If a steady diet of weak metal has made you lethargic, ask your doctor
about CENTINEX — a once-daily medication that provides powerful, 24-hour
relief from weak metal burnout (WMB). CENTINEX is also approved for the
treatment of adult onset metalcore envy (ME), acute thecrownbrokeupitis
(CBUI), and primary nu-Gothenburghorrhea (NGH). By providing a daily
dose of true Swedish metal, CENTINEX can help you say yes to death.
Important safety information: CENTINEX is not for everyone. CENTINEX
should not be taken in late pregnancy or if you have had seizures after
watching TV commercials with too many fast cuts. In rare cases, ear
problems, such as bleeding, can occur without warning. The most common
side effect in clinical trials was whiplash. If you think you are
having an allergic reaction or if you have other severe or unusual
symptoms while taking CENTINEX, call your doctor or other healthcare
professional immediately. For more information, see this important
interview with bassist Martin Schulman.
METAL UPDATE: Congratulations on the new album, 'Decadence - Prophecies
Of Cosmic Chaos'.
MARTIN SCHULMAN: Thank You. We are really satisfied.
MU: It picks up right where 'Diabolical Desolation' left off
MS: Yeah, you can still hear that it is the same band. It's a better
version of Centinex. It's the same band, but a better album.
MU: How would you describe Centinex's sound to the uninitiated?
MS: It's death metal. It's still death metal. It's always been death
metal. You can hear traces from the good old ancient death metal bands
like early Entombed, early Dismember. Of course, there are modern
elements. . .
MU: I definitely hear the Stockholm sound in there, but I hear a bit of
Gothenburg influence, too.
MS: Yeah, it's influenced from both cities. It's got the downtuned
guitars like the typical old Stockholm sound, and there's some riffing
and some points that are more modern like the Gothenburg style. But when
we write music we don't think it fits into like the Stockholm or
Gothenburg style, we just do it. It sounds cliché, but we just write
what we like.
MU: When you are playing stuff that sounds more modern, you still have
that old Stockholm guitar sound going.
MS: Yeah, we try to keep the brutal. . . Many of the Gothenburg bands
tend to sound like happy or cheerful and the Stockholm sound is more
dark or moody. So we try to keep the guitar melody a bit more dark.
MU: You sound nothing like In Flames, for example.
MS: Yeah. (laughing) It is strange when you read some review comparing
us to In Flames. You think, "Have you really listened to the album?" If
you have a good ear, you can hear that there is a big difference between
us and In Flames.
MU: What are Centinex's influences?
MS: When we started the band, we were heavily influenced by those death
metal bands from Stockholm. In late 1990 and 1991, it was when the
Stockholm scene and the Swedish death metal scene was rising. It was
huge. We wanted to sound like the first Entombed album. So Entombed,
Dismember, Grave and Unleashed were a big influence to us.
MU: A lot of those bands went in a more "Death 'n' Roll" direction. You
guys take the original sound and take it in more modern direction.
MS: Yeah, we haven't gotten into this Death 'n' Roll thing like a lot of
other bands. But now when you look at the Swedish scene it looks like
this old school stuff is coming back a bit. For example, Dismember, they
started as a death metal band and then in the mid-90s they were
something. . . I don't really know what. . . (laughs) But now they are
going back to the early 90s sound.
MU: Yeah, and you've got Bloodbath and Chaos Breed paying tribute to the
classic Stockholm style. But these bands are going back to the roots and
rehashing that old sound. It's retro. You guys are taking it to the next
level and that sets you apart.
MS: Yeah. When you play together for a long time, of course you change
your music a bit. We don't have any rules or limits on how our music
should sound. We just do our shit and that's it. We do still really like
the old death metal sound, but we try to take it a bit further.
MU: Are you guys geographically separated from Stockholm and Gothenburg?
MS: Yeah, we live a bit up north in the country. It's a two hour drive
to Stockholm and a five hour drive to Gothenburg. So we are quite
separated. We all live in small cities in almost the middle of nowhere.
There aren't any other death metal bands in the area.
MU: So, when you were coming up, there wasn't a big metal scene in your
MS: No. No. Just farmers and hillbillies. (laughs)
MU: Who would you say your peers are?
MS: I don't know really. (laughs) It is better that you answer that,
'cuz I don't want to compare us to any other band. Of course you can
hear similarities with maybe The Crown or something, but I don't want to
MU: You guys definitely have some of that high speed thrash mixed in.
MS: In my opinion, there are quite many elements in our music. There's
high speed thrash and pure death metal and more modern elements. I think
we do some original stuff.
MU: Especially on this album. It is really diverse.
MS: Yeah, I think there's a bigger difference between the tracks than on
older albums. I mean, 'Diabolical Desolation' was fast all the way
through. All the tracks were very similar to each other. I think there's
a bigger difference between all the tracks on this new one. We have the
really fast ones like the opening track, and there are tracks that are
more mid-tempo with more guitar stuff.
MU: It is a real adventurous album, too, from the music to the vocals to
the guitar effects to the production - did you make a conscious decision
to branch out more with this album?
MS: No. We didn't really plan anything. We wrote the tracks in the
spring and then we had booked the studio for four or five weeks. We just
went into the studio and that's the result. For example, the guitars -
we have two really good guitarists, so they inspire each other to play
better and better and do better and better solos.
MU: Who produced or engineered the album?
MS: It was our guitarist, Jonas. He owns the studio. So, he was the. . .
maybe not the producer. . . but he was the one in charge.
MU: So he was the engineer?
MS: Yeah. We didn't have an outside producer. It was just us five in the
band who did it.
MU: Did you do 'Diabolical Desolation' the same way?
MS: Yeah, and also 'Hell Brigade', the one before that.
MU: Do you feel that you guys are growing in the studio as well?
MS: Yeah. We work together very well and we are still quite open-minded,
so we try out different things. But we had in mind to take on some kind
of outside producer for this one, but it didn't happen. It wouldn't have
been a guy who would have "produced" the album, but someone who would
have helped out with the mixing process and bring fresh ears to the
music. When you work for four or five weeks in the studio after having
written all the tracks and rehearsed them, your ears become tired. So it
would be good to have some kind of outside person who could listen to
MU: Well, you guys did a great job with it.
MS: Thank you. We are really satisfied. In my opinion, the production is
much better on this one than on the previous one. Jonas got some new
equipment in the studio, so it's a professional studio. Plus, it has
been two years between the albums and he has produced other bands during
MU: There's a little more diversity in the vocals this time around, too.
MS: Yeah, we worked harder on the vocals. To be honest, we hadn't
rehearsed hardly anything with the vocals. We wrote the lyrics in the
studio. So, we hadn't rehearsed them, but each song, we took it in small
parts and recorded the vocals. And it's real important, in my opinion.
Vocals are very important in this kind of music. If you have good vocals
on a track, it can really lift up the music.
MU: You used several vocal tracks for the songs.
MS: Yeah, we did. We used several tracks with different vocal styles.
MU: High screams. . . low growls. . .
MS: We mixed them together to get this Deicide / Glen Benton factor. We
are real satisfied with the vocals.
MU: And there's some Hypocrisy-style futuristic effect.
MS: Yeah! That goes hand in hand with the whole concept of the album. We
have a different theme on these new tracks.
MU: Tell me a little bit about that.
MS: In the past albums we had this World War II theme. But this time we
wanted to take the whole war concept and move it a few hundred years
further in time. It's not Star Wars, but it's more the upcoming downfall
of the human race. It's more future kind of lyrics.
MU: Would you say that the whole album follows that theme?
MS: Yeah - the lyrics and the album cover and the effects on the vocals.
We wanted to have a more future approach and sound on the album.
MU: The album art fits.
MS: Yeah, we had that in mind when we decided to go for that artwork. We
wanted to go for some kind of modern artwork.
MU: Where did the artwork come from?
MS: It's a Swedish guy. He hasn't really done many album covers. He has
done all kinds of computer artwork for, like, Ericsson, the big phone
company - all kinds of big business companies. I just found the picture
on the 'net and we decided to go for it.
MU: It was a piece of work that had already been done?
MS: Yeah, it was done and we just bought it from him.
MU: So, this is a big album for you guys. What are your tour plans?
MS: Hopefully we can tour as much as possible and hopefully we can make
it to the US this time. So far we only have a few Scandinavian shows
booked, but we are working with the booking agent, Metalysee, from
Belgium. They are looking for a European tour for us and hopefully we
are able to do a few European festivals this summer. And then we have
been talking to Candlelight about a possible US tour, but it is too
early to tell anything yet.
MU: But you are planning on a heavy touring schedule for this album.
MS: Yeah, really! Last year we only did three shows, or something. So,
now this year hopefully we can tour as much as possible. We had really
hoped that we could have done a US tour in support of the last album and
then we were talking with Candlelight and they said that it's better to
have one or two albums out with the good distribution to get the fan
base growing and then do a tour.
MU: And in the last year, Candlelight has re-released some of your older
MS: Yeah, they bought the rights to some of our old albums and put them
MU: So when you tour, will you dig back to that older material?
MS: Yeah. We'll do, of course, tracks from the new album and dig up some
old stuff. Most likely we will do tracks that we haven't done in like
five, six, seven years. We'll try to get a really mixed setlist.
MU: What would the ideal tour be?
MS: I think it's good if you have a package tour with mixed bands -
maybe some black metal bands and some death metal bands. As long as the
tour runs smoothly, it's OK for us. Of course, if you can tour with a
bit bigger band and come across to a different audience, that's good.
Like here in Europe, you had the Nevermore and Arch Enemy tour. Arch
Enemy was support for Nevermore. That's a good combination. They are two
bands from different genres, so that's good.
MU: What more do you have to say to the people about the new album?
MS: I think it's better to let the music do the talking. Hopefully
people will open their eyes and we'll get some publicity. Today there
are so many bands releasing so many albums and 90% of the albums aren't
any good. Hopefully the people can hear the difference between quality
MU: So what's going to happen in these future wars that you guys are
writing songs about?
MS: The whole world is going to explode!
review of Centinex 'Decadence - Prophecies Of Cosmic Chaos'
review of Centinex 'Diabolical Desolation'
Interview: Brant Wintersteen [ firstname.lastname@example.org ]
Webmaster: Sean Jennings [ email@example.com ]