Tempo Talks: A Conversation with Post Death Soundtrack
THE RELEASE
With the fourth album from Post Death Soundtrack, “Veil Lifter” gives fans a 10-track mix of grunge, doom, thrash, and hardcore that’s sure to strike a chord. Jon Ireson and Stephen Moore bring their inspiration from bands like Nirvana, Black Sabbath, and Russian Circles to shift from the industrial music of their past work to more organic, live sounds. Listeners will be treated to an ethereal atmosphere, along with hypnotic riffs and intense instrumentals to capture the essence of an outsider’s rebellious spirit.
“Veil Lifter” goes after the Eastern concept of “lifting the veil of ignorance” by tackling themes of spirituality and mental health. Within the lyrics and energized music, you’ll go on a journey of shadowy dreams and shamanic visions. Written during chaotic, isolating times, the album is a quest for renewal. As Moore describes it, “Veil Lifter” is uncensored and emotionally raw, taking influence from philosophies of Krishnamurti, Zen, and others. With tracks like “Lowdown Animal,” the symbolism of the hyena is present as an emblem of the outsider’s resilient persona to take on anything or anyone. There’s a lot of strength in the music of “Veil Lifter,” serving as a fantastic dedication to Moore’s father. Listeners can tune in to the outsider’s journey of “Veil Lifter” digitally on April 16th, with a limited edition vinyl to come after.
THE INTERVIEW
“Veil Lifter” is a big shift from your usual sound, and I definitely heard the influences. What inspired you to go with the raw, live sound for this album?
Personally, I own 2,000 vinyl records, and I LOVE everything from Louis Armstrong and the Beatles to Sepultura and Aphex Twin. I have done a lot of experimental industrial electronica and metal work, but what interests me is a fairly singular sound. And when I say that, I don't mean that every song sounds the same. I just mean that you can't take a bunch of opposing forces to war. And I felt so many personal emotions when making this album, so much depression, and all of that, that I wanted to create a singular vision, something I could take to spiritual war. I love it when bands, like Russian Circles, experiment, yet they also have a singular, powerful sound that is relentless from beginning to end. I also was going through a very bad time, so I wanted to create something imposing and even frightening, not in an unapproachable way, but where people who have gone through the same troubles could take it up on their mantle and use it as a tool to fight back. Beyond all that, I have always loved albums like Nirvana's 'In Utero' and Alice in Chains' 'Dirt' because they were very uncommercial and brave. They stood up for those of us who suffer from depression. And they were also weird and artistic.
Between doom, grunge, thrash, and hardcore, there are quite a few different genres in the music on this album. How did you go about balancing the sounds to keep things cohesive?
Good question. To me, they all go together perfectly. I love Metallica's 'And Justice For All' but I'm likely not going to write a full 8 minute thrash song. Same thing with hardcore. I was lucky enough to cut my teeth and grow up in the Calgary punk and hardcore scenes. Bands like Refused changed my life. So I might have 2 or 3 minute hardcore songs, because I want to get into that vicious mode. Or sections of songs. The grunge is the heavier influence for me, because Nirvana was in many ways inspired by multiple genres. 'Tourettes' is very much a hardcore song. 'Scentless Apprentice' and 'Milk It' are...I would not even be totally sure where to place them, but they certainly aren't simply grunge. Lots of metal and viciousness in there. So there is room for grunge to be total freedom of expression. And doom, well, it obviously started with bands like Black Sabbath, but I got into it moreso with the new doom movement and bands like Windhand and YOB. What I love about it, is that it's essentially grunge slowed down to an extremely slow crawl. Kind of like how gangster rap was a certain thing in the 90's, and then trap slowed it down to a crawl and added drug culture. I LOVE all that. Even trap music inspires me. Gucci Mane is my favorite rapper, for example. I wanted to unite these outsider genres because I sincerely love them all. The importance is to have it all make sense and form a united front.
Knowing that the themes of mental health and spiritual awakening are dealt with on “Veil Lifter,” what message are you hoping listeners will walk away with?
I hope that they feel fired up and empowered. Or if they're angry or upset, they can feel those emotions, truly feel them. I know there is often a lot of talk about 'working through' said emotions so they can be transmuted in some way, but I'm not certain that is the case. Feeling can contain healing though. Regardless, even though the album is very intense, it's meant to musically rock as well, so I do want people to feel charged, and like they can stand up for themselves, take some sort of action in their life. I don't want to tell people what to walk away with, really. But I would rather they don't feel left behind, because this is a sincere work of art.
During the creative process in writing and recording “Veil Lifter,” were there any tracks or experiences that stick out as particularly challenging or rewarding?
"The Die is Cast" and "Immovable" had some challenges. The former was partially based on someone I know who stole from me, stole my animals, and never had the strength to admit wrongdoing. So the song is completely vicious. It's also partially based on the Bhagavad Gita and my father, who is the counterpart of that sort of evil, so he is metaphorically the veil lifter walking the holy road. "Immovable" was a challenge musically, being a 9 minute, kind of epic venture into sludge metal, and this song was dedicated to my Dad. I'm abstract, though, so there are no direct lyrics about him, per say. It is all about crossing over, as well as elements of those who can never tough the sacred. I feel that my Dad has cross over and can now be prayed to, united with all that is.
Looking to the future, how do you see the evolution of POST DEATH SOUNDTRACK after “Veil Lifter?”
That's an exciting question. I've parted ways with Jon Ireson, who is working on different projects in Vancouver. I have since relocated to Calgary, where I will continue working with producer and drummer extraordinaire Casey Lewis. Most of all, as I write album #5 (which is on the way), I plan for it to be even heavier and stranger. It will reflect the honest truth of my life, my soul, and what I've gone through. Also, it will reflect my current influences. I want it, of course, to improve upon what 'Veil Lifter' started. It's what keeps me going. Also, I will have some awesome merchandise and Hyena shirts on the way shortly for the PDS fans (the pack) to pick up. I love you all and thank you for the awesome interview! I'm a big fan of Each Measure and everything you do. You do it with class and grace.
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