“I have no house only a shadow. But whenever you are in need of a shadow, my shadow is yours.”, this is written on Malcolm Lowry’s masterpiece, Under The Volcano. Our darkest or melancholic side seems to work overtime sometimes in our lives, and then we rely on friends or other safe refuges like music.
Greet Death is a band that makes itself familiar to all of us that have suffered broken hearts, disillusions and similar emotional fiascos, but that still find an overwhelming optimism in creating and expressing our deepest emotions.
New Hell is the band’s second LP and it is filled with songs that evoke our inner child that still wants to experience the world as beautiful and intriguing like the first time.
As far as a connection between our writing styles, I think the three of us feel compelled by the weight of mundane daily life - the repetition of waking up to do the same things again and again in a system that doesn’t really care about the individual. Art is an emotional outlet, but it is also a way to let others know that they are not alone - that there are other people going through the same thing, who are experiencing the same isolation and disenfranchisement.
In this age of fast consumerism (be it of material goods or even relationships) your new album “New Hell” is a safe refuge for those that can feel somewhat “outside” or “left out”. We felt the songs in the record to be hymns for those who are broken-hearted or sometimes feel disillusioned by themselves or others. The lyrics are introspective and very personal at times, since you are a band with three different minds, what is the connecting element or emotions that bind you as Greet Death and make you write such intimate lyrics?
I’m glad it feels that way. With these songs we definitely wanted to create a kind of haven for people who feel disenfranchised from reality, be it because of depression, a disconnect from (or anger with) societal ideals, or inward struggle of any kind. As far as a connection between our writing styles, I think the three of us feel compelled by the weight of mundane daily life — the repetition of waking up to do the same things again and again in a system that doesn’t really care about the individual. Art is an emotional outlet, but it is also a way to let others know that they are not alone - that there are other people going through the same thing, who are experiencing the same isolation and disenfranchisement. So I think we are united by our desire to find a language to explain pain and struggle, and to translate that into something comforting that people can hold onto.
There is a popular dictum that is believed to have been uttered by Socrates in which it is said that “the unexamined life is not worth living”. Your songs are little vignettes of emotional states and moods, it is the result of a never-ending self-questioning and analysis of self, it makes us reminiscence about the great emo bands from the 90’s. Do you feel somewhat influenced or have any admiration for bands of such decade and genre?
The 90s influence definitely shows itself through Logan’s guitar work and influences — Nirvana, Dinosaur Jr., Hum. Rock music and stuff like that. But I don’t think we are shaped by many other aspects of 90s music, and certainly not 90s emo. If anything it’s bands like Red House Painters/Songs: Ohia/Death Cab around early 2000 that have had a larger bearing, especially on this record.
The 90s influence definitely shows itself through Logan’s guitar work and influences — Nirvana, Dinosaur Jr., Hum. Rock music and stuff like that. But I don’t think we are shaped by many other aspects of 90s music, and certainly not 90s emo. If anything it’s bands like Red House Painters/Songs: Ohia/Death Cab around early 2000 that have had a larger bearing, especially on this record.
As far as its connection to the record, I think it’s a perfect translation of the themes we wanted to convey: something traditionally grotesque turned into something beautiful; internal torment turned into art that you can hold and listen to and relate to, that might inspire you to create something of your own.
As far as its connection to the record, I think it’s a perfect translation of the themes we wanted to convey: something traditionally grotesque turned into something beautiful; internal torment turned into art that you can hold and listen to and relate to, that might inspire you to create something of your own.
The artwork by Liam Rush is a very impressive work that for us manages to convey feelings of hopelessness, despair and possible struggles and restraints put upon by our inner demons depicted quite graphically, reminding us perhaps the creatures we associate with evil in medieval paintings. How do you feel that it intimately connects to your music and was it a commissioned work or an already existing one?
Yeah, originally Logan wanted to have something that mirrored that Slayer record “Hell Awaits” with the hellfire and skeletal creatures. And we also wanted something like a modern interpretation of Hieronymus Bosch hell paintings. So we gave Liam that framework to go by and we forgot about it for a while, then he sent us the front cover out of nowhere and we were absolutely floored. It was perfect - everything we wanted to communicate with the album cover. He designed three more panels for the release and they are all beautiful. I can’t convey how ecstatic it made me feel the first time I saw the work. As far as its connection to the record, I think it’s a perfect translation of the themes we wanted to convey: something traditionally grotesque turned into something beautiful; internal torment turned into art that you can hold and listen to and relate to, that might inspire you to create something of your own.
Yeah, originally Logan wanted to have something that mirrored that Slayer record “Hell Awaits” with the hellfire and skeletal creatures. And we also wanted something like a modern interpretation of Hieronymus Bosch hell paintings. So we gave Liam that framework to go by and we forgot about it for a while, then he sent us the front cover out of nowhere and we were absolutely floored. It was perfect - everything we wanted to communicate with the album cover. He designed three more panels for the release and they are all beautiful. I can’t convey how ecstatic it made me feel the first time I saw the work. As far as its connection to the record, I think it’s a perfect translation of the themes we wanted to convey: something traditionally grotesque turned into something beautiful; internal torment turned into art that you can hold and listen to and relate to, that might inspire you to create something of your own.
In your debut, Dixieland, there are some songs like Valediction, The Waste and Black Hole Jesus Christ that are in the record in that sequence and that felt to us to have some sort of spiritual subtext. An element of redemption or a search for spiritual liberation. Since spirituality does not necessarily imply religiosity, how do you feel the presence or how important is to you the spiritual element or sensibility while composing your songs?
Logan and I have kind of a morbid fascination with religious subjects and symbols, but it isn’t something we feel connected to spiritually at all. If anything, it’s the opposite. Catholicism was a part of my upbringing so I carry a lot of the imagery with me still, and I reflect on that in my writing sometimes. On Dixieland the imagery serves as more of a darkly humorous juxtaposition. Talking about semen and Jesus in the same sentence was something we found amusing at the time I guess.
Greet Death is based on Flint, Michigan. Did you all grow up there? And how did Greet Death come to be?
We are not from Flint. The reason we identify with Flint is to pay respect to the people who first supported us and encouraged us to keep playing, at a club called The Local 432. We are actually from a tiny town about 30 minutes away called Davisburg. Logan and I met in elementary school in first grade, along with our first drummer, Anthony. We started playing music together in middle school when Logan picked up guitar, I began playing bass, and Anthony learned drums. Logan and I have been playing together in some form since then, albeit with different people. Anthony played on Dixieland with us, then he left the band after the release to pursue other things, and Jim joined us. Jim played in another Michigan band that we gigged around with called The Fever Haze, and when that band became less active, Jim expressed wanting to come on board with us. He was our first choice, and we hoped he’d ask, so it worked out for all of us. Now we live in a van several months a year.
We are not from Flint. The reason we identify with Flint is to pay respect to the people who first supported us and encouraged us to keep playing, at a club called The Local 432. We are actually from a tiny town about 30 minutes away called Davisburg. Logan and I met in elementary school in first grade, along with our first drummer, Anthony. We started playing music together in middle school when Logan picked up guitar, I began playing bass, and Anthony learned drums. Logan and I have been playing together in some form since then, albeit with different people. Anthony played on Dixieland with us, then he left the band after the release to pursue other things, and Jim joined us. Jim played in another Michigan band that we gigged around with called The Fever Haze, and when that band became less active, Jim expressed wanting to come on board with us. He was our first choice, and we hoped he’d ask, so it worked out for all of us. Now we live in a van several months a year.
The same way that all the images on the cover come together to make something greater than the individual parts. As for fire, it can cleanse and it can destroy. It’s easy to view a lot of the subjects on here as utterly hopeless, but I hope people take away a sense of optimism from the record as well. Every day presents its own challenge, and it’s going to be different depending on who you are. But if you can grab onto something that makes you feel less alone, something that inspires you, you might find a sense of empowerment there. For us, that thing is music, so that’s the kind of energy we want to put into the world.
On a more personal level, what other activities/hobbies are you most passionate about?
Logan has always enjoyed drawing, and he has been taking that a lot more seriously over the past year or two. He always has a sketchbook with him on the road that he works in each day. I used to write fiction sometimes. I might get back to that someday. Jim just ran a marathon a month ago, and he always pushes us to be healthier. We also like talking about all the latest horror movies. And Logan always talks trash on me for thinking “The Cabin in the Woods” is a good movie.
“New Hell” has some influence from what can be considered shoegaze. Even though we are trying to avoid the “label-talk”, we would still like to know if you consider that to be accurate according to your sensibilities.
Yeah. I think that’s a more accurate label than most others. We don’t really listen to any of the “classic” shoegaze bands though, so any affection for the genre comes more from contemporary bands like Cloakroom, Nothing, Hum. So take that backdrop and put Neil Young in front of it or something. Heavy sonics with a narrative focus.
Each song of the new album is accompanied by a videoclip and they can be watched on Youtube. They are quite impressive and retain a “simple” beauty with a leitmotif that is common to all: fire. Flames, the evolution of burning of materials that can be quite hypnotic to watch. What do you intend to express with it? What does fire really mean to you?
That was actually something that came out of the video shoot the Deathwish crew did, Mark and Caleb. It’s kind of like a photo album or something, with each song bringing a different picture to the forefront. That was their vision, but I think it’s perfect for the record’s theme — a collage of images that come together to express internal suffering and a kind of self immolation. The same way that all the images on the cover come together to make something greater than the individual parts. As for fire, it can cleanse and it can destroy. It’s easy to view a lot of the subjects on here as utterly hopeless, but I hope people take away a sense of optimism from the record as well. Every day presents its own challenge, and it’s going to be different depending on who you are. But if you can grab onto something that makes you feel less alone, something that inspires you, you might find a sense of empowerment there. For us, that thing is music, so that’s the kind of energy we want to put into the world.
You are playing shows in the USA in December and January. Do you have any other tours confirmed yet or do you have any idea what countries you would like to play in 2020?
We’re going to be announcing a pretty cool tour in a week or so. By the time this is out, it might be announced already. That will be a US tour in the Spring. And we are doing another small run with a band from Chicago called Meth. in February. The rest of the year is open, but we will definitely have more to announce in 2020. As soon as we can get over to Europe we’d love to come through Portugal. Everything has been a steady climb for us, and hopefully we can make it there sooner rather than later. We feel most at home on the road I think, so every excuse to get out and play, wherever it may be, is something we will always chase. Hopefully we will see you there soon.
Text & Interview: Cláudia Zafre
Band: Greet Death
Images: taken from Greet Death bandcamp
greetdeath.bandcamp