Interview: Fathomage
Photo by Fathomage
The Blacforje Top 25 at the end of 2023 may have to be the Top 50 when this year is all said and done, given how many fantastic records have been released in just three months. Heck, if we keep up this pace, we may just give everyone a participation trophy and call it a draw. One album in particular that has a strong chance of landing in the top 10 is Autumn’s Dawn, Winter’s Darkness by Fathomage, an atmospheric black metal artist hailing from Australia. It’s beautiful. I mean, it’s plain beautiful.
Upon first listening to the album, I was struck by how much depth there is to the music, particularly in the ambience and well, atmosphere of the whole production. It’s fantastical and mysterious, just as an album heavily influenced by nature and its wonders should be. Atmospheric black metal, although it has many of the harsh elements of raw black metal, brings a special sense of peace and calm with the melodies that is hard to nail down. It’s what makes the genre so appealing to many – the sense of relaxation and intensity embraced in the same composition. Fathomage does a fantastic job of balancing these two realities in their work.
Blacforje had the pleasure of interviewing Fathomage about their new album, the inspiration for their music, and so much more.
Thanks so much for joining Blacforje to talk about your new album, your history, and all other things Fathomage! It’s an honor to have you.
It’s my pleasure! It’s opportunities like this where I can give back to those who support me in so many ways. Thank you to Blacforje, the readers, and the listeners.
You’re in Adelaide, Australia, right? Are you originally from there? If so, what is the black metal scene like where you are?
Yes, born in Adelaide and grew up here my entire life. I tend to refer to it as an urban village because it has this cloistered feel to it, yet it still maintains this impression of being the capital city. It’s quite unique and nothing that I can compare to anywhere else in Australia. Regarding the black metal scene here, I’m probably the most unqualified individual to answer that question. [laughs] I prefer the comfort of my own house, my books, my alone time, and most importantly, my time with my music. With the times that I have ventured into the live venue wilderness, I’ve been thoroughly impressed with just the raw talent that we breed here. It’s a shame some bands will never see much light because of this music and niche scene altogether. The scene here really is a mashup of different genres: black metal, melodic/death metal, progressive metal, thrash metal, etc. To my knowledge, we don’t necessarily excel in one genre, but instead we have a thriving community in each respective style. A healthy harvest of different styles really.
You just released Autumn’s Dawn, Winter’s Darkness. Personally, I think this is one of the best atmospheric black metal albums I’ve heard in quite some time. How do you feel the response has been from fans thus far?
Thank you so much! Your kind comment, as it stands, is what so many have relayed to me, as well. I’ve been utterly humbled by the positive response so far. I honestly didn’t think it would gain much attraction. I really can’t express how baffling this sort of attention is because, as of writing this, I still get so many positive messages simply saying something like: “Hey, thanks for the album I really enjoyed it. I’m looking forward to more!” Or “This album helped me get through my day. Thank you!” It really puts you in a spot of humble-mindedness.
So, as of writing this interview, there are plans to get this album released on CD, and many have been asking and wanting this to be done. The response has been amazing, and to me, that’s an understatement. As an artist, you really can’t express that feeling of putting blood, sweat, and tears into your craft and receiving messages telling you that your music changed them in a good way. It’s a good feeling. Simply unmatched. It’s these kinds of comments, shares, listens, and kind donations that fuel my drive to bring more music into this world. It’s not the views, listens, or popularity per se, but the intimate connection that people send to you out of their own volition to tell you how much they appreciate what you do. That makes it all worth it.
‘Autumn’s Dawn, Winter’s Darkness’ by Fathomage (Painting: “Multnomah Falls” by Albert Bierstad)
What inspired you to write this record, both lyrically and musically?
This is a hard question to answer. I think the best way to put it is my love of nature, seclusion, and silence. I’m an introverted personality, so my alone time is sacrosanct and vital to my well-being. All the layers you hear in the album are an atmosphere trying to be painted with sonic brushstrokes, each carefully cut like a fine jewel expressing what I want to convey. If I could label “the other side” of this album, it would be the silence of a forest, with a creek trickling beside it, and with a faint whisper of leaves rustling in the cold autumn wind. Think of it like two sides of a coin. It’s two personalities of the same person. That’s why I love including acoustic passages in most of my albums. It’s to not only give the listener a break, but to sit down, and enjoy the silence and calm of being alone in a place only you know how to visit. No one else can come with you. There’s something magical about that. It’s a world, or a feeling only you will only ever know.
There’s so much going on musically, that it would be impossible to portray it here, but a lot of work went into it. I composed the whole thing and mixed and mastered it myself too. The final mix isn’t perfect, and it’s far from it, but it’s still a learning process for me, and I’m trying to improve with each album. I was telling someone just before, if I stumble across someone’s music, I don’t necessarily care how you produced your album. I the composition, riffs, song structure, and overall sound are good, that’s an A+ from me. I’m sure we can all agree to that to some degree, especially in a genre that is well-known for its appalling production. [laughs]
There’s something truly amazing when you finish creating an album and know that only you created that. No one else. You compiled it, wrote it, structured it, mixed it, and mastered it all as one big, beautiful package. There’s something so cool about the home-done sound. I even did the logo myself and sourced the album artwork. Compare that to high-profile pop musicians who have multiple producers working for them, creating a song for them, structuring it, etc. All there’s left for these musicians is to perhaps sing some vocal parts, play some guitar licks or what-have-you (if they’re lucky to create their own). I couldn’t imagine anything more depressing as an artist. I wouldn’t wish that on my worst enemy.
In terms of the atmosphere of the album, I wanted to convey that same feeling we all feel with atmospheric black metal and other genres alike. As for the lyrics, they are nature-inspired, as well, and open to interpretation. Some are written in a sonnet poetic format, some are composed as rhyming couplets, and others are completely free-form. There really is no “concept” that I plan prior to writing my lyrics. It seems the concept flushes itself out naturally. The lyrics really can go from extremes like “I fucking hate people”, to quoting verses from the Psalms. There really is no plan. It’s pure expression, and it’s my expression. I’m not trying to please anyone here. As one might notice, the lyrics on the album contain heavy nature themes, and some dramatisation that I’ve tried to liken to epic poetry, that of the likes of Beowulf from the Anglo-Saxons, or Mesopotamian literature. It’s something I enjoy reading and exploring in my spare time, and it’s something I have begun experimenting with my own music. I am wary of giving out too much and spoiling one’s interpretation of my lyrics. I want them to be kept to the listener only. All I can share is that there are two meanings to my lyrics. Take that as you wish!
To my understanding, you incorporate a lot of the Christian faith into your writing. Can you tell us more about your spiritual roots and the philosophical influences behind your music?
I am an Orthodox Christian, specifically, I am part of the Eastern Orthodox Church. I could never do the justice of adequately explaining the cruciality of my Orthodox faith in all its manifested beauty. It is a tradition that was preached by the Apostles, taught by the Holy Fathers, and inked in blood by the martyrs of the Church. For Orthodox Christians, daily asceticism in fasting, prayer, and watchfulness is a spiritual imperative and is what grounds our feet in the holiness of the Church, and we strive to do this every day if possible. Repentance is the core of our daily asceticism; it is a voluntary warfare against the inclinations of our bodies. Our daily struggle is practised in order that we are to renew ourselves in the God-ordained humanity that was originally prescribed prior to our fall. We are to deify (theosis) in Christ Jesus. Orthodoxy is not just essential to my life; it is a spiritual imperative and a necessity for me as someone who is a fallen human bound by the condition of the fall.
I am conscious that not all share this same belief, so my philosophy has always been “present”, not “preach.” It’s there for people who are curious and want to learn something new, and I hope it is nourishing for those who need it. Many will refer to Fathomage as a Christian band of sorts, and while it is flattering and unique (and in many respects it is), I never considered it as such. I always drew allusions to Orthodoxy with imagery, lyrics, and aesthetics. But Fathomage has always been an experimental band at its core (check out the first three albums!), and for that reason, I never really aligned myself with the “Christian band” bandwagon. It might seem ludicrous to some, and by no means am I trying to tell people what I want to be labelled. Label me what you want, but I’m just expressing how it has always been for me. In many respects Fathomage is a “Christian band”, and in many strange ways, it isn’t.
I believe you have released 7 albums to-date in just 5 years. How in the world are you able to produce so much quality music in such a short span of time?
Funnily enough, I have 10 albums as an artist to my name. I have another project called “Gelure”, which is a dungeon synth/medieval ambient project. For those who might not know, this type of music utilizes a lot of synthesizers or different medieval instruments to create a unique soundscape that is both atmospheric and nostalgic (for some). Have you ever listened to those Satyricon, Summoning, or Isengard records that have those synth interludes? Now imagine an entire album of that. Yeah, pretty wild. Each of those albums with Gelure average around 45-50 minutes a piece, so they’re both full-length albums.
As for the insane output of music, I have no idea! It is quite shocking when I think about it myself as well. That’s a lot of hours of music - my music. I’d like to think I have a good “musical” work ethic, and so when I begin working on something new, I really work at it. It’s a fixation to get it done correctly, aptly, and how I want it. I am my worst critic and the only quality control at that. Some songs might take weeks to finally complete to my liking, or it could be only a couple of days. But I work at it. I work hard. It’s never been about quantity for me, it’s always been quality, and I am very proud that I can name Autumn’s Dawn, Winter’s Darkness as my 10th milestone release as an artist. I don’t think there really is a secret; it’s just applying a good work ethic and mixing it with your passion. I think part of it is striving for more as an artist, as well. I know very well for the first 3-4 years, Fathomage wasn’t really known, you couldn’t even label it as a cult following. It’s not that I was dissatisfied with such a following, but I think any sane artist should strive for more - a greater fanbase with like-minded individuals and friends who can appreciate your art for what it truly is! This only really started taking off two years or so ago.
However, I know perfectly well the extreme opposite side of not being able to pick up your instrument and come up with anything new, interesting, or worthwhile for months. I’m not just talking about writer’s block but depression here too. As mentioned before, that creative hell is something I would never wish on my worst enemy. I am happy to say such a time in my life is over, but you do get “shock waves” of it from time to time. So, I guess what I am saying is I know both sides perfectly well, both the manic high of finishing a song just how you wanted it, and the gut-wrenching hell of not being able to pick up your instrument for extensive periods of time.
What bands and artists have influenced you as Fathomage?
I really go all over the place with my musical listening. I think any working musician and artist should have a healthy palette of artists/bands/genres they listen to. The late Frank Zappa aptly put it that, for him, music was rarely enjoyed “recreationally” after a certain time. I tend to dig, pick, and analyse most songs as some sort of sonic artifact. It’s sort of a blessing and a curse. I either start to obsessively do it so much that any music loses any flow or meaning, or I really enjoy it and find all sorts of motifs or phrases that I could use in my own craft. I enjoy all sorts of genres: metal, rock, punk/hardcore punk, electronic, reggae, jazz/fusion, classical, world, experimental, etc. Sufi music particularly stands out as current listening, as well as lots of powerviolence bands. Caladan Brood, Gallowbraid, Opeth, and Ulver (both from the black metal era and their experimental) are among the main inspirations for the new album. Other bands/artists like Laibach, Kraftwerk, Bach (especially his Fugal works), Joseph Tawadros, Rabih Abou-Khalil, The Abyssinians, Yabby You, Kroke, Om, Michael Levy (adapted music from antiquity), Al Cisneros (dub music), The Aristocrats, and so many others serve as continual foundational listening to help me create all sorts of music. It’s really hard to list all of them, because my listening is constantly evolving and trying to find different “nuggets” of musical gold to use. For example, I am really appreciating prog-rock’s use of the mellotron sampler in clean passages of different songs (think King Crimson, Opeth, Steven Wilson, etc.). It’s something I’d love to incorporate too. I happen to play the oud as well, and listening to a lot of North African and Turkish Sufi music that incorporates the Oud is really inspiring. I’m trying to figure out ways to adapt it in my own way. My ethnic background is Serbian/Bosnian, and in my culture, the accordion plays an important part in our folk music. I recently got my hands on one, and I am piecing a way how to put the accordion in new Fathomage material.
Do you plan on playing live anytime soon? Any chance you’ll make it to the U.S.?
I don’t play live as Fathomage and probably never will. I’m going to pull the Darkthrone card here and just state that live performing isn’t really for me, at least for me as a main act of sorts. I have great admiration for the bass guitar, and I wouldn’t mind playing that in the background. But I don’t think I could ever make Fathomage live. It would feel like a cover band of some sort. I don’t know, it’s hard to explain. I play all the instruments on the records, and in the case of live performances, I could only physically perform on one. It just doesn’t feel right to me. As mentioned before, I really enjoy being at home where I am comfortable and can record in solitude and peace. That’s exactly how I like it. I can stop whenever I like, and work for 8 hours straight when time permits. I don’t think I ever connected with a traditional band format. I could never fully express myself that way. It’s not that it was limiting, it just didn’t feel like the right fit. As for the visit to the U.S., it is not likely Fathomage will get to that point, although I’d love to visit a lot of places there. The forests in Colorado, as well as New Hampshire, look breathtaking.
If you were stranded on an island and could only drink coffee or beer the rest of your life, why is it that you would choose coffee? I mean, you would choose coffee. “Blackened” coffee at that.
I must admit, I would probably struggle with purely black coffee by itself. [laughs] I typically enjoy my coffee with milk. It’s not necessary, but it just adds something for me. I will interchange between Turkish coffee and regular milk coffee depending on whether it’s a “fasting” day in the Orthodox calendar or not. But my go-to is blackened coffee with some milk. If we’re going the beer route, I would love to have an endless supply of Belgian beers, particularly wheat beers too. The Belgians are doing something right with their alcohol. Those close to me know that appreciation!
Thank you for this opportunity and thank you to Blacforje, the readers, and the listeners once again that have made it this far! All the best to you all!
You can follow Fathomage on Bandcamp, Instagram, and Facebook.
