“Dark Waters” has a very psychological and introspective atmosphere. What pushed the band toward this darker emotional direction?
After having spoken almost exclusively about fantasy themes, sometimes without any real meaning, sometimes epic ones, I decided that a shift in sound and subject matter might help to ‘refresh’ the project a bit and introduce a new mood. That’s the only reason. I definitely don’twant to repeat myself on every record with the sametopics, talking about warriors, travelers, various kinds of epicness, eventhough I still love certain ways of writing lyrics. But it’s important to understand when the time comes to change direction a little, so as not to become too boring.
The album deals a lot with mental exhaustion and escaping reality. Was this material shaped by personal experiences or broader observations about modern life?
Certainly, a lot of the material is inspired by how I live and by my personality in general and it’s about the way I am, but yes, there’s obviously also a connection to modern society, which imposes brutal, exhausting rhythms on us, always keeping us alert, ready, and aware of everything happening around us. Isn’t it maybe better to turn off the lights, take opium, and dream of Kubla Khan like Coleridge? Haha, just kidding. Jokes aside, I think it’s always necessary to take time for yourself, otherwise you risk burning out, and that’s an issue that’s becoming increasingly relevant to all of us, given the pace imposed by today’s society.
“Mindwanderer” and “Kubla Khan (A Vision InA Dream)” have strong imagery connected to fantasy and inner travel. What attracts Konquest to these dreamlike themes?
Regarding "Kubla Khan", I recently discovered that I enjoy writing about stories I read.It’s nice to bring into music what you read and therefore imagine. Personally, it might be the best way I can write music, but I’ve only realized it recently. As for "Mindwanderer", it’s connected to my personality. I’m always traveling with my mind, even to the point of giving myself a headache, but sometimes escaping into my thoughts makes me feel a bit freer and less oppressed by reality. Itmay sound cliché, butthat’showitis
Compared to the previous albums, did the songwriting process for “Dark Waters” change in any significant way?
Not too much, in the end the creative process has always stayed the same: I get an idea, I record it as a voice memo on my phone, I think it over and over, I arrange it in my head, and when it’s ready I record a demo. And that’s the easy part. When I get to the lyrics, though, I struggle. I never know what to write and it can take me months sometimes, haha! That’s where I lose time, but unfortunately I don’t have the money to pay a lyricist.
"I think what keeps underground heavy metal alive is exactly that it doesn’t rely on trends or external validation. It survives because people genuinely care about it, both musicians and listeners, and they do it for reasons that are often very personal, not commercial."
There’s a strong classic heavy metal spirit throughout the album. Which records were spinning the most while writing this material?
Actually, my listening habits have hardly changed over time. Maybe I’ve just listened to a bit too much Ozzy in recent years, and that’s how “Man With A Stone” came about; it definitely would never have been born before! That’s probably the only influence that had a slightly bigger impact on the new album. Since I’m very much a creature of habit, though, my desert island records are always the same, and I try to put something from at least one of them into every new Konquest album: “The Prophet” by Omega (1985), “Somewhere In Time” by Iron Maiden (1986), and “Black Rose” by Thin Lizzy (1978). I keep reading everywhere that my records are inspired by Angel Witch, but honestly I’ve never really listened to them properly apart from the first album, which didn’t inspire me in any way… who knows!
The production keeps an organic and old school sound. Was it important to avoid an overly polished approach?
For me, it’s very important that an album sounds as natural as possible. What matters to me is that whatever is recorded can also be reproduced live, within reason. I hate modern records where there’s often barely any reverb on the guitars and the vocals are extremely ‘in your face.’ If you listen to any band live, there’s never a situation where the vocals sound that ‘in your face’, it’s usually a mixture of sounds that, at best, somehow manages to be understandable, beyond the talent of each musician. So be real and mix things realistically, haha.
Many modern heavy metal releases focus on speed and aggression first. Konquest seems more interested in atmosphere and melody. Is that a conscious decision?
Definitely. I’ve always put melody before aggressiveness, always, even in the other bands I play in. I think a song’s catchiness and overall feel are the most important things, and they should come before everything else. After all, we’re all capable of writing fast and aggressive music, but if there’s no real sense of composition or taste behind it, then what’s the point of writing music at all?
“Dark Waters” gives the impression of a very personal album. Was it emotionally difficult to complete?
Actually, no. The only difficulty I’ve run into is old age creeping up on me, so having less time and less energy than before, and the fact that I’m running out of riffs in E. What am I supposed to do then? Ahah!
"Dark Waters" is dedicated to those crushed by their own emotions. Do you find that the heavy metal community is becoming more open to discussing these internal struggles?
Honestly, at least here in Italy, we’re not really open to exposing ourselves and talking publicly about these kinds of topics, quite the opposite, actually. In the scene, I still see a lot, WAY too much, very explicit machismo from so many people, too much desire to show off and put themselves on display by highlighting their worst side, without realizing that, in my opinion, that’s the worst possible way to present yourself.At least I’m lucky enough to play with people who are the complete opposite of that. At the same time, though, I’m hopeful that sooner or later hings will change and that many people’s mindset will evolve. Compared to the past, some progress has definitely been made, but we’re still far from getting rid of certain macho attitudes in the scene.
"For me, it’s very important that an album sounds as natural as possible. What matters to me is that whatever is recorded can also be reproduced live, within reason."
Italy has produced many respected heavy metal acts over the years. How do you view the current Italian metal scene today?
I may sound boring, I’m not a huge fan of what’s going on in the Italian metal scene musically at the moment, BUT there are definitely some exceptions. My favorite acts right now are Vigilhunter from Turin (featuring Mirko, ex-Konquest: sending him a big hug!), Hounds, also from Turin, and Phantom Menace, a very young band from Rome that I discovered recently, they’ve got so much class. And also Barbarian from around here nearby.Of course, I’m speaking strictly in terms of traditional heavy metal. I barely listen to thrash, death, or other subgenres anymore.
Underground heavy metal still survives through dedication more than trends. What keeps that spirit alive in your opinion?
I think what keeps underground heavy metal alive is exactly that it doesn’t rely on trends or external validation. It survives because people genuinely care about it, both musicians and listeners, and they do it for reasons that are often very personal, not commercial. There’s still a strong sense of identity and community around it. Bands support each other, fans are deeply involved, and there’s a shared understanding that this music is so mething you choose, not something that’s pushed on you. Also, I think dedication plays a huge role. Most people involved in the underground scene are not doing it for comfort or success, because it rarely offers that. So the motivation has to come from somewhere real: passion, obsession, or simply the need to create and express something.
With this being the third album, do you see “Dark Waters” as a continuation of the earlier records or as the beginning of a new phase for Konquest?
It’s definitely a continuation of what I’ve done before. I’m still deeply connected to Konquest’s musical past, even though there’s been some evolution, but it’s definitely not a break from the past, quite the opposite. The roots have more or less stayed the same; a few things have changed musically (also because MAYBE I’ve improved a little, even if I’m still very basic in my abilities, eheh), but I’d say it’s definitely in line with everything I’ve done so far.It’s a bit different, sure, but it’s important to mature, avoiding repeating yourself too much
What kind of reaction would satisfy you the most once listeners spend time with “Dark Waters”?
When people write to me enthusiastically saying they want to buy the record or the T-shirt and support the project, that’s when I realize I’ve truly made something people enjoy, and that’s the greatest satisfaction. But even when they don’t necessarily want to buy anything, receiving compliments (and, rarely, even analyses of the songs) is what satisfies me the most, because months of work get rewarded with kind words.
Now that the third chapter is complete, where do you see the "voyage" of Konquest heading in the future?
I’ll be honest: sometimes I can’t wait to finish an album just to clear my head and immediately start working on another one. That’s to say I’m already working on new songs, and I already have a few completed, maybe more epic and less ‘raw’ compared to the mood of this album, but we’ll see which direction the writing takes. You can never really know until everything is finished. And I definitely hope to play live as much as possible and bring the project on the road wherever it can go.
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