The Lodge @ My Dying Bride Interview

My Dying Bride
an interview with Aaron Stainthorpe

What drove your willpower to start My Dying Bride, and what were the band's early inspirations - both on musical and lyrical terms?
I was listening to Celtic Frost and Candlemass and loving it, so naturally (and aided by alcohol) I decided that I'd like to do something similar, so I grabbed a few mates and formed My Dying Bride (simple).

Even if part of the rising British Doom Metal scene, My Dying Bride has always carved its own niche - probably unintentionally - with its own flair of poetic and sonic despondency: have you, or the other members, felt like outcasts when growing up? If so, do you still feel like an outsider looking in?
Growing up listening to Rock and alternative music, while adorning myself with the fashions and couture this entails, naturally made me stand out from the other brats in our area, so a degree of loneliness was always within me. No member of the band has had the misfortunes of growing up in particularly desperate times or from torn families, so we don't really have an excuse for creating the melancholy that so easily drips from us - we just love doing it.

Whether more or less accessible, your music has always been as heartfelt and figurative as your lyrics: do you usually write your words before having any musical source in mind, or is it the other way around?
It was a bit of both originally, but on the new record (and on A Line of Deathless Kings), the music was written before I'd even scratched out any rough ideas. I then take this music and allow it to wash over my emotions and enable me to conjure up those inner thoughts we all would prefer to leave lurking in the lower regions of our brain, thus crafting emotive and often heart aching visions.

Speaking of which, I read that in the past you preferred to write with the aid of a bottle of cheap red wine by candlelight: do you still recreate this spiritual nirvana to let your muse flow? And getting a bit off the record, did you ever taste (or like) a good old Porto on occasion?
It is indeed true that I chose to write my lyrics in the Poe-like atmosphere of my wood paneled room aided by a good wine (I have a little more money these days) and a few spluttering candles casting long, sinister shadows upon the walls. With these surroundings, half of my work is already done.
As for Porto, it has a lovely rich taste, but a bit too fortified for the tasks ahead.

By reading some of your lyrics, one can easily feel within some of the more pastoral and archetypal environments portrayed in british novels, yet with a twist of veiled lust and sensuality: in this sense, do you hold the band-name as a figure of speech, or has it more of a real implication?
I believe there is a dark link between grief and passion, loss and lust, one that is taboo and pushed aside but that I explore with delight and intrigue - a fetish, if you prefer. However, it's not linked with the name of the band. I needed a name that would give rise to visions of utter sadness and forlorn love, desperate grief and great flowing tears
- not of kinky desires.

One might usually assume that you are as gloomy and downhearted as your music: would that be a fair analysis of your own selves? If not, would it be fair to regard your music as escapism, with a cathartic nature as a principle?
We are surprisingly jolly people, giving wealth to the thought that what we create does indeed have cathartic values. Naturally, I get as depressed and lonely as anyone else - which is exactly the right time to write lyrics - which then leaves me feeling awake and bright and golden, having exorcised my negativity into the words of My Dying Bride. I think everyone who is feeling low should try and get creative, as it often works wonders as a cure.

On a gradual basis, your voice metamorphosed into a very own style (especially on your latter works): was this unpremeditated? How and why were you moved to try out such a personal approach, and do you have any artists that you look up for incentive?
I've certainly evolved as a vocalist over the last few years, which will become especially noticeable on the new album, although it was never really planned: it just sort of grew. We all get better with practice, and I'm no different wanting to further myself with each release.
With regard to inspirational artists, well, I still enjoy the tones of Nick Cave and Michael Gira, of Swans.

Off and on you have tackled the subjects of Religion and God - not only in your lyrics, but also in your aesthetic and artwork - and while one can easily take you (and your work) as rather metaphysical in essence, would you say that they serve more as allegories than one-sided references? If so, how do you hold both terms for yourself?
As an Atheist, my use of biblical elements are merely there as reference for the vast majority of our audience, who can associate those images with a subject matter that they are familiar with. I have no belief in any god, and I think that religion is actually responsible for more pain and suffering (and the ultimate destruction of mankind) than any weapon. Religion could have been wonderful, however, we chose to bastardize it and turn it against our fellow humans, and sadly, there is no turning back: we are doomed at the hand of God.

When you play live, you seem to be engaged in a performance of your own - almost as if you were acting on top of singing - and since you seem to be a somewhat introverted person, how do you manage to be in front of hundreds of people on a regular basis, and has it been easier to cope with it over the years?
It has been noted many times that I do not like playing live. The reason is that I almost become the character in each song, and therefore endure the suffering that he or she is going through (to a certain degree). With my eyes closed, I delve into the sinister world I created in verse, which leaves me feeling extremely drained after each performance. I often lose perspective of where I am and have no acknowledgment of the audience or even the other band members - such is my possessed like state. I would be much happier if we never played live.

You were once filling the opening slot on an Iron Maiden tour - that even had you coming to Portugal at one point - so what memories do you hold from that unusual tour, and how do you like coming to Portugal once in a while? Have you ever visited it on a personal level?
We loved the whole Iron Maiden tour, and Portugal was great: the weather was fantastic, and the people we met were friendly and interesting. We have been back a few times - Sarah's first ever live show playing keyboards for us was in Portugal - and I'm sure we'll return with the new album.
No, I have never visited Portugal for personal pleasure but I'm sure I'll make it one day.

On your earlier shows you had Martin Powell playing the violin and keyboards (simultaneously), which conferred an even more romantic and theatrical approach - not only to the live setting, but also to the music itself - and I remember reading that he was supposed to come back to the band to record new violin tracks: is there any veracity on this? If so, why did he leave the band back in the day, and are you planning to work together again in the future?
Martin didn't actually leave - he was kicked out for not coming to rehearsal - but that's ancient history now and we're all good friends again. We never bothered looking for another violin player after him, as we felt we could manage easily without - which was the case - however, we now have another in the lovely form of Katie Stone, and the music is now better than ever! I'm afraid I think it's unlikely that we'll be working with Martin again, but you never know.

Unlike the majority of artists, you've been proudly working with your label, Peaceville, ever since day one; in your perspective, what is the recipe for this successful relationship, and have you ever had to think things over at any time in the past?
We've had an excellent relationship with Peaceville, simply because they actually listen to what we say and don't pressure us into stupid decisions. Having very good communication with many people at the label has made us friends, as well as colleagues, so that anything is possible, and we have no desire to move to anyone else.

Something that most people are unaware of, is that apart from your involvement in My Dying Bride, you also paint works of varied nature: would you mind telling more about how this outlet resurfaced and materialized, and for how long have you been doing it?
I've always been interested in the arts and have used my creativity to embellish our music with covers for several recordings, being heavily influenced in early years by Dave McKean. I used many forms of media, but with the progress of technology, I mainly use digital cameras and computer software these days, as I find it very flexible. I've been lucky enough to have my work displayed at a few galleries and have even sold a few prints, but it's the chance to express myself visually that I love the most. I'm probably not going to win any awards for my work but that's not why I do it. Like my lyrics, my artwork is a visual expression of my inner thoughts, and so they are often not the most pleasant thing to look at. Have a look at www.azzron.com, but don't expect Van Gogh!

Grabbing a bit the issue of visuals, all of your graphics and videos have been hugely artistic, since they have the ability to easily transport the observer to more inspired realms: have you ever had the drive, or initiative, to work with film? If so, would you lean to a more austere sort of production, or rather to the more basic - but sometimes even more compelling - black-and-white, low-budget movies?
I'd certainly love to have a go at making films, and I often make sure I have my say when we shoot promotional videos. I have no interest in the turgid, predictable shite that comes from Hollywood, but would much rather be involved in low budget artistic efforts with compelling actors and gripping subject matter. If I wasn't in My Dying Bride, I'm sure I'd be involved in the video/film industry, with perhaps even my own modest company.

On a personal note, what would you consider to be the artists, books, movies and paintings of your life, and why?
My tastes change every 5 to 10 years, and so, Art that I liked when I was younger seems less impressive today (likewise for Music and Film). I won't preach what I'm into these days, as it's often rewarded with crass comments from opinionated individuals, because (of course) "beauty is in the eye of the beholder".

www.mydyingbride.org

© 2008 The Lodge

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