Interview: Federica "Sister" De Boni (White Skull)

 

Founded in Vicenza, Italy, in the late 80's, White Skull has more than three decades dedicated to Heavy Metal, releasing eleven studio albums, the most recent being "Metal Never Rusts" (2022), which was composed during the period in which they até writing their biography, "The Soul of the Skull", having their songs inspired by the band's history and the love of Metal.  (Versão em português)

To talk a little about the book, the new album and the history of White Skull, we spoke with The front-woman Federica "Sister" De Boni, who although was out of the band for a period (, was together with guitarist and founder Tony Fontò in the first years of the group, recording great albums like "Tales From the North" (99), released worldwide by Nuclear Blast.

Well, put the album to play, check the interview below and feel the Soul of The Skull!

RtM: Hello Federica, thank you for your kindness in granting us this interview for Brazil. Let's start talking about the new album, of course, "Metal Never Rusts", which ended up being composed during the pandemic and inspired by the book about the band that was being written. I mean, after albums talking about Nordic peoples, Rome, Egypt, this one talks about the band and Your love for Metal music.

Federica Sister: As you mentioned already the album is inspired by the book “The Soul of the Skull” which is the recently published band biography. As you can imagine we summarized many years of music and personal backgrounds in some 400 pages.

At the same time the new album was in the pipeline. I thought it would have been perfect to put in lyrics our story to complement the book and express in music our feelings about what has become the driver of our lives.

Right now the book is only available in Italian therefore the album allows all our fans to know about White Skull and our story the way we tell it best: in music.

Each song has several themes threaded in it. That´s how I like to write my songs. We might go into more details further down this interview.

RtM: Well, the title track already shows that the listener will have a great Heavy Metal album to listen, and with the White Skull trademarks. An epic track! Metal never rusts for those who live the style with soul and heart, right? That's what I felt when I heard the song. Tell us more about the title track.

FS: Metal Never Rusts is an open hearted confession and at the same time the celebration of going thru life with the mindset of a Metalhead. I wanted to describe how Metal music is the source of everyday energy, the painkiller when I need one and the person I am. 

RtM: And about the cover art, believe that the warrior on the cover is you, since the album is inspired by the band's history and you are the frontwoman, and when talking about White Skull the first person that comes to mind for the vast majority is you.

FS: Yes, correct. This art cover was really put together last minute with the cover artist.  Once we aggred my warrior image was being put on the front cover I requested individual portraits of my band members to be also added to the booklet.

RtM: There are Very good Voice arrangements, great choruses, i think The voices received an extra Care on this album. I believe you had One of Your best performances.

FS: Thank you Carlos. This time I decided to be direct and maybe less melodic than the previous albums. This in line with the music and the overall album theme. We brought back some of the big choruses we used in "Tales from the North" and Public glory, secret agony however, this time the main voice keeps its identity and definition. 

I am happy with the overall result of the voice arrangements even though, when I listen to the album I can always think of something else I could have recorded. But I guess that is the thing of every musician.

RtM: And about the book? Are there already contacts for launches in other countries?

FS: At this time it will be available in English language. A professional translation would require quite a budget and time we currently don´t have.

RtM: Speaking a little about the songs, "Pay to Play" I imagine that you have been through and also know bands that have gone through situations where opportunities were offered, but at a cost. The citation of the main theme of the movie "Godfather" I think it shows what you think about these situations.

FS: As you noticed the lyrics are pretty straight forward and clearly describing what the typical situation would be. The condemnation is also very clear. Bands should get on the stage for merit but that´s simply not the way this show business works (once known as music business). So bands let´s just write music and watch out for the wolves out there. 

RtM: "Skull on The Closet" is really cool, fast Heavy Metal with melody and great choirs. Tell us a little more about it, and if sometimes it's really better to leave the skulls on The Closet?

FS: "Skull in the Closet" has several topics threaded into the lyrics. First one is TRUST. Our band has gone thru several challenges throughout the years and trust plays a big role in the relationship between the members. Second is SECRETS: who doesn´t have one? And should it be known and by who? Again, sometimes secrets shall just stay in the closet!

Third is CONSPIRACY by a third party. This is actually a story we did not include in the book but I had fun writing the video story with this one in mind! I also added the concept of ETERNITY. In the video the band members are stolen from the world of the living to be forever trapped in this paranormal closet…forever!!!!

RtM: We have a moment of more calm with "Weathering The Storm", which i thought was Chris Boltendahl as a guest on the vocal duet when i have heard it for the first time. Tell us about this song and about the duet.

FS: Chris is actually only singing in duet in Scary Quiet. In Weathering the Storm, I sing with Tony, Valentino and Jo. The song describes the bond within the band members.

RtM: One of my favorites is "Scary Quiet", with its striking riff and chorus, including grandiose choirs. Tell me more about It and the lyrics.

FS: "Scary Quiet" is about the Pandemic and the “silence” that followed up. Caged up within the walls of our houses we missed our loud and powerful music. 

While mixing the album Chris Boltendahl offered to participate to a song and he picked this one. We are really grateful for Chris friendship and co-production of this album. 

RtM: About the partnership with Boltendahl, it has been going on for a long time, with him producing "Tales from The North", and also had an influence on the closing of the contract with the label ROAR! Tell us more about these partnerships, with Boltendahl, and this most recent one with ROAR! which I believe has been very positive, with good publicity, production of very cool videos.

FS: Indeed, Tony has maintained a close contact with Chris throughout the years. Lately this lead to the contract with the label ROAR. We were very much looking for a label with an international presence and are really pleased to see how it is still growing and recruiting excellent bands.

RtM: I got to know the band through the album "Tales from The North", and it and "Public Glory, Secret Agony" I believe were the works that took White Skull to another level and to a larger audience. Tell us a little about how important these two albums are to you.

FS: "Tales from the North" brought us to Nuclear Blast. Back then this was the Olympus of Metal.

With such visibility our band was known in many countries. Soon after we released "Public Glory Secret Agony", but this time under Udo Dirkschneider label.

Those were indeed the years when White Skull hit the highest success. 

RtM: I believe that this period was quite remarkable for you in terms of recognition, opportunities for concerts and festivals. Tell us about that period and what facts you consider most remarkable.

FS: We were constantly rehearsing, performing and writing new songs. We toured with Grave Digger and participated in big festivals. It didn't last long for me as I decided to leave no long after the release of PGSA. Actually the band enjoyed the success of those albums for quite a while. Well, to be true, I guess White Skull is still recognized and measured against those albums to these days. 

RtM: You had to part ways with White Skull in 2000, it must have been hard to leave the band, at a time coming off two highly praised albums. The band continued, but many fans missed Your voice and presence fronting White Skull.
FS: It came to a point where I could not keep up with everything. Work, family and the band. All very demanding. We had two great albums but the results were not up to my expectations or where I wished for a better say. Some disagreements with the band created some distance between us and helped my decision to go. I did like Gus' voice and singing style however I do understand the feeling of a fan.   

RtM: How was life in the USA, you lived in Georgia, didn't you? Was it difficult to adapt? What things did you miss the most?
FS: Yes, I lived in Georgia USA for almost seven years. Life was different but good. Not much metal scene though! I was living in the south of the country with lots of space around me. I loved the nature but in the long term I really felt the solitude and missed writing music. 

RtM: A few years later you returned to Italy and the band. Tell us how that resumption was, and about the composition of the "Under This Flag" album. I think that with the partnership of years with Tony Fontò, it must have flowed naturally Your Return to activities with The Band.
FS: I was making arrangements for my return to Italy when I received an email informing me that White Skull singer had left. The band was looking for a new singer and It would have taken many months before I actually would have returned to Italy.

Tony and me had some conversations and figured out a way to work on the new album from the distance. So we wrote the music and the lyrics of Under this Flag. Upon my return we were ready to record and I was back behind the microphone.  

RtM: How was the return to the stage? During the period in the USA, did you manage to do something related to music?
FS: While in the States I did not have any music project. After ten years I thought it would have been hard to be on stage but it wasn´t as bad as I thought. For sure I needed to practice to have my voice back in shape. These screams are not as easy as they sound.

RtM: And talking more about your personal preferences, tell us how your beginning in music was, who were your main influences and encouragers. How was your first experience with a band and on stage?
FS: I started to play in a band when I was fifteen. We were playing cover songs and writing some ourselves. My first idols were Blackie Lawless, Alice Cooper, Ronnie James Dio and Dee Snider. 
On stage it is always scary. Oh well at least the first song is until the adrenaline kicks in. I had my first gig in front of my town people. Lots of friends there and actually that was when one member of White Skull spotted me and later asked me to go for a trial with them.

RtM: Besides Metal, is there any other musical style that you like to listen to? Some songs and artists that might surprise us?
FS: I have a wide spectrum of music preferences. It goes from Black Metal to Industrial Metal. From Michael Jackson to Andrea Bocelli. But bottom line I appreciate great voices and good songs. 
Music shall not be subject of prejudice. 

RtM: Federica, thanks for The interview, once again congratulations for the album, we hope to see you on the road!
FS: Thank you all for the nice chat and enjoy our new album "Metal never Rusts"!

Interview by: Carlos Garcia

Photos: White Skull archives

White Skull is:

Federica "Sister" De Boni - Vocals

Tony "Mad" Fontò - Guitars

Valentino Francavilla – Lead Guitar

Alexandros Muscio – Keyboards

Jo Raddi – Bass

Alex Mantiero – Drums

White Skull Linktree

Instagram

Spotify

Interview - Fernando Ribeiro (Moonspell)

 

The greatest exponent of Metal in Portugal, Moonspell, completes 30 years of career. Since its inception, the band has shown that it would surprise with each album, always looking for new challenges, and step by step it has been conquering fans across continents. (Versão em português aqui)

The band is already on a tour to celebrate these 30 years, passing through Latin America, including Brazil, where they will present songs from their career, and from the last two and praised albums, "1755" and "Hermitage". We took the opportunity to talk with the iconic vocalist Fernando Ribeiro, who, with his usual chivalry, gave us the interview that you can read below.

RtM: "Hermitage" can already be considered a milestone for the band's career, and I believe that you also believe in that, because you realized this daring idea of playing the album in its entirety, and still in the Mira D'aire grotto.

Fernando Ribeiro: Thank you! Above all, Hermitage will always be a special record, due to the context in which it was recorded and released, and to a certain “confirmation” of several things that constitute the literary concept of the record.

RtM: Talk a little more about how this incredible idea of doing this concert and the choice of location came about.

FR: As we knew that this album, due to the pandemic, would not be supported by a promotion tour, we decided, from the outset, to document it live, complete and in its entirety, so that some justice could be done to the album.

The Mira D’Aire Caves are a natural “monument” that is part of the Portuguese imagination. During the pandemic, I visited it again with my son and niece and, as it were, joined the dots.

The natural scenery and the lighting, it looked like a geological work by Bosch or Caravaggio and I thought it was a great idea to bring music about hermits there... First, we did the photo shoot, then the video for Common Prayers and finally the live event.

RtM: And how was the preparation in terms of first obtaining authorization to perform at Mira D'aire? for I believe that there must be several cares and restrictions. And, of course, there was the preparation and care for sound capture, acoustics, image capture, everything must have been a very different experience.

FR: Yes. It had to be a silent event, that is, people listened to Moonspell through headphones, with a sound mix specially prepared for the fans.

Then there were the issues of permits (Portugal is very bureaucratic), electricity, problems with claustrophobia in the public, covid tests, social masks, and all the lighting and sound equipment that had to be thought out in the smallest detail because it was a small space , different and limited.

 

RtM: Moonspell never allowed itself to stagnate or limit itself musically, and "Hermitage" surprises after the wonderful and complex "1755", bringing a more progressive sound, sometimes cleaner and darker. Comment on what inspired the lyrical theme and sound of "Hermitage".

FR: I don't know if it's restlessness or simply the fact that we are never truly satisfied with what we do, at least I am never. In the case of Hermitage, the sound was inspired by progressive which has been a very clear influence on Metal and Moonspell, especially since records like "Wildhoney" by Tiamat.

In my case, I received a bag from my uncle with all of Pink Floyd's discography from the 70's and that ended up influencing me too.

The literary concept is related to the solitude to which the world is facing, the lack of communication and empathy between people, which leads many people to isolate themselves from the world for reasons different from the classic hermit saints, and in this counterpoint, the disco.

There was talk of social distancing, but without being enacted by law or a health emergency.

We are like hermits to ourselves and to each other.

RtM: Still on the sound of "Hermitage", I felt a lot of influence from the progressive of the 70s, even later with the release of "From Down Below", I also remembered that Pink Floyd did a show in Wembley the year after the release of "Dark Side of The Moon", playing the disc in its entirety. I would like you to comment on the influence of these classics and name some of your favorites.

FR: Well, as I mentioned before, I inherited the entire Pink Floyd discography on vinyl! I listened to a lot of things like Relics, I love the Set the Control to the Heart of the Sun theme, but also Piper at the Gates of Dawn and of course "Dark Side of the Moon" which is a masterpiece.

I also really like Emerson Lake and Palmer, for example, or post rock like Apse, A Perfect Circle or more metal stuff like Katatonia that makes great music.

RtM: "Hermitage" also features the new drummer Hugo Ribeiro. And regarding Hugo, how was his contact and adaptation so far, and what did he bring back to add to the band's sound?

FR: Hugo is the most talented and complete drummer that ever played in the band and we canevolve a lot in the complexity of the rhythmic parts and this confidence allowed us to have more imagination and go further. I think Hugo still has a lot to give to Moonspell and it's just getting started! And I think he started off on the right foot, as his performance at the Hermitage is excellent.

 

RtM: Mike Gaspar ended up leaving the band after all these years. What was it like to deal with this process of change? Of course, we understand that changes are part of it, but when it involves an original member, it can be a little more difficult.

FR: Very difficult. Personally, Mike was not only Moonspell's drummer, but also my best friend and I even considered not continuing without him. It was one of the toughest decisions of my life, but we had, in fact, reached a point that we could not resolve. I wish Mike and Seventh Storm, his new band, created in his image, all the best of luck.

RtM: About "1755", I consider it not only a milestone for world of Metal, but a complex work, rich in history and with a unique atmosphere. Full of epic and thought-provoking nuances. Taking emotion to high peaks. If possible, I would like you to comment on the importance of It for you and about the creative idea for such a powerful and thought-provoking album.

FR: It was a spur of the moment thing, although the ideas are rooted in my student background. The record was also born from the absence of a musical work that contemplated this event and all its social, political, artistic and philosophical consequences.

I explained the concept to my partners and they immediately understood that the sound would have to be big and epic, almost symphonic, and that it would have to be sung entirely in Portuguese.

For us it was very important, as it brought together two of Moonspell's passions: History of Portugal and Heavy Metal. And we really want to make another record in Portuguese, as soon as we find a theme.

 

RtM: As artists and a consolidated band, I believe that from the beginning you sought to bring something innovative, challenge yourself and still feel the commitment to bring messages and ideas to make your audience reflect, interpret, instigating curiosity.

I would like you to comment on this, and if you understand that every artist has to have this duty and also be careful to convey a message to their fans, because musicians/artists are a potential opinion maker.

FR: Each artist does what he wants and there is no judgment. There are several paths that can be followed and for me, I don't see why one path should be more legitimate than another. Whether you want to quote Feuerbach or have a giant rubber duck onstage, our mission is to entertain.

Nowadays with all the splits, crises and depression that exist, a musician who can make people think about something else and focus on the show and not on the problems they have, is an act of immense generosity and empathy.

Personally, I like the poetic, philosophical and intellectual part of Metal. I like to know that the Maiden theme "The Evil that men Do" is a Shakespearean quote. And I follow this path. But if another musician wants to make the audience pretend they're on a Viking ship, rowing, who am I to say it has to be my way and not his? There is room for everything and everyone.

 

RtM: Moonspell's discography is very strong and diversified. Because at each launch we have the characteristic elements, however, with different syntheses. You listen, you know it's Moonspell, but in a fresh and different way. How is the creative process in general for the band?

FR: We are a zeitgeist band, i.e., what is happening in the world, in our lives, what enters or is retrieved in our libraries and clubs and by the dissatisfaction with what we do and the enthusiasm in discovering new melodies and, who knows , add new Moonspell themes to people's daily lives.

If we had stopped at the first records, or repeated the formulas, we wouldn't have given the world themes like Nocturna, Scorpion Flower, Breathe or the whole of 1755.

 

RtM: You recently had to cancel your European tour due to the financial crisis that some countries are going through. In Brazil and South America in general, it wouldn't be so different, because crises come, the rulers neglect and the people unfortunately pay the price. In the view of those of you who have already traveled the world, what could be done to contain these mass crises that happen?

FR: The European tour has taken place. The US tour was canceled due to lack of transport and the UK tour didn't sell enough tickets in London, which was bizarre as London has always been one of the most important cities for Moonspell. What can be done? Absolutely nothing.

We just have to rely on the generosity of the fans and depend on the depth of their love for the music, and in our case for them to decide to spend their hard earned money and experience Moonspell. The world chose capitalism and liberalism, without rules, there is no balance, no basis for experimenting with regulation, so the burden will always be on top of the fans and bands and those who still invest in this kind of deal with people rather than numbers or algorithms.

In our case, Moonspell opted to lower conditions, fees/payments to the band, production, merch prices, so that we can still play for our fans. We are always working to give them the best.

RtM: Thank you for your time and for answering this interview, may the tour in Latin America be very successful, we will be there at Opinião in Porto Alegre, if the universe wants it that way. And finally, could you tell us something about what fans can expect from the next album?

FR: Very grateful for the opportunity. And for the votes! See you in Porto Alegre for a big night, under the spell.

We will work on a new album, without rushing, something simpler, less prog, returning to the most emblematic songs, something more intelligible at first listen and with the concept around the power of books and words. It will come out in 2024, or, in the worst case, in 2025.

Interview by: Carlos Garcia and Renato Sanson

Thanks: Erick Tedesco - Tedesco Mídia

IDL Entertainment

Visit: Moonspell.com