Interview - Saeko Kitamae : Facing the Future

Saeko Kitamae is one of those artists we can call a warrior who makes music with her heart. Since starting the search for her dream of having a metal band, initially with bands and projects in the Japanese scene, and then left for Germany. (versão em português)

In 2002, while she was on the streets of Hamburg distributing flyers looking for musicians to form a band, caught the attention of Lars Ratz (Metalium), who was impressed by the attitude of that young woman. From there, a great partnership emerged, with Lars producing the first albums. The debut had good repercussion, including with Saeko going to play at Wacken.

But due to several setbacks, shortly after the release of the second album, "Life" (2006), Saeko had to return to Japan and discontinue activities.

But the warrior did not give up, and in 2020 it was time to return, and with the help of a crowdfunding campaign, she recorded a new album. Early 2021 the singer had another hit, the death of great friend Lars Ratz in an accident. It was time to gather even more strength and focus on the new work, "Holy Are We Alone", released last month on the Pride & Joy label.

We have talked to Saeko, who open-heartedly told us about his career, the victories, the disappointments, and of course the new album, which brings a connection with the previous ones, and has a beautiful concept. Check out!

RtM: You've been in the Metal scene for a long time, facing ups and downs and even moving away from the stages and studios, but always gathering strength and coming back. Tell us more about this comeback and about this new album, which also featured a crowdfunding campaign.
Saeko: First of all, thank you for still remembering me after so many years. Maybe I can later explain as the answers to other questions about what happened and how suffering those years were for me, but for now, I'm very happy that I was able to come back with a great album. This comeback was possible thanks to backers of the crowdfunding campaign and to supportive journalists like you.

Also, the great musicians who trusted me and helped me with no guarantee (Guido Benedetti, Michael Ehré, Alessandro Sala and V. Santura). I'm very thankful to all of these people.

RtM: And why did you go so long without releasing anything new? After realizing dreams like playing at a festival like Wacken, receiving a good response from critics and audiences with your previous albums, you ended up suspending activities.

Saeko: To make it short, a few things happened businesswise in Germany and I couldn't figure it out myself in those days (2006), so there was no way but to stop my music activity. When I stopped my music activity, my residence permit expired (I was allowed to stay in Germany only on the condition that I work for a German production/label). So I had to fly back to Japan. But in Japan, no Japanese lawyer knew how to rescue me from what happened outside of Japan. So, besides music, bureaucratic and legal matters ... Many hurdles were there to get over. 

RtM: Oh, So many bureaucratic things. And then?

Saeko: Since all Japanese lawyers threw away my matters, I studied and analysed by myself. It took me more than 10 years to figure out the reasons and to solve the matters. Anyway, I'm happy that I finally made a comeback at least. By the way, the hardest battle I had this time (2019) was also with the German Foreign Department. 

I had to turn in so many letters, certificates, and a thick business plan to convince them to get a residence permit. It's understandable, though. If a foreigner visits the immigration and says, "I wanna stay in Germany to make heavy metal" ... I assume most officials would be like "wtf", haha. Anyway, I'm at the starting line now, and let's see how things will develop. Life taught me a lesson. Now I´m gonna face the future.

RtM: What are your expectations for this new phase with the band?

Saeko: Before COVID, my plan was 1. make the album, 2. find a booking agency and 3. go on tour. Yet, COVID changed my plan ... it's opening up again, but I haven't found a booking agency yet. For the moment, we're planning to make some more lyric videos, while looking for a booking agency. It's a strange time, but I love playing live shows. I actually wanna play in Brazil one day, as I get lots of fan messages from Brazil.

Anyway, nothing is possible by myself, but many things became possible together with people who support me and my dream. So, I hope to make it come true again. Anyway, if there's any good booking agency reading this interview, please contact me.

RtM: Tell us about the concept of this new album, the release says it would also have a connection with the first two albums.

Saeko: Yes. Of course, the concept has connections with these two albums as I'm always writing about the same theme, the eternal truth of our spirits. In fact, lyrically, there are several deep stories going on simultaneously, but this interview is too short to explain everything.

Still, I can point out a few interesting hints here. For example, my 1st album (2004) was titled "Above Heaven Below Heaven". Combined with the title of the coming album, it becomes "Above Heaven Below Heaven, Holy Are We Alone". 

Non-Asian people may not recognise, but someone from Asia will surely notice that this is an alteration of the famous phrase by Bhudda: "Above Heaven Below Heaven, Holy Am I Alone". Also, listeners who heard my 2nd album "Life" will notice that the opening of the coming album is an alteration of the ending of the 2nd album, which finished predicting my death and rebirth:

"Don't cry, soon I will meet you again, please remember me ...". And the coming album starts: "Now the time has come, I'll be back, To meet you again"

This opening suggests the story is continuing. But it's also the voice of SAEKO to long-time fans, you know, to say SAEKO is finally back to you.

RtM: Very nice! I have noticed the connection on the intro of the new album

Saeko: Anyway, 1st, 2nd, and the coming 3rd albums are made on the same theme.

The 1st album was METAPHYSICAL, which described the eternal truth in the OTHER WORLD. The 2nd album was PHYSICAL, which described the

personal truth in THIS WORLD, based on my real life. ... and the new album reveals how these two different worlds make the universe together.

RtM: "Holy Are We Alone" brings lyrics in several languages, and also elements of Japanese culture, some differences in the sound of the band, which even received praise on previous albums for presenting a very own identity. Tell us more about these differences.

Saeko: I have my philosophy: When I create anything--either writing lyrics or composing--, I do so from the empty mind. It may sound very Eastern, but it's like a Zen meditation. So, if there is anything you felt different from the earlier sound, it is the result of my creation and not what I did intentionally.

I also told this philosophy of mine to Guido Benedetti (g), who helped me compose, before working with him. Then, he said it's also his philosophy. So, I think we both succeeded in creating music, coming from the deepest of our hearts. And I believe such an attitude is exactly what gives a special identity to music.

RtM: And what "surprises" the public should find in this new album?

Saeko: What "surprises" should the public expect? Hmmm, a difficult question, for I didn't intend to surprise anyone, as I said above. But I myself got surprised by songs like "India: Farewell To You I", in which you hear the Bhuddihism chants in Sanskrit, and "Germany: Rebellion Mission", in which you hear me singing Mozart "Queen Of The Night Aria".

RtM: The first single, "Russia: Heroes", was released few days ago, I would like you to tell us a little more about this song and its beautiful lyrics.

Saeko: As I said earlier, several stories go on simultaneously in the coming album.

The album concept is that the main character reincarnates in the bodies of many people around the world, Japan, Russia, Brazil, India, Germany ...

But I wanted to make the lyrics as real as possible. So I interviewed one person from these countries about his/her life. Based on their life stories, I wrote the lyrics. By the way, the interviewees' eyes are also in the booklet.

For "Russia: Heroes", I interviewed a Russian guy, who had to skip his kindergarten and first few years of elementary school due to his weak health.

In the interview, I asked him who his hero was. Then, he answered, "I consider almost anyone who really accomplished something important for themselves, even if it’s a really tiny thing, a hero. This world is complex, life is hard, yet they did it! I’m proud of them." This answer moved my heart, and it became the choir.

RtM: I know it's hard to choose, but which new songs do you believe will appeal the most to listeners and why?

Saeko: Yeah, this is always difficult. I love all the songs, of course, and I can't choose one.

However, depending on your taste of music, certain songs might appeal more than the others. If you love powermetal in general, you'll probably love the first single "Russia: Heroes". If you love something more progressive, you'll probably love "India: Farewell To You I". If you love more rockin' feelings, you'll probably love "UK: Never Say Never". The strong point of the album is that all songs sound very different. It's full of variety, but there's a consistent SAEKO feeling at the same time. So, you'll enjoy them all, after all.

RtM: Tell us a little about the period with Fairy Mirror, a time when you got to have a visibility in the Japanese Metal scene, but ended up having to stop activities.

Saeko: Oh, you mean before 2001? I formed a band called Insania in 1997, which changed its name to Fairy Mirror in 1999. Back then, almost no Japanese labels got interested in Japanese metal bands, so the whole domestic scene was so-called 'underground', but there were many good bands, and those good bands were working together to support the whole scene. So, many Japanese metal musicians knew each other well. For example, the very first drummer of Galneryus, Toshihiro "Tossan" Yui, was playing in Fairy Mirror at some point. 

I was also a guest singer of Manipulated Slaves, with whom I sang as an opening act of Arch Enemy's first Japanese tour. There was also a compilation album with Fairy Mirror, Onmyo-za (before they got big) and a few other bands as well.

RtM: And had you some good results or good offers?

Saeko: Anyway, then I got record deal offers, but the labels asked me to play differently to sell: For example, "please sing like Tarja (Nightwish)" etc. Almost everyone pushed me to do so to be successful, but I said NO, which was the end of my Fairy Mirror time in short.

Anyway, then I went to Germany and came back in 2006. After I came back to Japan, these longtime metal musician-friends told me to sing again. Yet, for 4 years or so, I kept on rejecting, as my legal problems were not solved, and I was feeling hopeless about resuming music at the same scale. I remember I actually couldn't sing as tears came down when I tried to sing.

Fairy Mirror

RtM: And Then?

Saeko: Yet, in 2013, Manipulated Slaves almost forced me to go on tour as a guest with them, putting the notice on Japanese magazines. After that, an all-Japan heavy metal benefit project, Metal Bless Japan, as well as bands like Seventh Son and Rachel Mother Goose invited me to guest in their albums and gigs.

Also, the singer of Head Phones President told me not to give up so many times. Without them, I wouldn't be here now. I won't forget their kindness.

RtM: What about choosing to come to Germany? Is it harder for a metal musician in Japan to reach their goals? Tell us about the difference of having a band in Japan and Europe.

Saeko: I can't explain all complicated things in this interview, but I published an essay in Japanese here, for example:

https://note.com/saeko_metal/n/nc20e394c160d

I know you can't read Japanese, but you may be able to imagine there's some very deep reason behind it.

Anyway, the Japanese music industry functions completely differently from the European countries. I don't say which is better or worse. Some musicians can work better in the Japanese industry and some in the non-Japanese industry.

Anyway, a musician like me can never work well in the Japanese music industry structure. The same thing is true for the academic world. The kind of researchers who will get highly evaluated in Europe can usually have no chance in Japan. What the Japanese society expects is almost the opposite to that of Europe. I can't explain more than that in this short interview.

RtM: Things started to happen when you got the contact from Lars Ratz (Metalium), who ended up producing and, i think, also playing on your first album with the band Saeko, " Above Heaven - Below Heaven". Tell us a little about this period, which I think was a very good time for you and pointed to a promising future.

Saeko: He meant a lot to me, but he didn't play in my album (the bassist of Fairy Mirror played the bass for the 1st and 2nd albums). But I liked his male choirs, recorded in both albums.

Do you know how things started with him back in 2003? I was handing out flyers, "Vocalist Seeking to Join Heavy Metal Band", alone on the street in Hamburg. Most people perhaps took it just a joke, but Lars took it seriously, and he understood how much heavy metal music meant to me. 

And he introduced me to Michael Ehre, V. Santura and so many great people. Without him, those 2 albums didn't simply exist. Really, he meant a lot to me.

RtM: A great musician, so sad he passed away.

Saeko: He passed away by accident in April this year. Just about a month before his death, he, I and V.Santura talked again, to have him as a guest in my coming album, to sing some male choirs again. He was happy to hear my coming back and recorded his choirs. 

It was quite fun that I was even thinking of asking him to record my vocals in the future again. Coz he's the best for me as a vocal producer. Then, just after that, he departed this world. I felt shocked, for I'm probably the one who recorded his last performance. Do you understand what it means? I felt a kind of destiny.

Anyway, he and I made great music together. We were free, passionate and bold idealists. I'm sure I'll meet him again in my next life. It's strange that I feel so sure.

RtM: What about the "Life" album? Some things again weren't going as you expected? Tell us a little about this album too.

Saeko: No, it's just because I had to fly back to Japan as I explained above. Also, I used up all my money, and it was really hard for me to survive the next day. If I remember correctly, I started to have job interviews one month after the release, for I really had to survive anyhow. With no money for tomorrow at hand, I was very depressed, then I got fan messages from South America, saying "Please come to play in my country". I was like, "Yes, I would like to! But I have no money for that!"

RtM: What about plans after the release of "Holy Are We Alone"? As soon as possible, are there already contacts for concerts?

Saeko: I hope to set up some shows, so I need to find a good booking agency to help me. Unfortunately, I cannot set up all these things by myself. But, of course, I don't wanna finish just releasing an album, like the last time. So, please wish me luck to find a good agency this time and make it.

RtM: Thanks for the interview, we hope the new album has a great reception, quality for what we know it has!

Saeko: Thank you very much from me, too. People like you are supporting my music. Really, I appreciate it.

Interview by Carlos Garcia

Saeko Official Site

Saeko Instagram

Saeko Spotify

Iron Maiden: Estratégia Certeira

Os ingleses do Iron Maiden são uma das poucas bandas que restam capazes de encher um estádio, e que o lançamento de um álbum novo é um verdadeiro evento, para alegria dos fãs e claro, dos lojistas, pois é sucesso de venda garantida.

Com "Senjutsu", 17° álbum da banda, não foi diferente. Gravado em 2019, durante uma pausa da turnê "Legacy of the Beast" e mantido em segredo, causou uma grande surpresa aos fãs quando dia 19 de julho houve o anúncio do lançamento, precedido dias antes pelo lançamento do single e vídeo "The Writen on the Wall", o que já causou alvoroço.

Bom, praticamente ninguém fica indiferente quando uma banda desse porte lança trabalho novo, e nós não tinhamos como não tecer nossos comentários e impressões. Confira a seguir.

"Tornar-se a maior banda de Heavy Metal do mundo, passar mais de 40 anos e ainda ser motivo para discussões só mostra a grandiosidade destas lendas."

"Senjutsu" por Renato Sanson

O 17° álbum de estúdio da Donzela de Ferro nos pegou de certo modo de surpresa, mas também sabíamos que em algum momento de 2021 ou 2022 um novo material estaria disponível. Eis que chega ao mundo “Senjutsu” carregado de expectativas e dúvidas do que poderíamos esperar. Teríamos o “novo” Iron Maiden dos últimos anos progressivo e complexo ou quem sabe alguma volta as origens e algo mais dinâmico e melodioso de outrora?

Pois bem, ao liberar o Tracklist e o primeiro Single – “The Writing On The Wall” – as dúvidas (ou nem tanto hehehe) foram sanadas e tínhamos em mãos a vertente mais progressiva possível, mas com melodias instigantes que até mesmo os que torcem o nariz para este direcionamento ficaram curiosos em ouvir o trabalho completo. O plano de Marketing deste álbum foi incrível, pois conseguiram deixar a comunidade Headbanger comentando a todo o instante sobre “Senjutsu”.

Claro, temos que ser realistas, pois este pode ser o último trabalho dos ingleses então gerou bastante comoção e até para quem não acompanha a banda de “Brave New World” (00) para cá, queria ter o disco em sua prateleira.

Não estou aqui para falar minha opinião musical sobre o álbum, até porque seria injusto comigo mesmo já que o Iron Maiden é a banda da minha vida, a trilha sonora de todos os momentos, mas sim expressar o quanto “Senjutsu” mexeu comigo emocionalmente. A temática milenar também me chamou muito a atenção e as letras com certo tom de despedida que se entrelaçam ao instrumental característico, mas obscuro e denso como não ouvíamos desde “The X Factor” (95).

É complicado pensar em um mundo sem Iron Maiden, onde os gigantes estão tombando e poucas reformulações estamos tendo. Mesmo que gere o ame ou odeie (e nos últimos anos o Maiden tem passado por esses sentimentos a cada novo álbum) a instituição do Heavy Metal mundial mexe como você, mexe com seus brios nem que seja para criticar, mas lá está você esbravejando ou elogiando os caras!

Missão cumprida! Tornar-se a maior banda de Heavy Metal do mundo e se passar mais de 40 anos e ainda ser motivo para discussões só mostra a grandiosidade e comprometimento com o estilo dessas lendas. “Senjutsu” pode encerrar uma história grandiosa e o que nos resta é aproveitar cada segundo desta obra e das demais lançadas pela Donzela.

🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘🤘

"Daqueles discos que crescem a cada audição e mostra que de decadência o Maiden provavelmente jamais sofrerá."

"Senjutsu" por Carlos Garcia

"Senjutsu" é o 17° álbum  e o segundo duplo de estúdio dos ingleses, e seu esperado anúncio foi cercado de uma excelente estratégia de marketing. Em 15 de julho foi liberado um single e vídeo de animação para a faixa "The Writing on the Wall", onde várias referências da carreira do Maiden aparecem. Logo após, no dia 19 do mesmo mês, anunciaram o novo álbum,  e desde então iniciaram os debates e expectativas do que esperar.

Chegou a hora e praticamente ninguém no meio Heavy Metal conseguiu ficar indiferente a   "Senjutsu" (que traduzindo seria Estratégia ou Táticas). A capa, depois de muito tempo (se a memória não me trai), novamente traz o Eddie em um tema oriental, vestido de samurai, pois a última vez que o mascote empunhou uma katana foi no "Maiden Japan"(1981). 

"Senjutsu" recebeu reações diversas, na maioria positivas, notas altas da imprensa especializada, alguns apontando já como um novo clássico, outros classificando como um bom trabalho, e em menor escala aqueles que acharam um  álbum "mais do mesmo" e até longo de mais e repetitivo em algumas músicas.

Claro, quem espera ainda um disco na linha de um "The Number of the Beast", " Powerslave" ou "Seventh Son...", não vai nunca ficar satisfeito, e isso não vai acontecer. A banda sempre foi fazendo álbuns diferentes, experimentando.

Discos como "Somewhere in Time" e "Seventh Son of a Seventh Son" receberam críticas desfavoráveis, devido as mudanças na sonoridade e uso de teclados e sintetizadores, mas com o passar do tempo foram melhor compreendidos. 

O Maiden atual, trilha por caminhos às vezes mais progressivos, com faixas mais lentas, mais reflexivas e mais longas. Isso vem desde o retorno de Adrian Smith e Bruce Dickinson no "Brave New World". Assim como seu antecessor, "Book of Souls" (2015), "Senjutsu" traz faixas com mais minutos de duração, mais climáticas e até sombrias. 

Muitas marcas registradas da banda estarão sempte ali, como as tradicionais linhas vocais de Dickinson, os andamentos cavalgados, o baixo sempre destacado de Steve Harris, a alternância de riffs, solos e melodias do trio de guitarras, e vale destaque extra para a pegada e excelente gravação da bateria de Nicko Mcbrain, com seu kit soando pesado e orgânico, uma lição de como se deve tocar e soar uma bateria "real". 

Falando um pouco das faixas, destaco a pesada e densa faixa título, e que abre o disco; "Stratego", que vem numa linha mais acelerada e com as tradicionais bases cavalgadas; "The Writing on the Wall", mais climática, com introdução acústica e nuances do Southern Rock; "Days of Future Past", tem uma veia mais Hard pesadão e riff marcante, sendo uma das mais curtas.

"Lost in a Lost World", flerta com o progressivo 70's (Jethro Tull, Wishbone Ash), com seu início acústico, teclado de fundo e efeitos na voz de Bruce, para depois mudar de pegada, transitando por andamentos bem típicos do Maiden. A parte final, do disco 2, é a parte com músicas mais longas, onde destaco a épica e sombria "Darkest Hour", com seu tema sobre a segunda guerra, destacando os solos melodiosos e melancólicos.

Enfim, é um bom álbum, com seus bons momentos, pode até pecar em alguns trechos que soam repetitivos, há músicas longas, portanto recomenda-se ser digerido com calma, ouvido várias vezes. Daqueles discos que crescem a cada audição e mostra que de decadência o Maiden provavelmente jamais sofrerá. 

www.ironmaiden.com

Entrevista - Anadom: Escrevendo uma Nova História

                                                   English Version

Figura experiente e conhecida na cena Metal, principalmente pela sua história com o Orquídea Negra - considerada a primeira banda de Heavy Metal do estado de Santa Catarina - Robson Anadom lançou recentemente seu primeiro voo solo: "....and a New Story Begins..."

Antigo sonho do baixista e multi-instrumentista, o trabalho solo começou a finalmente tomar forma no ano passado, contando inclusive com campanha de crowdfunding para amparar os custos.

O resultado já pode ser conferido nas plataformas digitais, e principalmente com o material físico, que foi lançado em uma caprichada edição digipack, contendo uma bela concepção gráfica, onde cada música, todas instrumentais, recebeu um texto e arte inspirados nelas.

Conversamos com Robson e praticamente dissecamos a obra, com o músico nos contando sobre a dedicação, as gravações, inspirações, citações e outros detalhes. Confira!

 

RtM: Antes de mais nada, parabéns pelo álbum, e creio que todo artista, em algum momento tem o desejo de mostrar suas influências, que de alguma maneira não encaixem em sua banda, e reflita seu lado mais pessoal.

Anadom: Isso é uma grande realidade. O artista que diz não ter o sonho de lançar um trabalho só seu, mostrando todas  suas influências e principalmente, exteriorizando   seus sentimentos e o lado mais pessoal em  forma de música, não me parece ser muito sincero consigo mesmo, isso é inerente ao ser humano, querer mostrar o “algo a  mais” sem interferências externas, apenas o “eu interior”, ou então não tem  coragem para admitir essa vontade.

RtM: E como foi surgindo a ideia desse primeiro solo?

Anadom: Essa vontade que surgiu ainda na metade da  década de 90, quando comecei a criar minhas próprias músicas, sabendo que seriam só minhas. Cheguei a pintar até uma camiseta apenas com o nome “Anadom” e um desenho de gosto duvidoso, e dizia que aquela seria a capa do meu primeiro disco (ainda bem que não usei aquele desenho hahahahahaha) era muito tosco.

Com a chegada da pandemia, tudo veio a tona, um turbilhão de emoções, dúvidas, sentimentos e medos, ingredientes perfeitos para todo artista criar. Assim, as músicas foram nascendo, cada uma ao seu tempo.

RtM: E como foi esse início de produção e criação do repertório?

Anadom: Como já tinha algumas ideias feitas, foram sendo aperfeiçoadas, pois eram apenas riffs, mas a maioria das músicas foram criadas a partir de junho e em setembro quando tinha cerca de quatro ou cinco músicas prontas,  eu vi que poderia realizar este grande sonho e compus as demais músicas para completar o álbum.

Fiz todo o planejamento, para conciliar o trabalho com férias que eu pegaria para poder entrar em estúdio e em janeiro comecei as gravações oficiais, finalizando todo o trabalho de gravação, mixagem e masterização em maio.

 

RtM: E sobre título? "...and a New Story Begins..." , fale-nos sobre os significados e o conceito geral do álbum.

Anadom: O título já diz tudo, o início de uma nova história que estou escrevendo com este lançamento, pois certamente, será o primeiro de muitos. Não podemos ficar estagnados, temos que fazer algo a mais, mostrar que o mundo precisa de música.

Percebi com este álbum que demorei demais para fazer isso, mas acredito que tudo acontece quando tem realmente  que acontecer,  se foi agora era pra ser agora. E veio num momento delicado pelo qual o mundo está passando, é um reinício para todos nós. Quando essa pandemia acabar, tudo estará diferente, é uma nova história começando, não só para mim mas para todas as pessoas do mundo.

 

RtM: A capa também traz uma ideia desse conceito geral.

Anadom: O álbum traz esse conceito de reinício, reinvenção. Ao vermos a capa, a menina assustada, atrás da cortina vendo uma grande explosão, um grande reset mundial. Até mesmo os girassóis estão de costas para o sol, mostrando que “as coisas não estavam indo muito bem” estava tudo errado e algo precisava acontecer para tentar reverter essa situação.

Como a fala na abertura do álbum diz: o mundo não estava indo bem e as pessoas que viviam nele estavam perdidas e doentes, isso resume todo o sentimento do disco. Precisamos fazer algo, é o lugar onde vivemos, não pode ser ruim, tem que ser um lugar confortável e feliz, sem guerras, sem desavenças, sem maldades.

RtM: Uma qualidade muito  forte no álbum, é que, apesar de instrumental, não é música que agradará somente um nicho, pois elas praticamente "conversam" com o ouvinte, como se na sua mente, enquanto compunha as músicas você imaginava versos e refrãos.

Anadom: Você descreveu perfeitamente o que eu pensei quando estava fazendo as músicas. Em algumas delas, as melodias foram criadas primeiramente na minha cabeça, e depois passadas para os instrumentos. Já  outras, nasciam enquanto tocava e criava algo que me soava bem ao ouvido, e a partir dali criava o restante da música.

Conforme eu ia criando, já ia gravando para  ouvir e ver o que poderia fazer para enriquecer a música, montando o que seriam as estrofes, refrãos etc.

Algumas delas certamente eu criei imaginando uma linha vocal que depois foi substituída por frases de guitarra. 

RtM: E você chegou a cogitar ter algumasmúsicas com vocais no álbum?

Anadom: A ideia de ao menos 3 músicas era ter voz, mas depois eu percebi que seria interessante fazer algo assim, diferente, e gostei muito da ideia. Quem sabe no próximo eu decida usar as mesmas músicas, com voz para ver como ficará.

 

RtM: Uma ideia muito legal foram textos e ilustrações que cada música recebeu, de modo que o ouvinte, além da parte sonora, também terá esses outros detalhes para imaginar o sentimento que você quis passar. Conte-nos mais a respeito dessa ideia.

Anadom: Esse crédito é todo do grande amigo Neto Santos. Após acompanhar todo o processo de composição das músicas, sugerindo nomes, ideias para elas, ele resolveu fazer uma arte para cada música, e depois escrever as histórias, chamando também alguns amigos para participarem, de forma que tudo fosse lincado, música, arte e história.

Assim, a pessoa ao pegar o CD em mãos, poderá ouvir as músicas, ver as artes criadas por ele e ler as histórias, entendendo do que se trata. Pois acredito que tudo ficará muito claro, a minha intenção colocada em cada uma das composições seja entendida pelo ouvinte.

Neto conseguiu captar isso durante o processo de composição, pois íamos conversando sobre a música e dessa  forma ficou mais fácil para ele criar a arte.

 

RtM: Falando um pouco mais sobre a parte gráfica, temos que destacar o belo trabalho desenvolvido, onde você, conforme já destacou antes, teve o Neto Santos na direção geral das artes. Nos fale um pouco a respeito da arte geral e da bela capa.

Anadom: Exatamente. Essa parte merece um destaque muito especial, pois expressar através da arte o que tenta se passar com uma música, não é algo muito fácil, e o Neto foi certeiro em todas as artes criadas. Conseguiu com maestria demonstrar isso, fechando com chave de ouro a arte da capa do disco, que é a cereja do bolo. Uma das mais belas capas que eu já vi nos últimos tempos, que nos mostra de forma inocente (uma criança) assustada com a realidade do mundo, retratada ali com uma grande explosão, mal sabendo ela que o que está por vir não será nada agradável.

 

RtM: Agora especificamente sobre as músicas, temos temas suaves e melodiosos mesclados a momentos bem Heavy Metal e Power Metal.  

Anadom: Eu quis colocar nas músicas todas as minhas influências, todo o tipo de música que eu gosto de ouvir, por isso existe toda essa mescla de estilos. Esse é o lado bom de fazer um trabalho solo, pois certamente numa banda isso não seria possível.

RtM: "Wake Up to the World", por exemplo, tem guitarras dobradas e linhas de baixo que remetem ao Heavy Metal clássico, lembrando muito o Maiden.

Anadom: Wake up to the World, é uma música pra cima, empolgante, e como o título diz: Acorde para o mundo! Reaja, faça algo para mudar essa realidade. Essa foi a primeira música que mostrei ao Neto e ele já nos primeiros segundos  viu que ali tinha potencial. Ela era um pouco diferente, mas o principal que é o riff inicial e a frase de guitarra já estavam presentes ali. Acrescentei apenas uma segunda parte que é como se fosse um refrão, parte essa criada enquanto tomava banho e veio essa melodia na minha cabeça.

Já o baixo dela era completamente diferente. Na versão demo ele é bem simples. Essa versão final foi criada um dia antes de gravar, o que me deixou muito satisfeito, pois essa música pedia uma linha melhor de baixo, mais empolgante.

 

RtM: E com nuances mais suaves e melódicas, temos "Águas de Inverno", que traz um clima de balada, calmaria e belas melodias.

Anadom: Águas de Inverno já é uma música mais instrospectiva, melodiosa. Enquanto o Neto e eu  conversávamos sobre peixes, aquarismo, lagos, eu disse que tinha feito um laguinho em frente a casa da minha mãe, que era frequentemente visitado por   um sapinho que gostava muito de ficar ali, curtindo a água aquecida, principalmente no inverno. Então ele sugeriu que fizesse uma música sobre isso, algo diferente do que eu vinha fazendo, e numa tarde compus e já gravei, colocando nela todo o sentimento de amor pelos seres vivos.

 

RtM: Um título bem curioso é "The Amazing Jango's Death", que tem uma levada Power Metal 80's, com andamento veloz, algo meio Helloween. Fale-nos sobre a inspiração e sobre esse título dela.

Anadom: Esse é sem dúvidas um dos meus estilos favoritos. A inspiração dessa música veio de alguns anos já. Após tocar num festival com a Orquídea Negra, o Neto disse: "Cara 'Jango Live´s' (música instrumental presente no nosso segundo trabalho) precisa ter uma continuação, uma parte dois". E isso eu já pensava também, mas tinha ficado no esquecimento, pois o tempo vai passando e  outras coisas vão sendo feitas.

Durante o processo de composição do ...and a New Story Begins, esse assunto veio à tona e foi o momento perfeito. Por isso, que a música traz também algumas referências à original, para lembrar da primeira e fazer com quem não conhece, possa vir a conhecê-la.

RtM: Nossa! Eu não tinha lembrado dela. Legal a ideia da continuação, e referências a primeira parte.

Anadom: Como na primeira é celebrada a vida do Jango, agora é a despedida dele deste plano, por isso o nome A incrível morte de Jango.

O duelo é interpretado pelo solo de teclado (executado pelo Daniel Dante Finardi)  e a morte vem a seguir, com o solo de guitarra, que tenta passar toda a emoção e sofrimento do Jango após ser atingido pelo seu algoz. Mas em seguida volta a ser uma música alegre, demostrando a satisfação dos que ficaram.

 

RtM: "Dreams Are Not Untouchable", além do título inspirador e positivo, tem uma pegada bem Progressiva.

Anadom: "Dreams..." é sem dúvidas uma das minhas músicas preferidas, foi a penúltima a ser composta. A frase inicial dela teria sido usada no meio da  música "People Call me Insane" (presente no álbum Blood of the Gods da Orquídea Negra), mas acabou ficando de fora. Então resolvi usá-la agora criando o restante da música a partir dela.

Contando com a participação do Deny Bonfante (excelente guitarrista catarinense) em dois solos, essa música tenta expressar o sentimento de que os sonhos realmente podem ser tocados, nada é impossível quando se tem vontade.

Uma clara referência à música "Touch Your Dream" (presente no segundo disco da Orquídea Negra), pode ser encontrada no decorrer da música, por isso a confirmação através do nome.

RtM: A "Da Costa ao Oeste" traz várias mudanças de andamentos, destacando os trechos acústicos, com uma pegada folk, e os sons da natureza.

Anadom: Da Costa ao Oeste é uma grande representação da amizade. Laços criados entre pessoas, estejam elas no norte, sul, leste ou oeste, mas que têm algo em comum, principalmente o amor pela música. Como diz o Neto: “artes da costa e canções do oeste”.

A parte acústica no início da música represente a costa catarinense, com um lance um pouco lusitano, sons do mar e gaivotas. A viagem no decorrer é o caminho  até chegar aqui na serra onde o cenário muda, representado pelas nossas aves (Quero Quero e Curucacas), e a parte acústica  foi uma participação especial do excelente grupo Quarteto Coração de Potro. Com os arranjos feitos pelo Kiko Goulart, acentuando bem a característica serrana.

 

RtM: Não poderia deixar de pedir pra você comentar uma das minhas favoritas, a "Living on a Fairy Tale". Além das belas melodias, identifiquei-me com o título.

Anadom: Mais uma das minhas preferidas (na verdade, todas elas são) pois eu gosto de todas, mas sou suspeito para dar minha opinião.

Essa música nasceu no auge do inverno e pandemia no ano passado, mais precisamente em junho no dia 13, eu mandei um áudio para o Neto mostrando um trecho do que viria a ser a música.

Era apenas aquela introdução, mas dali tinha certeza que nasceria uma grande canção. Comecei a trabalhar nela então, até finalizar e o nome foi dado por último.

Após a finalização percebi que ela tinha um lance de conto de fadas, o que fica ainda mais claro com a parte do piano ao meio, que foi criada separadamente para ser outra música, mas percebi que encaixaria muito bem ali, e funcionou. Essa música traz uma grande paz cada vez que a ouço.

 

RtM: Outra que me chamou logo a atenção na primeira audição foi "The Myth Behind the Waterfall Cave", que traz várias mudanças de climas, iniciando de forma suave, alternando trechos mais pesados e "misteriosos" com outros melodiosos e "pra frente", tendo também arranjos de sax. Conte-nos mais sobre ela.

Anadom: Essa música trata sobre a Alegoria da Caverna,  de Platão, por isso no início ela vem com aquele peso, demonstrando a existência de uma caverna onde prisioneiros vivem desde a infância. Com as mãos amarradas em uma parede, eles podem avistar somente as sombras que são projetadas na parede situada à frente.

As sombras são ocasionadas por uma fogueira, em cima de um tapume, situada na parte traseira da parede em que os homens estão presos. Homens passam ante a fogueira, fazem gestos e passam objetos, formando sombras que, de maneira distorcida, são todo o conhecimento que os prisioneiros têm do mundo. Aquela parede da caverna, aquelas sobras e os ecos dos sons que as pessoas de cima produziam era o mundo restrito dos prisioneiros.

Repentinamente, um dos prisioneiros foi liberto. Andando pela caverna, ele percebe que havia pessoas e uma fogueira projetando as sombras que ele julgava ser a totalidade do mundo.

Ao encontrar a saída da caverna, ele tem um susto ao deparar-se com o mundo exterior (parte mais animada da música). A luz solar ofusca a sua visão e ele sente-se desamparado, desconfortável, deslocado.

Aos poucos, sua visão acostuma-se com a luz e ele começa a perceber a infinidade do mundo e da natureza que existe fora da caverna. Ele percebe que aquelas sombras, que ele julgava ser a realidade, na verdade são cópias imperfeitas de uma pequena parcela da realidade.

O prisioneiro liberto poderia fazer duas coisas: retornar para a caverna e libertar os seus companheiros ou viver a sua liberdade. Uma possível consequência da primeira possibilidade seria os ataques que sofreria de seus companheiros, que o julgariam como louco, mas poderia ser uma atitude necessária, por ser a coisa mais justa a se fazer.

E foi o que ele fez. Por isso a música retorna ao início, com o solo de sax. Desde o começo quando gravei a versão demo desta música, já imaginava um sax na parte final.

 

RtM: E sobre "People From the Otherside", que traz bastante peso, e tem na intro vozes sussurando "Help me...Help me..."?

Anadom: Essa traz o início de uma sequência: People From the Otherside, Emancipation of the Soul e Returning to Myself. É o momento mais pesado de todo o trabalho. Tentei transmitir com ela a existência de um outro mundo, onde pessoas podem estar presas após a morte e pedindo por ajuda. Almas perdidas que não estão entendendo o que está acontecendo sentindo-se perturbadas.

 

RtM: Poderíamos comentar uma a uma, mas acho que deu pra darmos uma ideia geral e alguns detalhes do trabalho, mas pra fechar, comente o encerramento com "Requiém",  com seu ar melancólico e tocante, e ao final tem uma frase, que certamente é uma homenagem.

Anadom: Essa foi composta num momento de extrema tristeza. A ideia da homenagem veio no dia da passagem de um grande amigo, com quem toquei por um bom tempo e era um dos meus ídolos na música catarinense, o saudoso poeta Daniel Lucena do grupo Expresso Rural. 

Pensei em acrescentar uma frase de guitarra, referente à música “Certos Amigos” em alguma das minhas composições, como uma breve homenagem, foi aí que o Neto sugeriu fazer uma faixa só pra ela. Resolvi usar as mesmas notas da Prelude e I Saw the Future, e acrescentar essa guitarra. A frase acrescentada ao final foi ideia do Daniel Dante Finardi, que fez um lindo arranjo  para fechar com chave de ouro esse disco.

 

RtM: E as novidades sobre o Orquídea Negra? Vocês estão preparando novas músicas? E o documentário sobre a banda?

Anadom: Com a banda estamos no momento trabalhando em mais uma música que estará presente no tributo aos anos 80, da Secret Service Records que lançou nosso último trabalho na Europa,  e também participamos nos tributos ao Motorhead com "I ain’t a Nice Guy", Black Sabbath com "Heaven and Hell" e Iron Maiden com "Prodigal Son". 

Temos ainda as duas últimas gravadas mais recentemente, "Fly Away" que já está nas plataformas digitais e "Sacrifice" que ainda não entrou, mas em breve será divulgada (essa contando com as vozes do André Graebin e Felipe Holmack). E o documentário sobre a história do Orquídea está sendo finalizado e deverá ir ao ar até fim do ano.

 

RtM: Robson, obrigado pela entrevista, fica os espaço para sua mensagem final.

Anadom: Gostaria de agradecer a você Caco e ao Road to Metal pela oportunidade que me foi dada de poder falar um pouco mais sobre esse trabalho, falando sobre alguns detalhes que muitas vezes as pessoas não ficam sabendo como acontecem e que vêm a engradecer toda obra. Aproveito também para pedir a todos que acompanham o site para conhecerem esse trabalho que foi feito com muito amor e carinho.

Entrevista: Caco Garcia

Anadom Spotify

Anadom Official Site

Orquídea Negra Band Spotify

Neto Santos Artwork

 

Interview: Anadom - Instrumental Heavy Metal for All Tastes and New Beginnings

 

                                            Versão em Português

An experienced and known figure in the Metal scene, mainly for his history with the Brazilian band Orquídea Negra - considered the first Heavy Metal band in the state of Santa Catarina - Robson Anadom recently have released his first solo flight: "....and a New Story Begins. .."An old dream of the bass player and multi-instrumentalist, the solo album finally began to take shape last year, including a crowdfunding campaign to support the costs.

The result can already be seen on digital platforms, and especially with the physical material, which was released in a neat digipack edition, containing a beautiful graphic design, where each song, all instrumental, received a text and art inspired by them.

We talked with Robson and practically dissected the album, with the musician telling us about his dedication, recordings, inspirations, quotes and other details. Check out!

 

RtM: First of all, congratulations for the album, and I believe that every artist, at some point, has the desire to show his influences, which somehow don't fit on his band, and reflect your more personal side.
Anadom: This is a great reality. The artist who says he doesn't have the dream of releasing an album of his own, showing all his influences and mainly, expressing his feelings and the more personal side in the form of music, doesn't seem to be very honest with himself, this is inherent to the human being , wanting to show the “something more” without external interference, just the “inner self”, or they don't have the courage to admit this desire.

RtM: And how was the idea of ​​this first solo coming up?
Anadom: This desire that emerged in the mid-90s, when I started to create my own songs, knowing that they would be mine alone. I even painted a t-shirt with just the name “Anadom” and a design of tacky taste, and I said that it would be the cover of my first album (thank goodness I didn't use that design hahahahahaha) it was too crude.
With the arrival of the pandemic, everything came to the fore, a whirlwind of emotions, doubts, feelings and fears, perfect ingredients for every artist to create. Thus, the songs were born, each one at its own time.
 

RtM: And how was this beginning of production and creation of the repertoire?
Anadom: As I already had some ideas done, they were perfected, as they were just riffs, but most of the songs were created from June and in September when I had about four or five songs ready, I saw that I could make this big dream come true and composed the other songs to complete the album.
I did all the planning to reconcile the work with the vacation I would take to be able to go into the studio and in January I started the official recordings, finishing all the recording, mixing and mastering work in May.

 
RtM: What about title? "...and a New Story Begins..." , tell us about the meanings and general concept of the album.
Anadom: The title says it all, the beginning of a new story I'm writing with this release, as it will certainly be the first of many. We cannot be stagnant, we have to do something more, show that the world needs music.
I realized with this album that it took me too long to do this, but I believe that everything happens when it really has to happen, if it was now it was supposed to be now. And it came at a delicate moment the world is going through, it's a restart for all of us. When this pandemic ends, everything will be different, it's a new story starting, not just for me, but for everyone in the world.

 
RtM: The cover also brings an idea of ​​this general concept.
Anadom: The album brings this concept of restart, reinvention. When we see the cover, the scared girl, behind the curtain seeing a big explosion, a big world reset. Even the sunflowers have their backs to the sun, showing that “things weren't going very well” was all wrong and something needed to happen to try to reverse this situation.
As the opening line of the album says: the world was not going well and the people who lived in it were lost and sick, that sums up the whole feeling of the album. We need to do something, it's where we live, it can't be bad, it has to be a comfortable and happy place, no wars, no disagreements, no evil.

 
RtM: A very strong quality on the album is that, despite being instrumental, it is not music that will please only a niche, as they practically "talk" with the listener, as if in your mind, while composing the songs you imagined verses and choruses .
Anadom: You perfectly described what I thought when I was making the songs. In some of them, the melodies were first created in my head, and then passed on to the instruments. Others were born while I played and created something that sounded good to my ear, and from there, I created the rest of the music.
As I was creating, I was recording to listen and see what I could do to enrich the song, putting together what would be the stanzas, choruses, etc.
SomeI certainly created them by imagining a vocal line that was later replaced by guitar phrases.

RtM: And did you even consider having some songs with vocals on the album?
Anadom: The idea of ​​at least 3 songs was to have a voice, but then I realized it would be interesting to do something like that, different, and I really liked the idea. Maybe next time I decide to use the same songs, with voice to see how it will look.

 
RtM: A very cool idea were texts and illustrations that each song received, so that the listener, in addition to the sound part, will also have these other details to imagine the feeling you wanted to pass. Tell us more about this idea.
Anadom: All this credit belongs to my great friend Neto Santos. After following the entire song composition process, suggesting names, ideas for them, he decided to make an art for each song, and then write the stories, also calling some friends to participate, so that everything was linked, music, art and story.
Thus, when the person takes the CD in their hands, they will be able to listen to the songs, see the art  and read the stories, understanding what it is about. Because I believe that everything will be very clear, my intention placed in each of the compositions is understood by the listener.
Neto managed to capture this during the composition process, as we were talking about the music and that way it became easier for him to create the art.

 
RtM: Talking a little more about the graphic part, we have to highlight the beautiful work developed, where you, as I mentioned before, had Neto Santos in the general direction of the arts. Tell us a little about the general art and the beautiful cover.
Anadom: Exactly. This part deserves a very special highlight, as expressing through art what one tries to go through with music is not very easy, and Neto was correct in all the arts created. He managed to masterfully demonstrate this, closing with a golden key the album cover art, which is the icing on the cake. One of the most beautiful covers I've seen in recent times, which shows us innocently (a child) scared by the reality of the world, portrayed there with a big explosion, barely knowing that what's to come will not be pleasant at all .

 
RtM: Now, let's talk a little about the songs, we have soft and melodious themes mixed with moments very Heavy Metal and Power Metal.
Anadom: I wanted to put in the songs all my influences, all the music that I like to listen to, so there's this whole mix of styles. That's the good thing about doing solo work, because certainly in a band it wouldn't be possible.

RtM: "Wake Up to the World", for example, has doubled guitars and bass lines that refer to classic Heavy Metal, reminding a lot of Maiden.
Anadom: Wake up to the World, it's an uplifting, uplifting song, and as the title says: Wake up to the world! React, do something to change this reality. This was the first song I showed Neto and he already saw in the first few seconds that there was potential there. It was a little different, but the main one, which is the opening riff and the guitar phrase, were already present there. I just added a second part which is like a chorus, part this maid while taking a shower and this melody came into my head.

Its bass was completely different. In the demo version it is very simple. This final version was created the day before recording, which made me very happy, as this song called for a better, more exciting bass line.

RtM: And with softer and more melodic nuances, we have "Águas de Inverno" ("Winter Waters"), which brings a ballad atmosphere, calm and beautiful melodies.
Anadom: "Winter Waters" is already a more introspective, melodious song. While Neto and I talked about fish, fishkeeping, lakes, I said that I had built a small pond in front of my mother's house, which was often visited by a frog who liked to stay there a lot, enjoying the warm water, especially in winter . So he suggested that I write a song about it, something different from what I had been doing, and one afternoon I composed and recorded it, putting in it all the feeling of love for living beings.

RtM: A very curious title is "The Amazing Jango's Death", which has a Power Metal 80's, with fast tempo, something a bit classic Helloween. Tell us about its inspiration and about the title.
Anadom: This is without a doubt one of my favorite styles. The inspiration for this song came from a few years ago. After playing at a festival with Orquídea Negra, Neto said: "Dude 'Jango Live's (instrumental music present in our second album) needs to have a sequel, a part two". And that I already thought about too, but it had been forgotten, as time goes by and other things are being done.
During the writing process of ...and a New Story Begins, this subject came up and it was the perfect moment. That's why the song also has some references to the original, to remember the first one and to make with those who do not know, to come to know it.

RtM: Wow! I hadn't remembered it. Cool idea of ​​the continuation and references to the first part.
Anadom: As the first one celebrates Jango's life, now it's his farewell to this plane, hence the name Jango's Incredible Death.
The duel is interpreted by the keyboard solo (performed by Daniel Dante Finardi) and death follows, with the guitar solo, which tries to pass all the emotion and suffering of Jango after being hit by his tormentor. But then it goes back to being a happy song, demonstrating the satisfaction of those who stayed.

 
RtM: "Dreams Are Not Untouchable", besides the inspiring and positive title, has a very Progressive vibe.
Anadom: "Dreams..." is without a doubt one of my favorite songs, it was the penultimate one to be written. Its opening phrase would have been used in the middle of the song "People Call me Insane" (present on the Orquídea Negra's "Blood of the Gods" album), but ended up being left out. So I decided to use it now, creating the rest of the music from it.

With the participation of Deny Bonfante (excellent guitarist from Santa Catarina) in two solos, this song tries to express the feeling that dreams can really be touched, nothing is impossible when you feel like it.
A clear reference to the song "Touch Your Dream" (present on Orquídea Negra's second album) can be found throughout the song, hence the confirmation through the name.

RtM: "Da Costa ao Oeste"("from the West Coast") brings several tempo changes, highlighting the acoustic sections, with a folk feel, and the sounds of nature.
Anadom: On the other hand, from Costa ao Oeste is a great representation of friendship. Bonds created between people, whether they are in the north, south, east or west, but they have something in common, mainly the love of music. As Neto says: “arts from the coast and songs from the west”.

The acoustic part at the beginning of the song represents the coast of Santa Catarina, with a slightly Portuguese style, sounds of the sea and seagulls. The journey in progress is the way to arrive here in the mountains where the scenery changes, represented by our native birds, and the acoustic part was a special participation of the excellent group Quarteto Coração de Potro. With the arrangements made by Kiko Goulart, accentuating the mountain characteristic.

 
RtM: I couldn't let to ask to you to comment on one of my favorites, "Living on a Fairy Tale". In addition to the beautiful melodies, I identified with the title.
Anadom: Another one of my favorites (actually, they all are) because I like them all, but I'm suspicious to give my opinion.
This song was born at the height of winter and pandemic last year, more precisely in June on the 13th, I sent an audio to Neto showing an excerpt of what the song would become.
It was just that intro, but from there I was sure a great song would be born. I started working on it then, until it was finished and the name was given last.
Upon completion I realized that it had a fairy tale feel to it, which is even clearer with the piano part in the middle, which was created separately to be another song, but I realized it would fit really well there, and it worked. This song brings great peace every time I listen to it.

 
RtM: Another one that caught my attention on the first audition was "The Myth Behind the Waterfall Cave", which brings several climate changes, starting softly, alternating heavier and "mysterious" sections with other melodious and "forward" parts , also having sax arrangements. Tell us more about it.
Anadom: This song is about Plato's Allegory of the Cave, so in the beginning it comes with that weight, demonstrating the existence of a cave where prisoners live since childhood. With their hands tied to a wall, they can see only the shadows that are projected onto the wall ahead.
The shadows are caused by a fire, on top of a fence, situated at the back of the wall where the men are trapped. Men pass before the fire, make gestures and pass objects, forming shadows that, in a distorted way, are all the knowledge that the prisoners have of the world. That cave wall, those remnants and the echoes of the sounds the people above made was the restricted world of the prisoners.
Suddenly, one of the prisoners was released. 

Walking through the cave, he notices that there were people and a fire pit casting shadows that he thought were the entirety of the world.
When he finds his way out of the cave, he has a fright when he encounters the outside world (the liveliest part of the song). Sunlight blurs his vision and he feels helpless, uncomfortable, out of place.
Gradually, his vision gets used to the light and he begins to realize the infinity of the world and nature that exists outside the cave. He realizes that those shadows, which he believed to be reality, are actually imperfect copies of a small portion of reality.

The freed prisoner could do two things: return to the cave na and free your companions or live your freedom. A possible consequence of the first possibility would be the attacks that he would suffer from his companions, who would judge him as crazy, but it could be a necessary attitude, as it is the fairest thing to do.
And that's what he did. That's why the song returns to the beginning, with a sax solo. From the beginning when I recorded the demo version of this song, I already imagined a sax in the final part.

 
RtM: Great! After this philosophy class, let's talk about "People From the Otherside", which brings a lot of weight, and has voices in the intro whispering "Help me...Help me..."?
Anadom: This one brings the beginning of a sequel: People From the Otherside, Emancipation of the Soul and Returning to Myself. It's the heaviest moment of all the work. I tried to convey with her the existence of another world, where people can be trapped after death and asking for help. Lost souls who are not understanding what is happening feeling disturbed.

RtM: We could comment one by one, but I think we gave a general idea and some details of the work, but to close, comment the ending with "Requiém", with its melancholy and touching air, and at the end there is a sentence, which it is certainly a tribute.
Anadom: This one was composed in a moment of extreme sadness. The idea of ​​the tribute came on the day of the passing of a great friend, with whom I played for a long time and was one of my idols in Santa Catarina music, the late poet Daniel Lucena of the Expresso Rural group.

I thought of adding a guitar phrase, referring to the song “Certos Amigos” in one of my compositions, as a brief tribute, that's when Neto suggested making a track just for him. I decided to use the same notes as Prelude and I Saw the Future, and add this guitar. The phrase added at the end was the idea of ​​Daniel Dante Finardi, who made a beautiful arrangement to close this album with a golden key.

RtM: And the news about Orquídea Negra? Are you preparing new songs? And the documentary about the band?
Anadom: With the band we are currently working on another song that will be present in the tribute to the 80s, by Secret Service Records that released our last album in Europe, and we also participated in the Motorhead tributes with "I ain't a Nice Guy ", Black Sabbath with "Heaven and Hell" and Iron Mainden with "Prodigal Son".
We also have the last two recorded more recently, "Fly Away" which is already on digital platforms and "Sacrifice" which has not yet entered, but will soon be released (this one featuring the voices of André Graebin and Felipe Holmack). And the documentary about the history of the band is being finalized and should go on air by the end of the year.

RtM: Robson, thanks for the interview, send your message to the readers.

Anadom: I would like to thank you Caco and Road to Metal for the opportunity I was given to talk a little more about this work, talking about some details that people often don't know how they happen and that come to enrich every work. . I would also like to ask everyone who follows the site to get to know this work, which was done with a lot of love and affection.

Interview: Caco Garcia

Anadom Spotify

Anadom Official Site

Orquídea Negra Band Spotify

Neto Santos Artwork