It has been a real adventure to create such of a project like
Thulnar.
I remember I began to think seriously about it during a hot summer, year
2002, talking with my dear friend Luca (Elric Blackcrow). He told me he would
have played trumpet in the underground Italian metal band
Mors Tua
(www.morstua.com),
lead by Judge Weir (Simone
Lanzoni).
At those times, I was listening to various kinds of metal – from symphonic
power to black – and I wanted to be able, a day, to create something
like that; but I didn’t own enough technical skills.
Anyway, I didn’t give up at all, but I
began to ask Luca some precious advice – and he, studying at the Conservatory in
Bologna, knows pretty well how to compose–
From that moment I searched for a balance between my different influences, even
if the whole process revealed itself longer than I had expected. And unluckily,
on September 2003, I was forced to leave for the military service and so the
composition stopped for an year; but in my mind many ideas continued to develop.
It was in the autumn of 2004 when, back home again, I resurrected the old works
and suddenly I realized the need to add something new to the entire composition
process…
I mean, I had always liked symphonic metal – and I love it even now –, but I
felt the necessity to merge it with my aggressive side.
So I imagined classical instruments,
acoustic, united with vocal lines sung in screaming, but I wanted
orchestra to be a whole with the metal quartet, or quintet, sounding like they
were playing in a concert hall at the same time.
My goal was – and is – to treat orchestra’s magnificence not as a mere keyboard,
but use its majestic impact. In the end, my first work, named Thulnar
Demo, was recorded for
personal use, a rehearsal for the future projects; it has been a project
with various influences, a way to improve my skills about the different
softwares I use.
Then I spent some months to relax and think about the new
stuff.
I knew I had gained experience, so every tune was taking shape day after day.
The making of
The End of the Blissful Days was less chaotic than before, so from
November ‘til springtime 2006 I completed everything.
The only trouble was recording the vocal parts, ‘cause Luca
was very busy with his studies; so we were able to record his performance after
four months, July 2006.
At first, I was satisfied of the final
result after the mix – done by myself –.
But after having heard many professional products, I decided to recruit Simone
Lanzoni (Judge Weir) for the
pre-mastering and thanks to his skill he gave to the entire record a power
in the mix I had been unable to achieve.
2007 has been a very hard year.
Talaborn
Skies composition process began during a cold December 2006 and
went on for the following year 'till December 2007. I usually plan every work
since the beginning, working on the concept so every tunes will exactly have the
feeling I want them to. The matter is
Talaborn Skies is a long album,
almost one hour of music, and its songs owns different approaches to the concept
itself; they've not a plain structure, 'cause I like tempo changes and dynamic
variations, and of course these changes must fit with the story behind. It took
me time to merge the concept with the music, but in the end I think I made a
good work. or I hope, at least.
DARKEN
Windows Live Messenger & personal contact e-mail: metaldarken@yahoo.it
