Seit ungefähr 16 Jahren organisiert das Kollektiv rund um den Verein LOVEGOAT nun schon Konzerte in der p.m.k. Der Sound ist meist rau, von Genres lassen sie sich nicht eingrenzen. Kürzlich haben sie die belgische Black Metal Band Wiegedood nach Innsbruck geholt – was wir zum Anlass nahmen, um Band und Verein ein paar Fragen zu stellen.
[Interview with Wiegedood in English below]
Der Verein LOVEGOAT entstand damals aus einem „großen Bedarf nach einem neuen, undogmatischen kulturell-spirituellen Angebot in Innsbruck“ – „es gab wenige laute Veranstaltungen, die sich nicht um Genres und Moden kümmerten, die weder Bock auf Kunst noch auf Kommerz hatten. Daher brauchte es Lovegoat“ so die Gruppe. Veranstaltet wird seither alles Mögliche von Metal bis Techno, man arbeitet mehr begeisterungs- als gewinnorientiert und hat deshalb auch die Freiheit, sich nicht darum zu kümmern, was vielleicht besonders viel Publikum ziehen würde: „Es ist ein hartes ‚Geschäft‘, für das man viel Passion, Leidenschaft und Durchhaltevermögen benötigt. Vor allem wenn man davon leben will… was wir nicht wollen“. Entsprechend gemischt liest sich die Liste der veranstalteten Konzerte, in der bekannte und weniger bekannte Namen aufeinander folgen. Als Highlights erinnert sich die Gruppe zum Beispiel an das Määähdrescher Fest oder den ersten Lovegoat Guitar Hero Contest – „Ja und dann war da das geniale Konzert mit Corrosion of Conformity und Converge… da wollen wir aber eigentlich gar nicht mehr drüber reden“. Von Beginn an war das Zuhause der Lovegoat-Veranstaltungen die p.m.k, deren Konzertraum zwar nicht viel Platz, dafür aber umso mehr Intensität bieten kann. „Typisch für unsere Konzerte, wenn wir größere Bands buchen, ist, dass die sich des Öfteren über die Venuegröße wundern. Ein Mitglied einer sehr bekannten Band meinte beim Betreten des Konzertbogens zur Bühne ‚Nice drumriser, but where is the stage?‘. In ausnahmslos allen Fällen waren die Bands nach der Show aber begeistert von der sensationellen Stimmung.“
In 16 Jahren Veranstaltungsorganisation muss zwangsläufig auch mal was schiefgehen. So löste das Plakat zum Konzert der Band Made out of Babies etwa eine Reihe von Beschwerden bei Stadt, Polizei und Tiroler Tageszeitung aus, beim Konzert von Havok fing die Monitorbox Feuer: „(…) das wurde schnell gelöscht und dann ging es weiter vor ausverkauftem Haus“.
Auf die Frage, was man in der Zwischenzeit vielleicht über das Organisieren von Konzerten gelernt habe, meint die Gruppe schlicht „Eigentlich machen wir alles genauso unprofessionell wie am ersten Tag. (…) es fühlt sich wirklich immer noch so an wie vor 16 Jahren, sonst würden wir es wahrscheinlich auch nicht mehr machen. Ein Teil des Publikums wird mit uns gemeinsam älter… das ist schön.“
Black Metal in the Alps
On 26th April, Innsbruck based collective LOVEGOAT organized a Wiegedood-show at p.m.k. We had the opportunity to ask singer and guitarist Levy Seynaeve some questions:
Your album-trilogy „De Doden Hebben Het Goed“ is dealing with the topic of death – why was it clear to you that this had to be a trilogy and not a single album?
It was a way for us to give ourselves a bigger project to tell our story, rather than to be limited to one album. One that highlighted the trinity that is Wiegedood. It made us commit to Wiegedood as a full time band and not a side project. The trilogy was dedicated to Florent Pevee, a good friend and fellow musician who passed away too young at the time Wiegedood was forming.
How does your new album „There’s Always Blood At The End Of The Road” differ from your previous concept?
It’s different in every way. Both musically and lyrically..
Where the lyrics of the DDHHG trilogy mostly dealt with loss, as well as longing for death. The new album has less of a self loathing and negative vibe to it. At times the lyrics even function as a mantra, to lift myself up in stead of beating myself down.
More obvious is the change in musical direction. We feel more free to experiment and take the music in a different direction than we did before. It’s like we’re more comfortable to colour outside of the lines.
Why are your lyrics written in English while some song titles are in Flemish? Do you feel that there are some expressions which are more powerful in Flemish language than in English?
It feels more comfortable for me to write and recite my lyrics in English. Flemish has some very explicit vocal sounds and it just doesn’t resonate with the way I do vocals. I do however believe that some things sound more powerful or striking in a different language than English. So I don’t limit myself having to match the language in the lyrics to the song title. I like freedom to do whatever I please for whatever reason.
Regarding the cover-aesthetics of your trilogy – Are the landscapes and the weather of the place where you come from influencing or inspiring your music?
Not really… Belgium is a country with very little nature left except for the ardennes in the south of the country. It’s one of the most densely populated countries in the world. It annoys me that we have to take satisfaction in calling 500 square meters of trees “a forest”. We all grew up in very small towns, far from real cities, far from any nature. To me personally, growing up in such a boring little town drove me to find a way out of there. I found in music, a way to escape the boredom of my “one bakery hometown” and experience what else the world has to offer. As for now, I draw inspiration from every day life. The things I read, hear and experience from day to day. That, combined with actively trying to write and play music.
Your Logo somehow reminds of the nordic runes. What role does mythology play in your music?
None whatsoever. Our logo is a visual representation of every letter in the word Wiegedood. It was created by Fia Cielen.
How would you describe your physical experience during your live concerts?
Exhausting.. And I say that as the vocalist/guitarist. I still don’t know how Wim, our drummer, gets through those sets every night blast beating without triggers for about an hour straight. For me personally, the biggest challenge is maintaining an impossible amount of stamina in my right hand for the endless tremolo picking. Aside from that I sometimes flirt with having a lack of oxygen due to the constant screaming. That combined with the fact it puts a lot of pressure on my head has occasionally put me in a position of almost passing out. Luckily, I’ve always been able to regain my composure.
What kind of music are you listening to in your free time?
I listen to a lot of different stuff. There’s a genre and type of music for every mood I think. Sometimes I’ll listen to accessible music when I need to be comforted or I want some peace of mind but more often I like to be challenged by music.
I made a playlist recently for Evil Greed you can find on Spotify with tracks I like and listen to while driving on tour. Ranging from jazz to punk to black metal. Just visit the Evil Greed Spotify profile and you should find it easily in their list of playlists.
[we found it]
You played shows in Innsbruck before, do you have any impressions or feelings towards this city?
I can’t recall how many times I’ve played p.m.k in Innsbruck over the years. I’m always baffled by the amazing mountain passes that surround the city and it honestly makes me kind of jealous not having anything that even remotely resembles that at home. It has almost become a safe haven in Austria alongside Arena in Vienna. We always feel very welcomed, treated with kindness and we get to say “see you next time” in stead of “goodbye”.
| Delia Salzmann & Brigitte Egger
komplex-KULTURMAGAZIN 