In-Depth and enlightening interview with AUSTARAS

                                                                      AUSTARAS

The Fleeting Nature of Forms:  First of all, can you tell me a little about the history of Austaras? If it's not too personal, why the four year hiatus between records?

JB- John Becker
SH- Shane Hill
AH- Adam Hansen

JB: Austaras was first conceived by Shane Hill and myself in autumn 2008. We met because he was wearing an Opeth t-shirt and I approached him. After discussing music quickly I mentioned Wolves in the Throne Room and later that day he went home and heard them for the first time. I guess you can say I passed the ‘cool’ test with that recommendation.
Soon Shane and I started playing guitar together in the practice rooms at our school and found out we wrote music in a very similar style. It wasn’t until the next school year in 2009 that a drummer came into the permanent fold which was Adam Hansen. It is quite difficult to balance being a full-time student as well as being in a serious band. This is the main reason it took so long to get off the ground and once we finally played live at the end of 2010 our first EP still wasn’t completed. It took until the summer of 2011 for the music to finally be released. We played a number of shows around Chicago and had to move our rehearsal space around multiple times because of logistical issues. In 2012 we parted ways with our vocalist/bassist, had to move out of our rehearsal space, and all had lots of personal issues dealing with living situations, full-time jobs, etc. that we had to deal with. Between 2012-2014 we had a fair amount of material written but not much time to really become a full-time band. While Adam and Shane were settling into their post college lives I used my time to release my first solo album under the moniker Vaskula. After this in 2014 Austaras was finally able to dedicate the time, effort, and energy needed to record what became Prisoner of Sunlight.

SH: I will add that John was wearing an Enslaved t-shirt that day, and the ‘cool’ test was definitely passed. But yes, the connection and drive to create our own music started instantly and has been evolving ever since (meeting Adam Hansen the following year and experiencing his prolific drumming capabilities added immense benefit and inspiration).

The Fleeting Nature of Forms:  I hear a more lively, rejuvenated, perspective based record focused on defining a core sound. Should more bands take time between albums?

JB: There is a clear difference in the overall tone of the album compared to Under the Abysmal Light which I contribute to us finally finding our own voice and completing this album at the right time, when we were all ready, and in the correct headspace. We spent hours upon hours refining riff ideas over and over until we were 100% happy with every single note and word written. There is too much mediocrity out there in my opinion and we wanted to be truly proud of the final product.

SH: Yes, they should. An ongoing band joke is the gaps in years between Tool albums; however, we understand that in some cases this is wholly necessary so you’re not simply replicating yourself with each subsequent album.

AH: I think Prisoner captures the essence of what we, as a creative unit, are all about. The EP was a great snapshot in time of where our heads were five years ago, but I think back then we certainly weren’t trying to push any boundaries or do anything as genre-defying as Prisoner.

The Fleeting Nature of Forms:  There was a huge evolution in sound between the ep Under the Abysmal Light and Prison of Sunlight. Maybe I'm wrong, but I hear some Kings X influence and a mixture of various elements.What did you want to accomplish with this new album and what messages would you like to convey to the audience? Do you think about an audience when you write or does that influence you in any way? Or Can thinking about an audience negatively affect the process?

JB: It’s funny you mention King’s X because the first time I heard them was this May 2015 when I was visiting Austin Lunn to record violin for the new Panopticon LP. He flipped when I mentioned I had never heard their music and quickly blasted one of their early 90s efforts while he was finishing up at work.
There are so many various influences on this album. I could go on and on for a page or two detailing which song reminds me of which band but it’s actually just the sound of the three of us playing together, this album truly sounds like us playing live together in a room. I personally never think of the audience when writing and I think that’s a major pitfall for many bands. We wanted to find our own voice and were not afraid of doing something different from what is going on around us.

SH: We strive to write music for ourselves. Though that may come across as being vain, it’s just something we’ve never really been concerned with--perhaps this comes with the territory as we explore more progressive avenues (you’ve the freedom to wander without the concrete expectations of more traditional genres).

AH: I agree with John- I think especially in the “always on” world of social media it’s very easy to get caught up in satisfying the general public’s desire for whatever major trends are happening at the moment- even in metal. Extreme music used to be a sort of haven for people who really didn’t give a shit about what the latest fad or ultra-segmented “genre” was, but these days it seems like more and more artists are sounding like copycats of their peers. We certainly care about delivering a well-produced, meaningful product to people, and for giving them a memorable experience when they see us live, but that’s really where it ends. The moment you let your audience dictate creative decisions in the writing process is the moment you lose your artistic integrity.

The Fleeting Nature of Forms: I recently spoke with Austin from Panopticon about his decision to hold off on PR for the album, Autumn Eternal. In essence keeping the record from the audience until the release date. How do you think the music industry or even music as a whole has been hurt due to the ease of downloading? ( i am guilty myself but I admit that it used to mean more/was more special)

JB: I think the current state of the music industry is in complete shambles because of the abuse of technology. This is a very sore subject for me and I take it quite seriously. I’ve made friends with the employees at my local record store, I order merch from bands directly, I enjoy music as a physical entity and I know each of us in Austaras feels 100% the same way. Sure downloading can be nice to preview a record but if something truly means something to me I will buy it. I’d rather own 10 great albums on both LP and CD as opposed to 10,000 albums downloaded in low bit rate. I really hope this rather recent surge in purchasing physical media again continues.

AH: This is such a tough issue for me. Torrenting and file sharing is a huge detriment to artists because it devalues their work. However, there have been times when I’ve been given mp3s from a friend or downloaded something I couldn’t find in stores, fallen in love with it, and ended up buying loads of merchandise or concert tickets to see the artist in question. I guess it all depends on how you use it. I will echo John’s sentiment that there is simply no substitute for a physical product, and I hope people feel strongly enough about our music that they’re willing to pay for it.

SH: Agreed with both John and Adam on this point. When streaming is used for “preview” purposes that eventually leads to obtaining something tangible, that is key.

The Fleeting Nature of Forms:  What can you tell about the new album, Prisoner of Sunlight? What does the title refer to and Can you elaborate further on the mythical concept on which the album is loosely based? (it's a great title by the way). When will this album be released?

JB: The album release date is November 6, 2015. Sometime in 2013 we discovered that there was a certain feeling coming from the music that we couldn’t explain other than it reminded us of desert scenery. Soon we decided that writing a story would be a great option to tie the album together.

SH: The outset was vague scenery in our minds which chronicled a transformative journey. Adam can speak to the specifics, but it’s best left open to the listener’s perception.

AH: I’m glad you like the title! It’s actually taken from the lyrics of the first track, “Deserter”, and it really sums up the position in which our protagonist finds himself at the beginning of the record: alone and delirious in a vast, inhospitable wasteland with absolutely no memory of how he came to be there other than this overwhelming sense dread and shame. From then on, it really chronicles his wanderings as he tries to make sense of his surroundings and come to terms with his situation. There is a lot of introspection going on as well- but the concept is really meant to be interpreted by each listener in his or her own way. The phrase “prisoner of sunlight”, (and the arc of the story itself) can mean a whole host of different things, and that’s part of the reason why we really don’t like explicitly stating much of what goes on over the course of the album. It’s best left open to interpretation.

The Fleeting Nature of Forms: You had mentioned before that you were avid readers. How does fiction/literature influence your sound? What are some of your favorite authors?

SH: This is something that’s always acting behind the curtain. New stories and perspectives allow one to cultivate their endeavors. We try to avoid wearing specific influences on our sleeves, but I would be speaking a mistruth if I said conceptual / transformative works such as those by Verne, Orwell, or Kafka didn’t contribute in some obscure way.

The Fleeting Nature of Forms:  The new album is killer. It sounds to me like there are more prog-y elements in the mix this time around. It's an enjoyable album from start to finish. I respect the fact that it's an an album that flows together well and not just a collection of songs. How important is it for a band to create either a lyrical thread or a sonic thread running through the album? How important is it to create a sonic experience rather than a collection of songs that comprise an album?

JB: Thanks so much! Progressive rock and forward thinking music is very influential to Austaras. We believe in moving forward and I know for me progressive rock and electronic music has been in my life since a child. I remember hearing Spirit’s The Twelve Dreams of Dr. Sardonicus and Yes’ Close to the Edge blaring through my house when I was young. I feel very lucky to have had that exposure because it formed a special foundation in my life. I was also put into violin lessons at age 3 but that’s another whole story…

I greatly enjoy albums that are cohesive statements lyrically but collections of songs are great too and it really depends on the band, style, etc. I’m always one to listen harder to the notes and musical feeling as opposed to the words so I’d rather have a cohesive flowing album musically than lyrically but when you can bring both together it can be quite special.

SH: Thank you! There undoubtedly are more proggy elements, and this is a direct result of us each being obsessed to some degree, with classic and more modern prog music. John and I went through a period in 2009 of only listening to prog from the 70s, which we reminisce about frequently. Prisoner exhibits recurring feelings and atmospheres--themes even--each of which was not necessarily intentional from the original draft, but developed with subsequent revision.

AH: There is definitely a big progressive element to what we do. Having said that, we try not to lose sight of great melodies and the art of crafting a well-balanced song. I think there’s a tendency in modern progressive music to just show off how many odd times you can play and how fast you can play them. I’ve always been a fan progressive bands like Camel, Pink Floyd, Gentle Giant and Porcupine Tree- bands that never lose their sense of melody even when the structure underneath is fairly complicated.

As for the threads running through the album- I’ve got to be honest, I’m not a huge fan of all-out “concept albums”. It’s far too easy to get completely lost in the pomp and circumstance and forget about the music. I think what we’ve tried to do here is have little allusions to the musical and conceptual threads running through the songs without beating the listener over the head. Every song still stands on its own- even the shorter ambient tracks. I had Iron Maiden’s “Seventh Son of a Seventh Son” in mind a lot of the time while writing lyrics and melodies for this album, because it was written according to a very similar philosophy. I’d rather have the listener discover on their 3^rd or 4^th listen that there is some underlying thematic stuff tying the album together than just lay it all out for them to see up front, otherwise you loose some of the sense of excitement and exploration that should come with music as dense as this.

The Fleeting Nature of Forms: What bands/ records are you currently listening to individually/ collectively? Best records of the year? Albums that surprised you? Any albums that surprised you with how good, bad or indifferent they were?

JB: One band that I think the three of us can totally agree on is Tool. Hugely influential to us as a unit and I personally have listened to them since 2001 when Lateralus came out making them one of my longest-loved heavy bands. Opeth has been one of my top influences for years and remains a favorite. Currently Adam and I have been majorly into Tears for Fears’ Songs from the Big Chair. My favorite album this year has been Steve Hauschildt’s Where All is Fled, a beautiful analog synthesizer ambient journey which holds great emotional and reflective weight. Most all heavy albums I’ve looked forward to this year have been mediocre and disappointing which has been a disturbing trend across the musical horizon in the past two years or so.

SH: The past year or two, two albums I’ve had on constant repeat are Altar of Plagues’ Teethed Glory & Injury and WIFE’s What’s Between. Copious amounts of anything by Brian Eno. Another continual influence is Daylight Dies (particularly Dismantling Devotion).

AH: Well, John has already mentioned Tears for Fears- that’s been a bit of an obsession as of late. Those guys are absolute songwriting masters. As for more recent stuff, I’ve been enjoying the new Iron Maiden record “The Book of Souls”. I’m a massive Maiden fan so that one has probably been the one I’ve come back to the most- I think it’s one of their best, certainly in their top 5, and I can’t wait to see them on tour next year. They’re probably my number one musical inspiration- both in their uncompromising attitude towards their songwriting and the amount of sheer energy they put into everything they do.

The Fleeting Nature of Forms: With so much music saturating the market, it's becoming harder and harder to compete for time in a digitally busy world. It's becoming harder to scratch out a personal identity that doesn't become absorbed in the musical wallpaper. So many bands, artists, authors doing so much great work, it's difficult to compete on any level. I hate referring to myself as a product and I'm sure that you do, too. It cheapens the time and effort we all put into our art. I would rather have 1000 people read or listen to my record than to become a mass produced product. How do you feel about the commercialism of art and music and what can we do as artists to shield from becoming another "product" to be consumed and discarded?

JB: I think this is the major question for artists of the this generation. It’s a truly difficult time to get any recognition but I do believe that if a band continues to put out better and better work that over time recognition will occur. Norwegian band Enslaved is a great example.

AH: I honestly don’t mind referring to our album as a product, because at the end of the day- that’s what it is. As I mentioned earlier, we don’t let the “market” dictate how we craft the songs or artwork, because you’re right- 1,000 people enjoying a genuine piece of art is better than selling a watered down collection of pandering drivel to 1 million. But I do still see it as a product- albeit one that is very genuine and uncompromisingly unique.

SH: In some ways unfortunate, but I agree with Adam. The best we can do is to be as original and honest as possible and see what the future holds.

The Fleeting Nature of Forms:  After I write something, I always get this strange suspicion that it was always there waiting to be written. That may sound weird, but there is a strange interaction between the known and the unknown, the seen and the unseen, the unwritten and the final product. In matters of art creation, do you feel there is something happening on a deeper level?

JB: I do to an extent. I know what I am capable of on a personal level musically but take that and combine it with both Adam and Shane and you get Austaras. The special moment when something completely out of the blue just happens makes all the struggles worth it in the end. The first quiet break in the track “Fractures” is a perfect example of something almost cosmically aligning and a very special section of a song almost writing itself. The three of us were totally locked in and in the correct mindset and one of our favorite musical sections was born one day at rehearsal.

SH: It’s difficult to say what that intangible thing is, but when the three of us approach it we certainly embrace it. Having collective vision is crucial as well, as it helps to have certain ideas ahead of time that can serve as foundations.

AH: One of the biggest strengths of this group is the fact that we really are more than the sum of our parts. It’s such a humbling experience to bring an idea to your peers and have it completely sliced up, changed around and mixed in with a bunch of other material- but in the end the results are so much greater than what you’d come up with on you own. It helps that we’ve known each other for so long now- there are really no egos to get in the way of pursuing our musical goals. John mentioned “Fractures”- which was kind of my ‘baby’ lyrically and conceptually- that was a song that we really struggled with. I mean, it must have been through at least 3 or 4 major rewrites. But when it finally came together we just knew we had it, and now it’s really the ‘epic’ of the album. I suppose it’s akin to Michelangelo seeing an angel inside a block of marble and simply carving and carving until he had unearthed what visions he saw in his mind. I’m not trying to say we’re the Michelangelo of prog metal by any means, but it’s the same idea!

The Fleeting Nature of Forms: Being a writer, we are a self-conscious, self-critical lot. I always hear that it's so important to finish your work. And, I've applied that advice and overcome some huge obstacles/writer's block that way. What is the best advice you can give to someone in the arts that helped on your path?

JB: I see a lot of great work around me never come into fruition. Life gets complicated but you have to push through it. Sometimes scheduling a writing session for myself has been the best medicine. I write well under pressure and usually can create when I make myself. I know not everyone works like this but for me it helps.

AH: I think this album is a testament to not letting anything stand in your way. Sure, it might have taken a few years, but it needed to. Any sooner than now and we would have been releasing something that was not up to our standards and didn’t fully represent what we were trying to say musically. Don’t be afraid to let things fester for a while- I’m the son of an English major so it’s always important for me to go through a few “first drafts”. After you’ve created something, let it sit and then revisit it with a fresh set of ears/eyes and you’ll be surprised how your opinions change. There are quite a few places on this record where we threw out sections and replaced them, only to come back around to the original idea in the end.

SH: Funny you mention that--one source of endless inspiration (another Renaissance shout-out) is Da Vinci, who apparently was quite notorious for rarely finishing projects he would start--they often would remain sketches, grand visions of the future. The inception of musical ideas is my personal favorite part of the writing process, and it’s always a struggle to see them through the revisions. That’s why I enjoy working with John and Adam and the “multiple drafts” mindset. Advice? To keep at it and if possible collaborate with others to ensure your ideas are realized.

The Fleeting Nature of Forms:  It's very easy to get sidelined by the distractions and acquiesce to the comforts of modernity. Musically and artistically, do you feel it's important to spend some time out of your comfort zone?

JB: Absolutely! Modernity is a quite alarming place. Folks completely zoned into their phones with absolutely zero regard for all the things passing by. Endless scrolling, endless internet personas, none of it matters in the long run. The actor John C. Riley says he doesn’t participate in social media because “life is too short.” This is great but not all of us were lucky enough to be established in the pre-2000 era. I think maintaining a balance in life is key.

AH: This is such a perfect question to ask about this record. This was my first time ever recording vocals on anything- let alone in a professional studio for public release. I’ve been singing to myself all my life- but once we made the decision not to look outwards to hire a new vocalist I decided to step up to the plate and just go for it. John’s solo record last year was a major inspiration in that regard. It’s so important not to let your fears and doubts stand in the way of what you want to accomplish with your art. It’s something that everyone struggles with to an extent, but the more you push your boundaries, the easier it becomes.

SH: The comfort zone can be a dangerous place if you linger there for too long, as it can stifle new growth. It’s important to be constantly exploring new sounds and spaces. With respect to modernity, the only way to counteract this is to balance with the ways of old.

The Fleeting Nature of Forms: For anyone that would like to catch an Austaras show, will there be any shows or tours in the near future?

JB: There will be shows in the near future. We hope that our first performance can be a showcase type event where we perform all of Prisoner of Sunlight including the quiet songs.

We would love to play festivals and hope to perform overseas in the future.

SH: Certainly will be--the initial goal being to perform Prisoner in its entirety--as John said. Eventually playing elsewhere in the country and world are dreams we hope to make reality.

The Fleeting Nature of Forms: Anything that I may have forgotten to mention, please feel free to mention it here...

JB: Thank you very much for these insightful questions.

SH: Cheers for the thoughtful enquiries. There is no fate but what we make for ourselves in Austaras.

AH: Many thanks for taking the time to ask us these questions, and thank you to anyone taking the time to read this. If you’re interested in staying up-to-date with all things Austaras please check us out at facebook.com/austarasband, where we’ll let you know as soon as we have some live shows lined up. The new album will be available November 6 at austaras.bandcamp.com on a very limited CD pressing as well as high quality digital download.

Check out Austaras "Prisoner of Sunlight" here at Austaras bandcamp site... on November 6th.