‘Click Interview’ with Monstergod: ‘I See “Ozymandias” As A Final Chapter Of Monstergod History’
Polish Monstergod-duo this year released their third official full length album “Ozymandias” by Space Race Records. Miłosz and Marek don’t exactly release new work at regular basis, which probably explains the sound is in constant progress. “Ozymandias” is mixing an impressive number of influences resulting in a kind of ‘Epic-Industrial-Pop-Metal’-work. It’s a major production mixing sensuality and bombast. I talked about this masterpiece with Marek.
(Courtesy by Inferno Sound Diaries)
Q: Let’s get back to the origins of Monstergod. How did it all started and what was the main purpose when it comes to composition and production? And how did you see the project evolving?
Marek: Me and Miłosz have met about 2000, we became friends, talked about music, books, life etc and in 2003 or 2004 we decided to try making music together. We didn’t have any particular purposes, just wanted to make some music for fun and maybe play a few gigs around. So, it’s going. As well, we usually work on albums together. This time, during recording “Ozymandias”, I was more involved than before. For example I’ve recorded as a few of vocals.
Q: Let’s talk about your sources of inspiration, which are going further than only music. Literature and poetry seem to be very important for Monstergod. Tell us a bit more about these influences and the way you transpose literature and poetry into sound?
Marek: At the beginning of our music journey, we just wanted to make some music inspired by The Sisters Of Mercy, Suicide Commando and Laibach with great poetry of William Blake and Charles Baudelaire.
The general idea is still evolving by adding new inspirations and new poets. On “Ozymandias” we have added, for example, Friedrich Nietzsche to our lyric sources.
We usually make music first and after that we try to find lyrics for it. It’s not a sophisticated process. Much more interesting is how to find a unique sound to be not just a copycat of other bands but try to make something fresh. That’s why we try to use different instruments on our albums. Of course, what we do is based on electronic, computer-generated sounds but we’re not afraid to play bass, guitars, harp or even banjo or baglama. If something adds something unusual to the music – we would like to use it.
Q: How did the writing and production of “Ozymandias” happened? And tell us a bit more about the title, which must be inspired by Percy Bysshe Shelley?
Marek: “Ozymandias” is, in my opinion, the most dark and depressive album we have ever done. I started to work on demos back in 2018 but most of the material was created in Covid pandemic. Title song “Ozymandias” was composed as one of the last songs. I wanted something to open the album, to show how we evolve from electronic to epic choir, bass and guitar sound.
I always liked Shelley’s poem. I had no idea how to use it on music. After watching “Alien Covenant” with so great opening scene and declamation of this poem by one of main characters –David, I knew I have to use it at least as a vocal sample. After recording music I added vocals, choirs and used the whole poem as lyric.
Q: Sound-wise this album is a great mix of influences resulting in a kind of ‘Epic-Industrial-Metal-Pop’-production. What is the sound all about and what have been the input of all members and guests -but especially Dariusz ‘Daray’ Brzozowski in the final production?
Marek: When we started to mix this album I had all of the songs as open music projects ready to be changed if any ideas come up. Once I asked Cesar Soto from Ministry to help me record guitars for “Austere”. He agreed, but after receiving tracks I decided to change a bit an arrangement. Filip ‘Heinrich’, who mixed the album, added bass, some synths and asked me to record live drums with his friend. A moment later, we called Daray to help us.
Daray is a great drummer, probably the best I’ve ever met. He’s a true professional. I had all the drum parts written in midi, Daray played them all adding his own flavor, music sense and feelings. After recording I was more than surprised how it all sound together.
The real hero in this album production was Filip Heinrich who spent hours on calls with me but was also open to record some additional instruments or even changed some arrangements. Without him the album wouldn’t sound as it is.
Q: I experienced “Ozymandias” as a noticeable evolution in sound, but where do you place this work in the band’s history? And how did you see Monstergod evolving over the years?
Marek: Creating music for fun as I do means to find new ideas. I don’t want to record another identic album. It’s boring. I’m not focused on selling CDs or counting streaming incomes so I can experiment, I can always try to add something new to the sound or sing in German, hahaha. But, at the moment, I see “Ozymandias” as a final chapter of Monstergod history. I have no idea how to evolve further with this project.
Q: “Ozymandias” has been released in dark- and uncertain times. Do you think music and arts generally speaking can bring relief and maybe a solution by connecting people?
Marek: “Ozymandias” is also a reflection of times we live in and my own personal problems I was struggling with. I make music for myself to deal with my own demons and it’s my way getting a relief. If somebody else could get it in the same way –great, but if you feel it too depressive –sorry, do not blame me.
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