The Total Sound Of The Undergound

Lelahel Metal

Graphite Stain's debut album, Idus Martiae, is a deep dive into mortality, blending aggression and melancholy. We discuss the inspiration, songwriting process, and the intense emotions behind the record.

1. Your debut album, Idus Martiae, delves deep into themes of mortality. What inspired you to explore such a dark and philosophical concept?
I once took a college class focused on mental illness that profoundly impacted my perspective. It pushed me to constantly reflect and empathize with those facing various mental health challenges. At the time, I was struggling with anger and depression myself, and this class forced me to process and rationalize those emotions. It was during this period of reflection that the seeds for what would eventually become my album were sown. I wanted to dive into the harshest, most unsettling aspects of existence, exploring themes of death and the personal struggles tied to it. After all, what could be darker than fully accepting death?

2. The album presents a duality of death—both serene and violent. How did you approach capturing this contrast musically?
This contrast emerged from the various stages of grieving. While the overarching themes of the album lean toward either acceptance or anger, I believe each stage of the process is subtly represented in varying degrees throughout the songs. Musically, it only felt natural to create tracks that spanned from serene, progressive atmospheres to intense, raging guitar riffs, interspersed with moments of stark contrast.
A key philosophy during the writing process was to incorporate melodic ideas that would evolve and build, constantly being challenged and disrupted by new elements. This approach was intentional—meant to mirror the experience of intrusive thoughts, growing, shifting, and eventually consuming a person’s reality. The music serves as a reflection of this transformation.

3. Can you take us through the songwriting process for Idus Martiae? Did the concept come first, or did the music naturally shape the theme?
Looking back, it's hard to pinpoint exactly how some of these songs came to be, especially since a few of them have been part of my creative process since childhood. However, in general, I can say that the music and the vocal melodies came first for most of the tracks. Over the years, many of these songs have evolved. Lake of Glass was the first song where I truly achieved a coherent progression where I was able to tie everything together cohesively. The song became the foundational piece of the album. It set the tone both musically and lyrically, paving the way for the rest of the songs and solidifying the direction of the entire project.

4. There’s a strong sense of atmosphere in the album, from haunting instrumentals to crushing riffs. What were some key influences that shaped the sonic landscape of the record?
Oh man, that's a tough one. A lot of the feedback I get about this album is that it reminds people of bands I’ve never heard of, or at least I can’t quite remember their names right now. But for me personally, I drew a lot of inspiration from bands like Slipknot, especially when it came to crafting riffs and lyric writing. Slipknot has this incredible ability to make everything feel darker while embracing discomfort, and I’ve always wanted to capture that same essence in my own music. This album marks my first real attempt at doing so.
Another band that had a huge influence on the writing process was Sleep Token. They’re masters at transitions, build-ups, and creating those atmospheric, vibing moments. I spent years trying to perfect these elements in my music, but it wasn't until I heard II’s drumming that I truly understood how to do it. I remember it hit me while listening to The Offering—the drums, vocals, and guitars all had their own distinct space, but they came together so perfectly. That realization helped me address a key aspect I was missing in my compositions.
Other bands that significantly shaped the sound and structure of this album include Mudvayne, System of a Down, and others. Each one brought something unique to the table that guided my approach to writing, whether it was complexity, rhythm, or emotional intensity.

5. The title Idus Martiae references the Ides of March, historically associated with Julius Caesar’s assassination. Does the album draw any inspiration from this historical event, or does the title serve a more symbolic purpose?
Oh, it’s definitely symbolic. I was just searching on Google for significant events related to death in March, and Julius Caesar’s assassination came up. It was a perfect coincidence because many of the visualizers for the songs feature Roman ruins and figures, which aligned beautifully with the theme. It felt like an unexpected but meaningful connection, so I decided to name the album *Idus Martiae*. The historical reference added an extra layer of depth, and the symbolism tied everything together in a way that felt too perfect to ignore.

6. Mortality is a subject that has been explored in many ways throughout music history. What makes Idus Martiae a unique take on this theme?
As I mentioned earlier, I approached this album with a "darker" mentality from the very beginning. No matter what I wrote, I constantly pushed myself to make it as dark as possible. What sets this album apart from others, I believe, is that it reflects my personal interpretation of mortality—shaped by my life experiences. Every individual processes mortality in their own unique way, and even though there are countless ways to confront and rationalize the idea of death, there are subtle differences in how we each accept and cope with it. This album is my way of capturing those nuances, offering a raw and deeply personal perspective on mortality that’s shaped by my own journey.


7. Lyrically, the album is described as a meditation on the passage of time and the darkness that follows. Can you share some standout lyrics and their meaning?
When I think about this question, I’m immediately drawn to one of the most significant lyrics in the album: "Don't cry, I've died." It encapsulates the serene acceptance of death and the desire to be celebrated as one finally finds peace. The line "There's a freedom in the air. I have realized all hope is gone" deepens this sentiment, reinforcing the notion of liberation through the acceptance of mortality. The entire verse in *My Demise* serves as another example of release through death. I wrote those lyrics during a particularly exhausting morning when I didn’t want to face the world, and I channeled that feeling of being completely drained. I wanted the words to reflect the darkest depths of what it feels like when you’re simply tired of living.
"From star to quasar to black hole," from *Supernova*, resonates deeply with me as well. It reflects that painful phase in life where you begin to transform into the very thing you despise, all the while losing touch with your true essence. It’s a powerful metaphor for self-destruction and inner conflict.
Some of my other favorite lyrics on the album are: "This time, end this and fly away," which captures the raw yearning for escape; "This pleasure I've gotten, I get it from tormenting you," a dark reflection on the complexities of pain and pleasure; and "Take my hand because I'm drowning, is this reflection of me, just a lake of glass," which speaks to the emptiness and self-doubt that can arise when confronting your own reflection. These lines, among others, helped me channel the album’s themes of suffering, release, and the personal journey through darkness.

8. The balance between aggression and melancholy is a key feature of the album. Was it challenging to achieve this equilibrium in the songwriting and production?
It was undoubtedly a challenging process. Ultimately, I found myself asking, "What is the core emotion and message I’m trying to convey in this song?" That question became my guiding compass, helping me focus on the essence of what I wanted each track to express. By zeroing in on that central feeling, I was able to approach the songwriting process more effectively and with greater clarity. It helped me cut through the noise and focus on the heart of the song, making the writing process more intentional and meaningful.

9. What emotions or thoughts do you hope listeners take away after experiencing Idus Martiae?
I truly hope people can connect with the music on a personal level, and that they understand it for what it is—art. It’s a reflection of my subjective experience, translated into an audio format. My hope is that listeners can engage with the themes I explore in these songs and accept the perspectives I share. Everyone is unique, and the way we process emotions differs from person to person. For me, when I’m feeling down, I gravitate toward music that’s dark and moody—it’s how I find release. I hope that my music can offer others the same sense of release and provide a space for them to process their own emotions and thoughts. Ultimately, it’s about creating something that resonates with others, helping them to confront their own inner struggles and find catharsis.

10. The production quality on the album is very immersive. Who did you work with on the recording, mixing, and mastering, and what was that process like?
I did everything myself. I'm not a particularly academic person when it comes to music, so I don't have any formal training in music theory or production. Because of that, recording, mixing, and mastering the album were real challenges for me. I had to learn everything on the go, figuring it out as I worked through each stage. YouTube was a huge help, but there's still such a vast amount of information and techniques I need to learn to improve for the next project. It was a steep learning curve, but it pushed me to grow, and I’m excited to continue building on what I’ve learned for future endeavors.

11. Looking ahead, do you see Idus Martiae as a standalone concept, or will themes of death and time continue to shape your future work?
I definitely see the theme of death continuing to resurface and fuel my music, but it's far from a standalone concept. While death is undeniably a central theme, I believe the most important aspect of this album lies not just in the concept of death itself, but in the process of confronting and processing one's own darkness. *Graphite Stain* is intended to be a project that delves into dark thoughts and emotions, and *Idus Martiae* serves as the first iteration of that exploration. It’s about navigating through those shadows and finding a way to express and understand them, rather than just focusing on the darkness itself. This album is just the beginning of a deeper journey into those emotions.

12. Now that Idus Martiae is out, what’s next for Graphite Stain? Do you have plans for live performances, new material, or any special releases?

I’m currently working on a second album, and while it's still in the early stages, it's already shaping up to be another intriguing project. So far, it’s leaning toward a creepier, heavier sound, with the overarching theme being *mostly* about killing. That said, nothing is set in stone yet, as the project is still evolving. As for live performances, I don't have anything lined up just yet. Ideally, I would love to put a band together and start performing these songs live for people to experience firsthand. But for now, my main focus is on producing the next album and bringing it to life the best way I can. 

Adriano Fernandez (@graphitestainband) • Instagram photos and videos

(114) Graphite Stain - YouTube

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