REBIRTH IN FLAMES interview

Hi REBIRTH IN FLAMES! Here we go with the serious conversation. When did you start writing/producing music – and what or who were your early passions and influences?

Greetings from the South American hell, I am Vomito black battery of Renaissance in flames. In fact, he is starting around 13 years old approximately writing and composing music or playing an instrument approximately 16 years. The first thing I heard was Ozzy, Iron Maiden, Kiss and other bands, beyond a friend I met some of the most blasphemous bands in those times Slayer with his terrifying “Show no Mercy”, Sodom, Kreator and Bathory, had around 13 At 14 years old, the rest is history.

What do you personally consider to be the incisive moments in your artistic work and/or career?

It is when we finish composing the songs for each album, we just want to record to spread our work of Negro Metal.

What are currently your main compositional- and production-challenges?

In each subject we want perfection, it is complicated, the essays are important and that perfection will expand it in each production we produce.

What do you usually start with when working on a new piece?

We start with music, that’s what our guitarist takes care of, he arrives with the bases and we start ordering in each rehearsal and later the lyrics that I order.

How strictly do you separate improvising and composing?

We do not improvise, we get to compose immediately.

How do you see the relationship between sound, space and composition?

Independent of space is our composition, Lucifer flows with us!

Do you feel it important that an audience is able to deduct the processes and ideas behind a work purely on the basis of the music? If so, how do you make them transparent?

Our most loyal followers know what we do and (anti) create, others who die!

In how much, do you feel, are creative decisions shaped by cultural differences – and in how much, vice versa, is the perception of sound influenced by cultural differences?

Everyone creates what is convenient, I do not care if it is cultural or not, only Lucifer rules!

The relationship between music and other forms of art – painting, video art and cinema most importantly – has become increasingly important. How do you see this relationship yourself and in how far, do you feel, does music relate to other senses than hearing alone?

I imagine it will be important, in Rebirth in Flames we are out of that, the real covers for Black Metal is what counts.

There seem to be two fundamental tendencies in music today: On the one hand, a move towards complete virtualisation, where tracks and albums are merely released as digital files. And, on the other, an even closer union between music, artwork, packaging and physical presentation. Where do you stand between these poles?

Only the physical is real ….. the rest does not exist !!

What changes would you like to see to the music industry to allow you to make a living from your music?

Well, if the band is good and sells to give all the support in everything, in sales of CDs, tours, with that to receive a good percentage of money to live of the band, it would be ideal.

The role of an artist is always subject to change. What’s your view on the (e.g. political/social/creative) tasks of artists today and how do you try to meet these goals in your work?

When music is in the field of fashion, it has its success point and disappears. Only the real, endures in time, what is done with passion and to fulfill something, a contract in this case, We see it that way.

Music-sharing sites and -blogs as well as a flood of releases in general are presenting both listeners and artists with challenging questions. What’s your view on the value of music today? In what way does the abundance of music change our perception of it?

Music has been very important for the human being, it has always been this way … it helps every mood. Quality, not quantity.

How, would you say, could non-mainstream forms of music reach wider audiences?

As I say, if the band is of quality it would reach more audience, but it is also important to propagate the distribution of part of the stamps.

Usually, it is considered that it is the job of the artist to win over an audience. But listening is also an active, rather than just a passive process. How do you see the role of the listener in the musical communication process?

Very important, the listener transforms into fans and that fans is also responsible for a band to include more audiences through changes of material from one band to another listener that would also become a fan and so on.

Reaching audiences usually involves reaching out to the press and possibly working with a PR company. What’s your perspective on the promo system? In which way do music journalism and PR companies change the way music is perceived by the public?

Thanks to physical or virtual magazines are important in the distribution, in reaching more people who would become a possible fans of the band, all this is a distribution chain to reach more listeners.

Please recommend two artists to our readers which you feel deserve their attention.

I recommend two bands from Chile: Swarm of Hatred and Black September of Chile.

Thanks to you for your interest in Rebirth in Flames. ….. Regards!