How did Serpent Column come into being, and what artistic mission did it take upon itself?
Serpent Column began in 2015, at the encouragement of my then-roommates and friends. I wanted to respond to the entire gamut of my musical, literary, and spiritual interests at the time.
Were there any artists or bands that influenced the project’s orientation or means of expression?
SC’s primary musical influences were: Kayo Dot/Toby Driver, John Coltrane, Tim Hecker, DsO, Aaron Turner, Wulkanaz/Wagner Ödegård, Beethoven, Bruckner, and the seminal black metal bands of the Finnish scene in particular.
All of Serpent Column’s releases feature cover artwork by Jane Morris Pack, and the music likewise seems to point at a unity of concept. Is there a thematic continuity between your albums, and/or a central idea from which it stems?
An important overarching idea was the struggle between our ancient brains and the conditions of human civilization. I don’t have any final conclusions on that.
How does your latest EP, Katartisis, fit in the band’s narrative?
Katartisis is a farewell to self-hindrance. The literary/visual connection to Priam in the Iliad is important, but I’d rather not overstate it here – it’s best left for whomever it may concern.
And don’t think based on the title that I’ve converted or something. I hate Christianity more than ever.
Serpent Column has an experimental edge. Do you feel that more conventional forms couldn’t accommodate what you’re trying to express?
I spit on convention.
Some of your compositions can get very complex and labyrinthic. Is structure an important factor during the songwriting, or do you focus mostly on individual elements and riffs that end up coalescing into a greater whole as you go on?
Some things can be worked out in 30 seconds, others in 30 minutes. And I’ve always simultaneously worked on multiple tracks – I think that’s pretty standard.
Your music is frequently abrasive, chaotic, cacophonous, but not devoid of melody. Do you consciously seek to reflect the theme of order arising from chaos in your songs?
No, and I like to think there was more going on than that old dynamic.
Your lyrics (and music) often seem to convey a raging, apocalyptic discontent at the present. Is this informed by your experiences of the contemporary world?
It’s not an easy world. My life used to be full of alienation, isolation, confusion, hatred, and (at times) fullblown psychosis. Many of my records deal directly with that, and are a result of related experiences.
Amidst the chaos and darkness, there also seems to be a positive ideal to be affirmed in your music. For example, the lyrics frequently reference ancient cultures and civilizations; how do they influence the concept and music of Serpent Column?
I didn’t have a personality that fit nice and neatly into our administrative dystopia. So I had to find reasons not to kill myself or blow up a government building.
But now I’m done with all that neckbeard-adjacent bullshit, and I don’t really want to talk much about it. Today, I’m more inspired by my immediate surroundings and physical experiences.
Do you have any comments regarding the current metal scene, or the music industry at large?
There’s always interesting stuff going on, but there’s just no point in trying to sort through the present media saturation. I do see less releases from labels across genres nowadays, which might be good. I’d really love to see a media recession.
I never hung out at too many shows, or was in touch with the “industry,” whatever that is now. I’m going to assume that everything is basically as it was 10-20 years ago, with dumb bullshit and cool stuff arranged differently but in more or less the same quantities.
Thank you a lot for your time and availability. Is there anything else you’d like to add?
You’re welcome. Thanks for your support. I’d like to say: please support Soulseek and all forms of piracy.
