„Epitaph“, the latest album by the Irish post-rockers GOD IS AN ASTRONAUT is a multi-layered, challenging record that cannot be fully comprehended in its significance when knowing about its tragic backstory. More information about the heart-crushing events that shaped the record as well as why there still is some positivity to be found and what kept the band’s passion alive during all these years, can be read in the following interview.
Your debut „The End Of The Beginning“ was released sixteen years ago. What, do you think, motivated you to keep GOD IS AN ASTRONAUT going through all these years?
We are still very passionate about our music, writing music is a therapeutic process, it allows us to fully express ourselves and it’s never been more important than with “Epitaph” which is written in memory of our seven-year-old cousin whose life was tragically taken away.
If you compare your first album with your latest, „Epitaph“, what in your opinion is the most notable sign of your progress as musicians?
Firstly, each album has its own thing to say and “The End Of The Beginning” has aged very well. I would say the first album didn’t really showcase as much musicianship not that it should make any real difference. The first album was just myself and Niels, we had no live drum performances, they were programmed loops. The guitar lines were more direct, the timing signatures were all 4/4 unlike the new album which has many different timing signatures. The piano lines are more intricate on “Epitaph” too but I must stress I take very little value in looking at music in this way, being simplistic can be just as effective.
Your songs are mostly instrumental. Do you think that too many vocals would be a disturbance in your music?
We do use vocals a lot but more as a texture just like any of the instruments. We have many different layers to our melodies and to have a pushed lead vocal would simply overtake and conceal the other parts of the melody, which is why we prefer a blend.
Instrumental post-rock is quite popular nowadays. Is it a good thing in your opinion that there are more and more bands are playing that style or do you think that this increases the risk of it becoming mediocre?
Yes, some chart-topping music! I didn’t realize it’s currently popular being honest but I think it’s important that every artist’s work be judged separately and independently. It’s up to the listener to make their own determination of which groups have a genuine and honest validity.
Would you say that this type of music and yours in particular is rather easy or hard to get into?
I would say most listeners are accustomed to hearing lead vocals so that would not make it easy for many.
Some parts of your tracks are quite raw. Would you say that you also have a connection to metal music?
We grew up listening to metal music so it will always be a part of our taste and it will manifest itself in subtle ways.
Is there one certain feeling that you want to transmit with the music of GOD IS AN ASTRONAUT or would you rather channel many different emotions within the listener?
Many of our previous albums take you on a journey, escapism would be its main objective, but on this album, it’s primary aim is not the transport the listener away, its intention is to take you through to the dark, traumatic and sombre moments we had experienced.
How much do you care about production? Do you think that your songs could have the same impact with a less accomplished sound?
All of our songs work on a basic level, the song writing began on either an acoustic guitar or piano and can be mostly played without the added sound effects but I do think the added sounds can help build and environment and further enhance the content.
Getting back to your new album: Ephemerality seems to be a central subject matter on „Epitaph“. For what reason were you concerned with this matter while creating the album?
This album is written in memory of our seven-year-old cousin whose life was tragically taken. The album is dedicated to him and his memory, it is our way to say goodbye and to try to come to terms with this most tragic incomprehensible loss. This is something that we as family will never fully recover from so the subject matter is not about something short lived, there is nothing more permanent I can assure you!
„Komorebi“ is the Japanese term for the light that shines through the leaves of a tree. How did you come up with the idea to dedicate a song to this phenomenon?
The title “Komorebi” is a word from Japanese. Think of the interplay between light and leaves when sunlight shines through trees. This was partly inspired by the Djouce Forest here in Wicklow, nature brings solace to my heart and this place helped me reflect on life through its darkest moments, it was important to acknowledge both the uplifting environment but also the dark tragedy that had just occurred.
„Medea“ seems to be darkest track to me. Would agree with that and if yes or no, why?
Yes, I agree, never have we written something as dark before, it’s discordant notations which captures the true darkness of filicide.
Please excuse me if this question is too personal or painful, but the song „Oisín“ is dedicated to your deceased cousin, isn’t it? My deepest condolences. What happened to him?
“Oisín” was written on the day we received the most devastating news. I sat in front of my piano with so much emotion, once the first few notes poured out, it was as if the song had been written before and I had to try and remember to put it back together again. We wanted the song to capture his innocence and beauty and not any of tragedy’s ugliness, it had to be something that would be a fitting tribute to him, he was very happy boy and brought so much happiness to many people’s lives. As far as the events surrounding his death, I cannot go into any detail.
Did creating this track help you coping with it in some way?
Yes, I think music can convey an emotion when words simply fail. This record is very personal to us and to our extended family and has definitely helped us all take one step further in trying to come to terms with this overwhelming tragedy.
Would you say that even though the album is quite bleak most of the time, it also has some positivity to it?
While the music brings you to some of the dark, traumatic and sombre moments that we had experienced but it was important to capture the happier times and to have some hope for the future too.
The artwork for „Epitaph“ was created by Fursy Teyssier. Are you friends with him or did you cooperate with him on a rather professional level?
Sebastian from Napalm Records recommended him strongly. I was familiar with his group Les Discrets which we really like. We gave Fursy Teyssier a few songs and he came back with something that I knew was straight from his heart, it immediately resonated with us as it captured the entire sentiment of this album.
I assume that the picture is connected to the background of „Oisín“, isn’t it? Did you give Fursy some kind of advice on how it should look?
No, it’s simply his interpretation after listening to the title track “Epitaph” and “Mortal Coil”.
What can your fans expect next from you?
We will be actively supporting this record by touring in Europe, Russia, India and the US.
Alright, thanks for taking the time.
Thank you for the interview.
6. Juni 2018 Stephan Rajchl