Mit „Existentialismus“ veröffentlicht Abduction ein Album, das epischer und ambitionierter klingt als je zuvor. In unserem Interview spricht die Band über den Entstehungsprozess der neuen Songs, die Einflüsse hinter den tiefgründigen Texten und die Entscheidung, erstmals als vollständige Band im Studio aufzunehmen. Außerdem geht es um die Herausforderungen, die intensive Live-Atmosphäre auf die Bühne zu bringen, sowie um die Zusammenarbeit mit Ian Boult und Tore Stjerna bei der Produktion. Abduction gewährt dabei nicht nur spannende Einblicke in die kreative Entwicklung des Albums, sondern reflektiert auch über die aktuellen gesellschaftlichen Umbrüche und persönliche Erfahrungen, die in „Existentialismus“ eingeflossen sind.
Frontstage Magazine: The new album sounds more epic and ambitious than ever. How did the recording process of Existentialismus differ from your previous works?
Abduction: Thank you. I hope it does, it’s been a long process haha. I went into this record the same as I normally do, with no ideas and no clue what it will look like when it’s finished. I have however spent quite a lot of time tidying up things around the presentation and the messaging. It’s OK to just make a bunch of songs, but to make an interesting body of art, there needs to be multiple layers. I am very happy witb the response it’s getting so far.
Frontstage Magazine: Your lyrics explore the post-truth era and the decline of old values. Was there a specific event or inspiration that influenced these themes?
Abduction: Not a single event exactly, but the combination of moving away from the city again (finally!) and raising a child. Also in conversation with the older generation. I think I am entering my ‚wise‘ era.
Frontstage Magazine: For the first time, the album was recorded as a full band. How did that change the sound and songwriting?
Abduction: This time round I asked the live band to Records their parts. Historically it’s been mostly just me recording so there was a bit of a shift in how things needs to be done in the studio, but it was very a good process. I need those guys now. This project has got well out of hand. They’re still playing my ideas, but it was time for them to perform them on tape instead of just on stage.
Frontstage Magazine: You are known for your intense live shows. How do you plan to bring the atmosphere of Existentialismus to the stage?
Abduction: Thanks. I suppose that’s a good representation to have. We try to do more with less now, if that makes sense. In the past we have blanked the whole stage with smoke the whole time or had multiple props etc. These days I think we’ve become more expressive with a simple visual look and better songs. It’s also venue dependant. Small clubs shows are hard to do anything with. We have some bigger festival shows coming up soon, so the challenge at the moment is, what do we do with that space? I can’t reveal anymore yet, but we are working on it.
Frontstage Magazine: The production and mastering were done by Ian Boult and Tore Stjerna. How did their individual styles shape the final result?
Abduction: Boulty is a long time friend and long time collaborator. We used his studio to track everything in a familiar environment and the used Tore to produce it into something bigger. It’s a dark art, mastering, so we knew we needed someone with a substantial pedigree to elevate it beyond just my guitar recorded well. Tore adds a magic we hadn’t quite anticipated but are very happy with.
Frontstage Magazine: What does Existentialismus mean to you personally, and what emotions should listeners feel when experiencing the album?
Abduction: I put everything into this album. Family legacy, blood and sweat. It is a perfect representation of my feelings as an artist in this genre at this time. It’s early days at the moment l, but it feels like a lot of people are finding something that resonates with them on a more personal level. I hadn’t particularly anticipated this, I’m just doing what I need to do, but it is very encouraging, if a little sad. The world is not in a very good state right now and I don’t know where we’re heading. It’s a little tragic that my concerns about that are mirrored by our listeners so commonly. Ah well.
Fotocredit: Jack Armstrong
