Having already taken note of Triste Tage (Sad days) from the far north of Germany, or more precisely East Frisia, at the time of the release of their debut album, the release of their powerful follow-up “Auf ferner Höhe steht er kahl...” ("It stands bare on distant heights..." (review here) provided a welcome opportunity to ask solo artist Draugr about his artistic vision regarding black metal and related genres. The result was an interesting and detailed conversation, as Draugr has a lot to say beyond the usual clichés. But read for yourself...
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Hello from the Rhineland to East Frisia! Tell us a little about how Triste Tage was formed. How long has the project been going, and what were the main reasons behind it? Were there any particular bands that influenced you?
Hi Gerald, thank you very much for the opportunity to do this interview!
Triste Tage basically rose from the ashes of my previous project, Storm Kvlt. Although “from the ashes” is wrong, because the project isn't dead in that sense. It's more like it's on hiatus until the muse kisses me again at some point.
Anyway, after the debut “Europas Weg zum Grab” (“Europe's road to the grave”), I experimented a bit with songs and sounds, and it quickly became clear that they wouldn't fit into the concept of Storm Kvlt. I had something else in mind, so I decided to start Triste Tage. The name says it all, and it's no coincidence that both albums were released around the beginning of fall.
While Storm Kvlt reflects my love for fast songs and groovy, maybe even a bit punky riffs, Triste Tage is much more about atmosphere and emotions.
You play in other bands, right? Tell us about that...
No, not anymore. Besides Storm Kvlt, which—as I said—is currently on hold, I also played bass with my buddy Destruktor in the black ‘n’ roll band Dodengraver. However, I left the band on friendly terms, as Destruktor and I have different goals. I couldn't offer the band what it deserved, and I wasn't and am not willing to drag my lazy ass onto any stage. So it was only logical that I vacated my position so that Dodengraver could take the path that this band inevitably has to take. Because Dodengraver rocks and therefore belongs on the stages of this world! I love the material we wrote and also what I've heard of the new material so far. As a fan from the very beginning, I will definitely always support the band, but personally, I am drawn to other musical paths.
So, I am currently only actively involved with Triste Tage and maybe Storm Kvlt again at some point. We'll see, I'm not committing to anything...
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“On the one hand, because I just love it when songs take their time and can unfold. And on the other hand, because it pisses me off that songs are getting shorter and shorter these days so they can be streamed more often and because kids don't have an attention span of more than two minutes. That's the heretic in me coming through a bit, haha.”
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That's a very good question! Actually, that's how it turned out shortly after the release of “Und die Hörner des Sommers verstummten...” (“And the Horns of Summer fell silent...”). I have to say that I deliberately limited myself on the first record. There's basically only one guitar. That was exactly what I wanted; from the band's point of view, the album was supposed to function as a classic rock trio. I wanted to write a very minimalist, slow album that would have a darker and more hypnotic effect, suitable for a rainy autumn day.
Compared to Storm Kvlt's rather intellectual debut, “Und die Hörner...” was intended to take a drastic step back. More towards atmosphere and mood. No blast beats, no high tempo, generally less variety. I was amazed myself that the album was so well received, as the music is more niche and was kept really minimal. So I was all the more pleased with the response, of course!
But it was clear to me that I didn't want to repeat myself on the next album. When I release a new album, I don't want it to be obvious beforehand which direction it might take. It's okay if you've found your style, like Amon Amarth, and repeat it over twenty times. But that's not the standard I set for myself. There won't be a Triste Tage album that follows the same path as its predecessor.
In principle, “Auf ferner Höhe steht er kahl...” is ultimately a balancing act between Storm Kvlt and the first Triste Tage album. Only this time without artistic limitations, but simply whatever I felt like doing. The best of both worlds... and yet somehow different. Unlike before, I just let it flow for the first time. That's why the songs this time are built on two guitars and are more variable in tempo. That wasn't planned, but it just developed that way. In addition, the compositions have become more expansive, a little freer, and thus also overlong. On the one hand, because I just love it when songs take their time and can unfold. And on the other hand, because it pisses me off that songs are getting shorter and shorter these days so they can be streamed more often and because kids don't have an attention span of more than two minutes. That's the heretic in me coming through a bit, haha. You should have to take some time for this album, and I think I've succeeded in doing that. “Auf ferner Höhe...” works best as a whole and in combination with the artwork and illustrations.
Overall, I'm happy with how the album turned out. I know every artist says that, but this album feels like the best stuff I've written so far. Looking back, there were always things I would have done differently on previous releases. With “Auf ferner Höhe...”, however, I'm completely satisfied and still really enjoy listening to the album, which is a good indicator of my satisfaction.
But that doesn't mean that another album will go in the same direction. I would even go so far as to say that it's not even certain that it will be black metal. I have a few loose ideas in my head. Let's see what will happen.
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“I think there are many ways to approach the album, and I'd like to leave it at that. Everyone can form their own opinion on this, and anyone who feels like doing so is welcome to share it! I find it very exciting to hear what others get out of the album. The lyrics have several layers, and perhaps even some that I didn't consciously recognize myself at first.”
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The concept... how much time do you have? Haha.
Actually, there is a concept behind each of my albums, although I wouldn't really call any of them concept albums. I think the term is overused and that many musicians use it to make their albums seem somehow more special. That's not the case with me. But of course, I think about each album and pursue a basic idea in the songs.
With “Und die Hörner...” it was clear that the theme should be dedicated to autumn. That was a must, due to the band name and style. I drew on my great passion for expressionism and set five selected poems by Georg Heym and Georg Trakl to music, all of which inspired and moved me in one way or another.
It was clear that the concept wouldn't work for me a second time around. Even though there are countless poems out there that are worth setting to music. But for “Auf ferner Höhe...” I wanted to write the lyrics myself again, as I did with Storm Kvlt. I don't see myself as a great lyricist, but music needs appropriate lyrics and artwork. For me, everything goes hand in hand, because an album is not just music, but a complete work of art.
That's why it was clear that there would be no use of Artifical Intelligence on the album, as has been widely used and discussed in the meantime. The visuals should match the music and be the result of genuine art. That's important to me. And when you look at the album, at how the digipack turned out, it just feels right and complete to me. It starts with the wonderful artwork by Timon Kokott, who was able to implement my idea one-to-one and created a truly expressive cover, and culminates in the individual song illustrations by Autumn Arts. Marcus really has a unique style of drawing, and I think he perfectly captured the essence of the songs and summarized the theme of the album superbly. Every collaboration with him is extremely straightforward. I only need to describe a little to him and in the end something great comes out. Artifical Intelligence can't offer you that.
The stages of the tree's life that you have already mentioned and which are illustrated in the pictures describe the cycle of decay and human interference with nature. I don't want to go too much into detail because I believe that the text and presentation speak for themselves. But the way the once magnificent tree is felled and turned into a gallows fits perfectly with the image I have of many people. Instead of caring for nature and looking after our planet, we destroy everything that gets in our way and misuse it for things that could not be more life-denying. The central theme here is also the absurdity of building walls in which we feel safe, in order to separate ourselves from things that are actually beautiful but perhaps (still) unfamiliar, only to then find the real horror within those walls.
I think there are many ways to approach the album, and I'd like to leave it at that. Everyone can form their own opinion on this, and anyone who feels like doing so is welcome to share it! I find it very exciting to hear what others get out of the album. The lyrics have several layers, and perhaps even some that I didn't consciously recognize myself at first.
And whether Triste Tage is a kind of catharsis... well, it's definitely not music for the summer, haha. However, the music itself is not a direct catharsis for me. I don't use it as an outlet to release feelings that I can't otherwise release. I think when you listen to atmospheric music—whether it's funeral doom, atmospheric black metal, dark folk, or something else—there's a certain tendency toward melancholy and darkness. That's how it is for me, too, but I'm not a pessimistic or negative person. There are things in this world that frustrate me immensely. But there are also many positive things in life. I think it's good to use music to confront such feelings and to help you get through bad times.
In this respect, music is cathartic, but in a general sense. Both actively and passively. Not specifically related to the process of making music for me. That doesn't mean that emotions aren't involved, but I have enough other outlets to deal with the frustrating and dark moments in life.
I've worked with guest musicians on all of my albums so far because there were some things I simply couldn't or didn't want to do. Bass in particular was always an instrument I didn't like very much, I don't know why, because now I love it. I wrote all the songs myself and pre-programmed the drums in Guitar Pro, so I had completely finished demos before I sent the material to guest musicians, but there was always something I still wanted to hand over.
Unlike with Storm Kvlt, I knew that I needed real drums for Triste Tage. A Drum machine was out of the question on the finished record; the music is too organic for that. So I definitely needed a drummer. At the time, I was in close contact with Flo from Nightside Audio, who produced “Und die Hörner...” and also plays with Eïs—one of my absolute favorite bands! At some point, he brought Marlek into the picture for the drum recordings, and I was thrilled with the suggestion. Marlek played with Eïs for a long time and has played drums on albums that still move me deeply today. I simply wrote to him, sent him the material, and he was immediately on board. It was an extreme honor for me that he would play drums on my album! And the result speaks for itself—the guy is simply a machine. And on top of that, he's an extremely nice and easy-going person.
There were several options for vocals, because it was clear that I wouldn't be taking on that role again. In the end, Flo put me in touch with Nova, whom I already knew and appreciated from Convictive. This woman is an absolute powerhouse, and I could easily imagine her screams fitting the songs very well. So again, I simply wrote to her, sent her some material, she was up for it: done. By the way, it's not just her clean vocals you can hear on the tracks. All the vocals (with one small exception) are by Nova! I sent her demos of all the songs in advance and then gave her free rein. So she only knew the demos with my screams. All the clean parts, all the additional choirs, etc. are her ideas alone. She took the songs and raised them to a whole new level. I can say with confidence that if Nova hadn't contributed her ideas, the album would only have been half as good. An incredibly impressive achievement, and I'm super happy and proud that she was keen to work on the project! Be sure to check out her other bands—this woman is a natural talent!
Will Triste Tage perhaps also be appearing live on stage?
I'll keep this short: no. For various reasons. Triste Tage will definitely not be performing live. I'm not the type for the stage and have no interest in it whatsoever. As a family man, it would only mean stress, take up time, and be nerve-wracking. My priorities lie elsewhere and my weekends are sacred to me.
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"But nowadays, something new is released every day, there's so much generic junk out there, and everything has become so fast-paced... I can't keep up anymore, and to be honest, I don't want to."
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I'll be honest with you, Gerald: I haven't really heard any new music in recent years that has made a lasting impression on me. I'm one of those old, stuck-in-the-past guys who thinks everything was better in the past, haha. No, it's not quite that bad, but I actually have all the music I need, and I just feel like a lot of releases these days lack soul. I'm sure there are lots of great bands out there that I've missed and that do exactly what I'm looking for. But nowadays, something new is released every day, there's so much generic junk out there, and everything has become so fast-paced... I can't keep up anymore, and to be honest, I don't want to.
If I had to name one “new discovery” from recent years that has impressed me in some way, it would probably be Kanonenfieber. Although that has already faded again. The first EPs and even the first album are damn good. That's what got me hooked, and seeing them live was also a real experience. But the band grew too big too quickly, and the production in particular suffered. I don't like this bombastic, modern production that's only designed to impress. No rough edges, no corners. Just compare the original version of “Füsilier I” with the newly released version... not my cup of tea at all. Too bad. But commercialism and Trve Warriors aside, Kanonenfieber do have a few extremely powerful and emotional songs.
Otherwise, I recently came across Ordo Rosarius Equilibrio, who touch me in some strange way, and I also rediscovered Zwischenlichten and really got into them. However, these aren't metal bands, which shows that I'm currently looking for new music in a completely different place. I think it's pretty stupid to get stuck on just one genre or even one subgenre. There are so many great musicians and bands in every genre imaginable. Yes, even in hip hop and electro. You just have to find them by chance or by searching well. But that only works if you're open to it... I'm now reaching an age where you don't have to be compulsively true (anymore), haha.
I could list pages and pages of my all-time favorites here, but I'll spare us both the obvious ones like Darkthrone, Emperor, Enslaved, and the like. But the bands that have inspired me musically are always welcome guests on my turntable: Wolves in the Throne Room, Agalloch, Helrunar, Eïs... But there are too many bands to name them all. I'm very eclectic in that regard.
Can you recommend any lesser-known or undiscovered gems from the East Frisian underground to readers of Systematic Desensitization Zine?
Friisk would be the obvious choice, but are they really that unknown? Anyway, these guys are really great! Fantastic albums, insanely good live! Definitely give them a listen! East Frisia's black metal gem.
And then, of course, there's Dodengraver, who will hopefully really take off next year and release their first album. I would definitely follow them on Instagram, it'll be worth it.
And then I can also recommend Harlinger. Another friend of mine who is currently working on his second album, which will be released next year. Very melodic, and the new material is also much darker and more introspective. Definitely check him out!
The last words are yours!
Thank you for the interview, Gerald, and I hope I was able to answer your questions satisfactorily. And, of course, a big thank you to everyone who has read this far and to every single supporter of Triste Tage. “Auf ferner Höhe...” has received such overwhelming feedback that, at the end of the day, all that remains is gratitude. I didn't expect it, but I'm extremely proud.
And, of course, a big thank you to everyone who contributed directly or indirectly to the album. You know who you are. Without you, none of this would have been possible.
With that in mind: Cheers and have a great New Year.