Nathan from Napalm Records has asked
me again to research a band of whom I'm not too familiar. This time it's
Weltenbrand, a unique gothic cult band whose music and gipsy magic is
beyond classification. Several ghostly references to Theatre of Tragedy
and Leaves' Eyes can be overheard in their music; among them is the majestic
nightingale sonnet singing of Dina soaring
above the welkin. She is their new femme fatale bewitched by her boys'
bonny. These are my questions for the night, go stay awhile in the whispers
of the windsong:
MettleAngel: Weltenbrand has been around
for quite some time, but your music is quite novel for me. I just received
your promo recently - The End of the Wizard, but I was not quite sure
what to make of it. How would you classify your overall sound?
Dina: The sound of Weltenbrand is hard to classify.
We don't want to fit in somewhere. We just want to play music, and
we don't follow any particular aim. This is just what comes out. I
would describe our music as being similar to movie soundtracks with
vocals. I think that fits our sound best. When I heard the demo songs
of "The End of the Wizard" for the first time I spontaniously
had to think of a movie with an atmosphere like "Gladiator"
or "Kingdom in Heaven".
Recent reviews personify your music as being neo-dark-classic mideival
metal. Is this because of both the male and female vocal interchange arrangements
and the violin and keyboard structure?
Dina: I think that is because of the "old
feeling" that is spread by the songs. It puts you in a special
mood and it feels dark and old. Medeival does not fit for the new
album anymore. It did fit for the last albums, though. This album
is kind of sophisticated, clear but mystic, old, but yet not heard
in this form before. And I think that the drum and the bass parts
that are mixed into the songs for the first time add a fine metal
thrill; yet we are hard to classify as merely metal.
MettleAngel: Your past efforts have all
been mystified by the myth and legends from Liechtenstein's sagas. Do
the lyrics on the "End of the Wizard" CD continue with this
Dina: On this album we still used the sagas
of Liechtenstein. In the beginning the band wanted to represent their
country with the lyrics out of the book of the sagas of Liechtenstein.
This turned out to be a good idea because it fit well with the composition
and the image of the band. So they continued to use sagas. I think
it still fits and creates this weird image. You don't know what to
make of it, and that is something that fascinates me about Weltenbrand.
It sounds sweet but mystical and has these dark lyrics about ghosts
and dead folks. But, since the sagas of Liechtenstein turn to an end,
we might use some sagas of the place where I grew up in Switzerland
(Glarus). This is a small village in between the mountains. Areas
like that have a lot of dark sagas with a lot of nature's catastrophies,
dragons, ghosts and dead folks. They have a darker thrill than the
stories of other areas that are closer to cities. The people are also
more nature related and some still believe in such things. City folks
lost this kind of thinking. Sad but true!
MettleAngel: What is the meaning of the
Weltenbrand? Are there any overt pagan connotations?
MettleAngel: What is being portrayed on
your album cover which has been painted by Ingo Rohmling?
MettleAngel: Your past efforts all have German titles, are they
sung in German as well? Is there ever a plan to go back and re-record
these CDs with the current line-up?
Dina: All songs are sung in English. Some things
sound better in German and some sound better in English. But, personally
I rather like to sing in English because it's pronunciation sounds
better to me than German. But everybody has his own opinion on that.
The old CD's are going to be re-released but we will work on some
old songs to perform them live with the new line-up. Maybe there will
be some songs re-recorded for the following album for bonustracks
or such things.
MettleAngel: You have worked with both Liv
Kristine and Alex Krull from Leaves' Eyes and they have been successful
in the promotion of your sound positvely. Do you ever plan to record with
them on one of their albums?
Dina: Weltenbrand recorded the last two CDs
"Der Untergang von Trisona" and "In Gottes oder des
Teufels Namen" in Alexander's studio. That is why they are also
heard on "Der Untergang von Trisona". We probably will never
work wih them again because Oliver and Alex don't want to have anything
to do with each other anymore. But, there is nothing more to say at
MettleAngel: Is there a possibility of touring
with Leaves' Eyes? Is there any plans to tour North America?
MettleAngel: Dina - Given your amazing vocal range whom do you
consider to be your primary influece? What other keyboardists have effectively
inspired you and Oliver?
Dina: Thank you! :) hmm...I don't have a primary
influence. I figured that my voice is very variable. The sound it
has on Weltenbrand is only one facet. In different songs and other
music it sounds very different. I am thankful for such a gift but
still there is much work to do on it. But certain singers which I
like to listen to are Tori Amos, Sharon den Adel (Within Temptation)
, Amy Lee (Evanescence) and Alanis Morissette. They are all very different
to each other. I like voices that express feelings. Oliver also does
not have any primary influences in playing the keys and composing.
We both just do everyting by heart and by feelings. If it feels and
sound good we do it.
MettleAngel: North American audiences may
not be too familiar with your music, but Napalm Records has done a fantastic
job in promoting your music world wide. What will be the bonus tracks
on the limited edition digipack when the CD is released later this month?
MettleAngel: What will the different artwork
consist of on the limited edition digipack and will it also be painted
MettleAngel: What overall message does Weltenbrand
intend to express to their new found fan base?