Pedro Cochón interviewed by PSL
Architecture of Incomprehension has been out for a while now. How has the reactions been so far?
We are all really pleased with the results of the album. The response to our music surprises us much more than we could have expected. The album reviews that have arrived to us from different magazines in and outside of Spain are fantastic so far. We've been praised for both the musical content as well as the professional sound.
The style of death metal you play is not the most common kind. What made you take that direction and not just go for the usual kind of thing?
We play what we like; we are not dictated by fashions or trends. A musician has to make the most of the music he composes no matter what kind of the style he plays. We have a weakness for complexity. We love to make complicated parts and patterns. We enjoy technical death metal and that is what we do.
It sounds like you're strongly influenced by especially Death, but also Pestilence, Carcass and Atheist appear to have had an impact. Could you say something about your influences?
Individually each of us has his own style and his own tastes, but our passion for what we do is what binds us together. These assorted tastes are what give Unreal Overflows its particular style. If I should make a reference to the different styles of each of us I would define Unreal Overflows as a brutal-technical-progressive-hardcore death metal band. So as you can imagine I could tell you different names from Whitesnake to Deeds of Flesh and of course also include bands like Dream Theater, Death, Cynic and so on. But the most important thing is that we really leave the different styles and labels behind in the writing process and just do what we like.
A thing I noticed right away is that there's quite a bit of melody in the music. The melodic aspect of the music is that something you deliberately work on?
Yes, we do. I think melody is something that is essential in our compositions, and it forms a part of our style. As I said before we have different influences, but they are all captured in the music. I am sure that if you listen to the album carefully you could find more sides of our music than the ones that are obvious at the first listens.
You chose to go all the way to Germany to record. What were you're motives for doing so?
After the release of the Point of a New Departure demo we wanted the next album to be professional and competitive with regard to sound and production. This made us look for a studio where quality and the final result were good and of course within our time and economic possibilities. That search and the Dave Rotten's advice made us contact Oliver Philipps and Christian Moos at the Spacelab Studio who did not hesitate to book us for the recording.
I think you've achieved a smooth, but powerful production. Are you completely satisfied with the result?
Yes, of course. We are aware that the album could have come out with a more powerful production if we had had more time to spend on it, but you must have in mind that we recorded the entire album in only three weeks. I think the album has the best production possible when thinking on the time we spend on it. We are of course very satisfied with the result. And it's also important for us knowing that Christian is completely satisfied with his work too. He has liked the result very much as well.
Do you find the lyrics to be almost as important as the music and is there a specific topic you sing about?
We consider the lyrics and vocals to be another instrument, so it has no more or no less importance than the guitars, the bass or the drums. The Lyrics are not quite as important as the music, but the lyrics help form some parts of the music. We are not a band that sings about blood, entrails or rotten corpses. Actually we sing about the day-to-day life, but from a more philosophical point of view. The lyrics are about real events and circumstances. Things like the childhood or appearance in "Breeders of Credibility". There are also songs about how the cold loneliness ends our hope and songs about the scepticism in the world, or the uncontrollable madness like in "Psycho-Thought".
I understand that Architecture of Incomprehension was supposed to have been recorded and released in 2005. How come it was delayed that long?
Yes, you are right. At first, the album was expected to be released in the summer of 2005, but the release had to be postponed due to different circumstances. First it was a delay in the album recording for labour reasons; it's not easy to combine daily work with three weeks of recording in Germany. Then it came too a much longer mastering process because we tried to achieve the top result and I think we got it, so it was worth the wait. And finally, there was a short delay in the album release because from what Xtreem Music said the CD manufacture took longer than the usual.
With the delay in mind I assume you already have some songs ready for the next album?
I think you assume too much [laughs]. The process of writing is not short at all. To close a song is a process that takes many rehearsals and many headaches, because we do not do it the easy way and stick to the ideas that first comes out. We turn a song over until it is to everybody's liking. Of course we have different new songs, but they are far from being ready for the next album. We close a song when we record it until then it's inclined to suffer changes.
Which technical death metal albums do you think is essential in any CD collection?
In my humble opinion, I think it could be Death Individual Thought Patters, Cynic Focus and Atheist Elements. However I am not the best versed member when it comes to technical death metal, so following the advise of my pals I have to add Pestilence Testimony of the Ancients, Obliveon Nemesis, Morbid Angel Formulas Fatal to the Flesh, Immolation Dawn of Possession and Loudblast Disincarnate as well.
We sent the demo to many labels, but it was Xtreem Music who showed the greatest interest in our music. After a contact first by mail we meet Dave Rotten and Xtreem Music to talk face to face. Their interest in having Unreal Overflows on their label and their years of experience working for the extreme metal scene in and outside of Spain made us sign with them.
How is the Spanish death metal scene doing these days? There seem to be quite a few death metal bands making their way up into the spotlight!
I think the Spanish scene is in general growing more and becomes better all the time. But I find the support of the people, press and professionals very poor with this kind of music. There are bands that are braver and better qualified than the usual bands that Spanish people like. They mostly like flamenco-pop music. So it is hard for bands like Demised, Continuo Renacer or even us and all the other bands in the extreme metal scene to reach stardom even if the specialised press praises the high quality of these bands. This is because the mass media do not pay attention at all to this kind of musical styles. Sorry if I got a bit off-track there.
Are you going to play outside of Spain in support of the album or how does the remainder of 2006 look gig wise?
We have almost confirmed two dates, a little show and a festival and we are working to get ready a short tour for Spain with four or five dates. But by for now it's out of our reach to play outside of Spain with the exception of Portugal because to combine daily work and a travel to a foreign country is very difficult for us with our current possibilities.
Anything you wish to add to conclude this interview?
First of all, thanks Per for doing this interview with Unreal Overflows and thanks to Supreme Brutality for supporting the extreme metal scene. Regards from Galicia!