Doctor Cyclops is a bluesy doom power trio from Italy. Their second album 'Oscuropasso' has swiftly become a favorite here at the Paranoid Bunker. Steve Howe from the Sludgelord and I teamed up to interview the band recently. As a stoner/doom blogger I have been influenced by many, Steve Howe included. I learned from Steph LS of the now defunct and much lamented Temple of Perdition blog many things, one of which was to not double up reviews and interviews of the same band around the same time. I haven't written a full review of 'Oscuropasso' because we did this interview, but hopefully you'll get to know not just the band, but also get a good idea about the music from the words herein, it's depth and where it comes from. But for the record I think it's an ACE album! A huge thanks to Steve, Chris, Francesco and Alessandro for taking the time out to make this happen!!!!
You can catch Doctor Cyclops on their upcoming German tour at the following sites and dates:
28.02: CH Luzern@Bruch Brithers
01.03: CH Tbc Switzerland
02.03: DE Stuttgart@1210
03.03: BE Antwerp@Rodeoshow
05.03: DE Berlin@Cassiopeia
06.03: DE Wurzburg@Cafè Cairo
07.03: DE Leipzig@Bandhaus
08.03: DE Nurnberg@Artischocken
You can also check out the band on their own official website here.
And now, the interview
SL = Sludgelord
PH = I seem to detect a strong late 60’s early 70’s heavy prog and blues / proto-doom influence to Doctor Cyclops music. Is that accurate? What are some of your favorite old records? (‘Cobweb Hands’ suggests Uriah Heep …)
CHRIS: Oh, it’s
simple: different tastes. Most of the stuff comes from riffs or piece of songs
composed by me or Francesco. Usually when we have an idea we bring it to the
rehearsal room, and then we develope it together. It’s rare that just one of us
come out with an entire song by himself. We put the riffs together, Alessandro
drums on them heavily and we keep on working on it till we are satisfied.
Usually the lirycs come after the instrumental part. About the differences and
conflicts you hear in the sources… Well, I’m the one with a melodic and
bluesy/seventies taste. Francesco is more into the heavier parts. Doom, prog,
metal style. Alessandro plays the drum in a seventies way but with a little of
80ies taste… Put it together and that’s it!
SL = Sludgelord
PH = Paranoid Hitsophrenic
SL = Hi Guys. Thanks for doing this joint tag-team interview
as we have came to call it. Can you tell our readers a brief history of the
band and where it is today.
CHRIS: Hello to you.
Doctor Cyclops started as a live power trio in 2008, although the project was
born earlier, when me and Francesco decided to play music together. We were
childhood friends, from the same little village on the Appennino Mountains
called Bosmenso. We focused on the trio formula after seeing Bill Steer’s
Firebird in 2005 I guess. then we practised a lot, with different people, till
2008. First line up was built with a
different drummer. We started playing live, and we tried to do it more often as
possible. We began in a cellar and we finished playing Europe… In 2010
Alessandro Dallera joined the band on drums, and that’s it. In 2012 we released
our first lp, Borgofondo, through the german label World in Sound, and now the
second one’s. We are currently getting’ ready for a german tour, which will
start on February the 28th.
PH = I seem to detect a strong late 60’s early 70’s heavy prog and blues / proto-doom influence to Doctor Cyclops music. Is that accurate? What are some of your favorite old records? (‘Cobweb Hands’ suggests Uriah Heep …)
CHRIS: You’re right,
apart from Uriah Heep, which we surely dig but we wouldn’t put between the main
influences (at least not the conscious ones!). Ok about the early seventies taste
and proto doom influences, but I’d also add “modern” influences with a vintage
sound…people such as Firebird, Cathedral, Spiritual Beggars, Witchcraft, Blood
Ceremony…we due them a lot, as we actually forged our taste listening to them.
Favourite oldies? Jumbling I’d say: Captain Beyond (Captain Beyond), Dust (Hard
Attack), Sir Lord Baltimore (Kingdome Come) , Aardvark, Truth and Janey (No
rest for the Wicked, Erupts!) and Witchfinder General (Death Penalty) between
the bests. Between the “moderns”: The Ethereal Mirror (Cathedral), Deluxe
(Firebird), Another Way to Shine (Spiritual Beggars), Firewood (Witchcraft),
Hisingen Blues (Graveyard), Blood Ceremony (Blood Ceremony).
FRANCESCO: We have
plenty of influences, tons of bands that can illuminate you… Aardvark,
Arzachel…I’d love to hear our song Cobweb Hands played by Atomic Rooster
anyway!
ALESSANDRO: There is
a lot of 60s and 70s, sure, but I feel like I’m playing a new kind of music and
not an old one. We are seeking new frontiers.
SL = Where did the name Doctor Cyclops come from. Any
particular meaning or life changing event influenced you to call your band that
name.
CHRIS: We know there
is a science fiction movie from 1940 called like that, but it is not strictly
connected. The band name came through a phone conversation between me and
Francesco. We were discussing about some possible names and we agreed that
“Cyclops” was perfect: good rolling sound, and evocative meaning, as the
cyclop’ s mythological figure brings to mind loneliness, majesty and freakness.
At the time Francesco was taking his degree, so we simply thought that the
Cyclop could be a…Doctor. It came like a joke. Then we googled it and we found
out about the movie! Which was a freaky
one, to say at least! A perfect coincidence…More like a sign I guess!
PH = So, tell me about the songwriting process for Doctor
Cyclops, because I hear sounds flooding in from two conflicting sources, each
one reaching towards the surface and threatening to submerge the other in the
process. How does this clash of real
solid heavy blues and the more metallic doom stuff all come together?
FRANCESCO: well, it’s rare that a song born in the
rehearsal room. One of us usually brings an idea in…a riif, or a song
structure…then we develop it together, as without the alchemy of our parts it
would end with being musically speaking one way orientated, and boring.
ALESSANDRO: We have
different tastes, but we found our balance…we’re like a pyramid, you know..
SL = Now congrats on your new album. We love it here at
Sludgelord and Paranoid Hitsophrenic. Was it a hard album to write and record
for. Did you have much fun making it as we did listening to it.
CHRIS: Oscuropasso
has been a strange album in a way. Not hard to write, as the songs were ready
since a long time, but hard to produce I’d say. We spent a lot of time (we’re
talking about months) mixing, trying different cuts on the master, looking for
something we probably didn’t know ourselves! We started with the idea of making
an obscure doom/rock album, but it was like the songs themselves didn’t want to
sound really like that…At a certain point we decided to let it go in the
direction it seemed to have choosen by itself. And to me now it sounds like a
kind of proto heavy metal record with many different influences… I liked this
in the studio process: that we chose a direction and we’ve been pleasantly
wrongfooted. But there have been moments which were not funny at all, such as
the mastering process.
FRANCESCO: Personally
I recorded my bass lines overdubbing them to the rest, so it was pretty
comfortable to me…just like playing along on a record!
ALESSANDRO:
Oscuropasso is like the sequel of Borgofondo… I was concentrated to give the
best performance on every song…
PH = I wanted to talk briefly about the album title
‘Oscuropasso’ which seems to have several meanings when you think about it, but
how would the band describe the album title and how it ties into the music?
CHRIS: “Oscuropasso”,
like “Borgofondo”, is an Italian word which doesn’t have a real translation. It
is literally some like “Obscure-pass”: you know, like a mountain pass. It’s a
place you have to go through to get into something else. In our case it is a
metaphorical way to introduce people into another world. It is the natural succession
for Borgofondo, and also an homage to our own language. As for the music…I
guess it is enough “obscure”!
FRANCESCO: I like to
see this title strictly connected with Borgofondo in a wordplay evoking Borgo
Prund, the one in the Dracula movie by Herzog. Oscuropasso continues the
Borgofondo’s tale…it doesn’t matter if you are in the village, or still along
the trail.
ALESSANDRO:
Oscuropasso to me is like a Great Grey Garden where the souls must reckon with
their secret fears seeking for freedom.
SL = Obviously you will be playing these tracks live on
future gigs in 2014. What will your gig setup be to perform some of these
tracks live. Especially Rotten Trolls. As that is one epic kaleidoscope of
noise and moods.
CHRIS: Our setup is
really simple: we are three people, so just guitar, bass, drums and vocals. We recorded
the songs keeping this in mind, so generally we didn’t put that many overdubs
or stuff we couldn’t really play live. Nothing that would really make the
difference, I mean. On some of the tracks we put the Hammond organ, but
treating it like an ornament and not as an essential part of the song. Maybe
the live sound will be in some parts a little bit raw comparing to the record’s
one, but we like the idea that people can get different feelings from studio
and live stuff. A good example? Truth and Janey: the studio album is “clean” and
well finished. When you listen to their live “Erupts!” You find out a
completely different thing: rough, heavy, rotten…awesome!!!
FRANCESCO: I’m glad
that we have a good bunch of songs to chose between, so that you can give
variety to the setlist. Playing the same set every night would be pretty
boring, although I know that a lot of bands do it. Playing Rotten Trolls in
particular is really exciting to me, as the “war toms” at the beginning recall
the audience and you know that you are gonna tell them a story…it’s like a
suite, a little music-opera.
ALESSANDRO: It
doesn’t really matter which song you are playing…the key is to communicate any
single image you want to be connected whit the song…in Rotten Trolls we are on
the same ship sailing towards a new adventure!
PH = I think one of the most appealing things of
‘Oscuropasso’ is the combination of different sounds all coming together to
create something distinctive. I would
never have expected the church organ at the end of the mostly bluesy ‘Angel Saviour’. Somehow it struck me as a very cinematic
idea. Do you pull inspiration from a lot
of unexpected sources such as horror films and 60’s psychedelic soundtracks?
CHRIS: We do like
disturbing movies in general…whether they are horror or cinema d’essai.. Herzog
(in Nosferatu and Kaspar Hauser mostly) for example has a great photography and
lights, and his landscapes are unique. Really inspiring. Also Night Flyer is a
good one, or Dario Argento with the Goblin soundratck…
Interview continued in Part 2 on The Sludgelord blog!
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