
members of Persefone and Wormed. How did the idea for this duo come about, and
what inspired you to blend your distinct styles into this project?
Before I even
joined Persefone, I had already started writing this album on my own. It was
one of those times in my life when I didn’t have any projects going on, and I
just wanted to create something without limitations. Once most of the album was
mapped out, I thought to myself, "I need a drummer who can play incredibly
fast but also handle odd, complex and chaotic rhythms." Gabriel
immediately came to mind. His work with Wormed is absolutely astounding, and
that alone was reason enough to reach out to him. Years later, we now share
this project together, and I consider him a dear friend!
2. The
concept of "To Lift The Veil" is intriguing, exploring the metaphor
of a growing seed in an asphalted world. Can you elaborate on how this concept
influenced your songwriting and the album's overall narrative?
Although I
wouldn’t consider this a linear concept album, it makes a lot of sense in my
mind. Most of the lyrics are rooted in personal experiences, and I used this
album as a way to release all the bottled-up emotions I had over the years. To
Lift the Veil is a classic metaphor for thriving in places where you suffer. A
seed may grow in fertile soil, but it can also find life in the most unexpected
places. I think the album cover attempts to capture this idea. I wanted
something that represented both beauty and chaos, something painful yet
powerful. Rein Van Oyen, the artist, did an incredible job bringing this vision
to life and truly nailed the message.
3. Your
influences span a broad spectrum, from Cynic and Gojira to Venetian Snares and
Hans Zimmer. How did you manage to incorporate these diverse inspirations into
your progressive metal sound?
Writing this
album wasn’t something I had planned. When you write a debut album for a
project, it’s often a little different from when you’re already established in
the music industry. There are no outside expectations, you have all the time
you need, and you’re free to experiment with new sounds. That’s exactly what I
did. I came from a stricter death metal scene in my younger years, and I was
eager to create something different. Looking back, I still believe this style
of music represents who I am much more. I’ve always been a curious person—I’ve
played different instruments and even sang in gospel choirs. Incorporating all
these elements felt completely organic to me. I write music intuitively, and at
that time, I was following a sound that simply felt right. And this was it at that time.
4. The
album includes ferocious riffs, dreamy synths, and cinematic violin layers. Can
you walk us through your creative process for combining these elements while
maintaining a cohesive sound?
To build on what
I said in the last question, most of the songs actually started with the synth
sounds and chords. I approached songwriting very differently on this album. For
me, melody and atmosphere were the first things that needed to be right, and once
I had that, the riffs and other instruments naturally grew from that
foundation.
5. Max
Morton is known for his work with Jinjer and Ignea. What was it like working
with him on mixing and mastering, and how did his expertise shape the final
sound of the album?
Working with Max
was nothing short of a blessing! He’s an incredibly talented engineer with an
excellent ear for tracking and mixing, and beyond that, he’s a wonderful human
being. He was easygoing, supportive of my vision for the project’s sound, and
an absolute pleasure to work with. I have nothing but praise for him.
6. Rein
Van Oyen's artwork for the album is stunning and complements the music's
dynamic nature. How did you collaborate with him to ensure the visuals aligned
with your musical vision?
Working on the
album artwork with Rein was an unexpected but incredible experience. I came
across his work online and had a strong feeling that he was the right person
for the job. When I reached out, we spent months collaborating closely, shaping
the album cover you see today. Neither of us had a fixed vision at the start—we
simply followed what the music felt like to us. His expertise across various
digital and artistic mediums brought something truly unique to life. Beyond
that, I now consider him a friend, and to me, he played a crucial role in
bringing Dissocia to life.
7. Tracks
like "Existentialist" and "The Lucifer Effect" suggest deep
philosophical and psychological themes. What inspired these themes, and how do
they reflect the personal or collective experiences of the band?
I've always been
someone who questions everything, all the time. From a young age, philosophy
and psychology fascinated me, and I see my music as a way to express the themes
that linger in my mind. The Lucifer Effect, for instance, is named after a
theory by psychologist Philip Zimbardo, based on an experiment that didn’t go
as planned. He proposed that under extreme circumstances, anyone is capable of
becoming evil. Like everyone, I’ve faced moments where I’ve confronted a
darkness within myself—one I would never let see the light of day. That song
explores the idea that we all carry a shadow inside us.
8. The combination of extreme metal, synthwave, and dreamwave is a bold choice.
What challenges did you face while merging these genres, and what do you hope
listeners take away from this unique blend?
Like I mentioned
before, this album came together organically, and beyond the challenges of
writing, I felt truly at home with this blend of styles. I hope others resonate
with the music, but at the end of the day, that’s beyond my control. If you're
reading this and enjoy my music, thank you—I truly appreciate it!
9. Paul
R. Flys' cinematic violin layers add a distinct texture to the album,
especially on "Out of Slumber." How did his contributions enhance the
album's emotional and atmospheric depth?
Paul is my little
brother, and I always like to have him on my recordings, one way or the other.
He is my best friend and having him add his touch on my songs is something that
gives me a lot of joy and comfort. On this album, he added violin layers that,
in my opinion, made the song feel even more intense. The ending of Out of
Slumber is especially rich with violins, layered over all the other sounds we
created with the rest of the instruments. It felt like the perfect, conclusive
way to close the album.
10. With
"To Lift The Veil" set to release in March, what are your plans for
promoting the album? Can fans expect live performances, music videos, or
additional surprises from Dissocia in the near future?
I can’t share too
much just yet, but I’m planning to form a full live band and bring Dissocia to
the stage. There are also a few more surprises in store—so stay tuned!
Lastly, I just
want to say thank you for all the thoughtful questions. Cheers!
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