Antediluvian interview (Haasiophis)

Canada has always proven to be a metal country with plenty of new extreme metal options, and Antediluvian is no exception. Because this latest production “The Divine Punishment” (2021) edited by Nuclear War Now! Productions. It fulfills all the precepts of originality, monstrosity, and extreme details that nurture the music of this band, which is why Metallerium agreed to an interview with Haasiophis for their latest release.

Si deseas leer la entrevista en español: Entrevista a Antediluvian

Metallerium: Welcome Haasiophis to Metallerium webzine pages, it's a great pleasure to talk with you about the band, this new album “The Divine Punishment” and other things into the metal scene. So, why did the band take 8 years to release this new "The Divine Punishment"? And according to your point of view, what are the biggest musical advances that Antediluvian made for this new album?

Antediluvian: Hello. After 2012 we entered into a long-distance situation with the drummer living on a different continent. Once we got used to that we made the song for “Defleshing the Serpent Infinity,” than the songs for “The Divine Punishment.” I would not say we have made musical advancements. It is Antediluvian to the core. 

Metallerium: One detail that I saw within Canada is that most bands are inclined to technical or progressive things with icon bands like Gorguts, Voïvod, Cryptopsy, and many more. But the music of Antediluvian goes for another sector sicklier and darker. Why did you decide to take that more rotten path? And could Antediluvian music be considered as Black Death Metal? or could we tell this is music from the end of the world?

Antediluvian: We refer to our music as Black Metal. I like the bands you mention but they do not really tap into the currents we seek.

Metallerium: When I see the Antediluvian logo, it reminds me of my experience reading "The Origin of Life" (1936) by Aleksandr Oparin. Who describes the living beings of the first days on earth and how these forms created life in many ways? For that, what did you use to make the Antediluvian logo? Does it have something to do with prehistory and early organisms?

Antediluvian: I drew the logo with graphite and ink and used a digital collage as well for some elements. It is meant to be abstract and chaotic.

Metallerium: I've been looking at the covers of the first two Antediluvian albums. Where I think they are beings or minuscular organisms magnified with the microscope. What prehistoric organisms did you take into account to develop the covers of "Through the Cervix of Hawaah" (2011) and "λÏŒγος" (2013)? And does this same idea continue in "The Divine Punishment"?

Antediluvian: The covers of "Through the Cervix of Hawaah" (2011) and "λÏŒγος” (2013) are representations of a perverted feminine and a perverted masculine, respectively and imply the act of creation to be blasphemous itself. “The Divine Punishment” cover is something even worse.

Metallerium: Focusing more on the name of this new "The Divine Punishment". The title fits perfectly in everything that is happening in the world with this pandemic. What were the reasons for placing this title on your third album? And what do you think of living each day as the last according to this COVID19?

Antediluvian: The title is a tribute to Diamanda Galas and it refers to the wrath of the God of the Hebrew Bible with human sexual transgressions.

Metallerium: Relating the last question of COVID19. Do you think this virus is a prehistoric one as some news said it? o Was it created by humankind? And can Antediluvian take influence from this virus as lyric material for a new production?

Antediluvian: I don’t really have an interest in discussing this. I’m sick of hearing about it. 

Metallerium: Beyond finding dark and savage sensations in this “The Divine Punishment” or relating to style labels. We will talk about an abstract topic such as synesthesia. How would you describe the smells and flavors that the listener will find in this “The Divine Punishment”?

Antediluvian: It smells and tastes like excrements of course!

Metallerium: Into the matter of how an underground band and a conventional band was should be considered, there are patterns that more vinyl or cassette productions stick to the underground concept, and the CD only expanded the collections of the fans. What do you think are the factors for fans to stick to this underground metal concept? And where are located the digital platforms?

Antediluvian: I think it’s a matter of personal taste, finances, and means to store the physical products. For me, collecting has become more hassle than it’s worth for the most part. I prefer digital these days though I miss the large format art aesthetic of vinyl.

Metallerium: Speaking of the band's discography. It looks like you have 6 splits with different bands like '. . . [l] ight am I '. . ., Nuclearhammer, Adversarial,Temple Nightside, Heresiarch and many more. Why did the band decide to do splits with more bands? Do you think that by doing this kind of format the band stops being underground? Coz it becomes accessible to many people.

Antediluvian: We do splits because we like the bands we are collaborating with, and we often do more experimental maneuvers on these formats.

Metallerium: Curiously, the split "Initiated in Impiety as Mysteries" (2012) was made with Adversarial. I saw two bands that I love their full-length productions. Who did the idea of doing this split come from? Was it the label? from you? or Adversarial?

Antediluvian: We have been friends with the members of Adversarial from the days before either Antediluvian and Adversarial ever existed. Therefore, this collaboration was inevitable.

Metallerium: Another detail is about the listening methods of the fans, coz this new generation prefers to hear one or two songs on the digital platforms. What are you think about the albums doesn’t have the same impact in comparison to the 80s or 90s? And what do bands need to do to improve the listening of all songs in albums? 

Antediluvian: All that matters is the bands execute their art with conviction and integrity.

Metallerium: Seeing your work on your Instagram page. Would you ever consider using artwork created by a third party or is it essential to the message of Antediluvian that you create the artwork as well as the music?

Antediluvian:  No, we will never consider that.

Metallerium: When I look at your designs. I see that there is a short gap with schizophrenic themes or another kind of madness that appears when the brain is open to many mental practices that allow the transcendence of the mind above this ordinary existence, such as magic, yoga, meditation, or even drugs, etc. What are your main influences when creating a new work of art? And do you think it is necessary to use some elements beyond one's own imagination to create a work of art?

Antediluvian: All of the above and more. In a word, the sublime… when humanity is faced with its own limitation yet overcomes the impulse to react, conform, or be victimized. That is my influence. I am always hovering on the edge of the known and the unknown and looking beyond the limits of imagination, definitely.

Metallerium: Well, Haasiophis, the sad time arrived at this interview, I hope you enjoy this one as I did, and thank you very much for your time. The last album is a great one! Take care during this pandemic situation and our best wishes from this part of the world. Any last words for your fans in Latin America and Metallerium readers?

Antediluvian: Thank you for the interest.