Elderwind
From Light Breeze to Strong Gusts

26.07.2022

Elderwind stand out as one of the brightest phenomena in the realm of atmospheric black metal. After their debut release, “The Magic of Nature” (2012), which was captivating enough to transfer listeners into the world of dreams, the band lay low for a while, generating some rumors, as mastermind Vyacheslav wasn’t too eager to go out on stage or give interviews. Yet it had to change: an entire generation of new talented musicians inspired by “The Magic…” has grown up in Russia, while the band independently released two more full-length albums, “The Colder the Night” (2018) and “Fires” (2021), and a couple of splits with foreign bands whose physical copies have become a rarity akin to a treasure trove for collectors. 2021 was a turning point - Elderwind transformed into a sought-after live act and finally pleased their fans with a successful mini-tour. I managed to talk to all the band members (Vyacheslav - songwriting, guitars; Andrey – drums; Alexander - vocals, lyrics; Dmitry - bass, backing vocals) - they all live hundreds of kilometers from one another, they all have very different personalities, occupations and backgrounds, their worldviews and the level of straightforwardness are not the same, but apparently that is why we have such a unique solid alloy of beautiful melodies, aggressive thrust, meditative rhythms and candid lyrics.

I'll start with something trivial, but never clarified so far: did the name Elderwind appear before the band came together? Where did this word come from and what was the meaning of it?

Vyacheslav: The name came up spontaneously, while I was walking through a forest. I can't remember all the details as many years have passed. I didn’t choose or invent the name, it was simply there to take it. To some extent, it has to do with the legendary computer game “Morrowind".

To quote your first album, “The living wind will help you go, it’ll put you back on your feet and carry you”, then on the third album, it’s already “The wind pierces the soul with death through decay”. Can it be called the wind of change, and where are the main changes taking place - in the world around or deep in the soul?

Vyacheslav: The wind is essentially the same in its structure, it doesn’t grow old, it doesn’t get younger, only its temper and character change, from a light breeze to strong gusts. (laughs)
Alexander: Changes are everywhere - both inside and outside, but all transformations occur naturally, they’re more noticeable from the outside than from the inside.
Andrey: Changes take place both in the world around us, and deep in the soul. I think this is partly due to time, because, the way we see things can change with age.

Not every project is able to remain true to itself and improve at the same time. Now that Elderwind has more than a decade of experience, is it easier to find the right balance between aggression, meditative rhythms and extraordinary catchy melodies? How do the mindset and the vision of music change over the years?

Andrey: Vyacheslav will have a better answer to the first part of the question. As for the transformation of thinking, I’ll say that I’ve started to take it easy when it comes to all those musical "bells and whistles", etc. I want to convey my ideas as simply and clearly as possible.
Vyacheslav: In fact, the whole transformation occurs somewhere in the subconscious and, only to a small extent, in the soul. Changes in the world around us make me reflect, but I can’t say that this happens for a long time. A much bigger impact is made by “sediments” on the back of my mind; they get expressed in music with the passage of time.

Vyacheslav, since you have an almost universal songwriting talent, did you initially set out to achieve that mesmerizing atmospheric sound on “The Magic of Nature”, or did everything just fall into place along the way?

Vyacheslav: Thank you for the flattering assessment. (laughs) I think the sound that I managed to achieve on “The Magic of Nature” came together along the way, during long hours spent on selecting the right sounds and instruments. The instruments and sounds are quite simple, but it took time to make them sound together in the right way.

The concept of coldness and detachment was so appealing to you that it permeated almost the entire debut album, why was that? What was the role of Alexander Sinyugin (who recorded the vocals for “The Magic of Nature” - ed.) - did his lyrics elaborate on the topics you had suggested, or were those his own ideas?

Vyacheslav: I think one of the reasons behind this concept was the mindset, feelings and thoughts that I was filled with. On “Magic…” I worked in tandem with Alexander. I would set out the topics and come up with drafts and sketches, while Alexander transformed, expanded on and put them into shape, as well as wrote his own.

Andrey, you have been in Elderwind since the recording of the first album in 2011. Why did you  agree to participate, despite being always busy, despite the distance? You’d never played atmospheric black metal, how did you know you could add something of your own? How do you evaluate your contribution to “The Magic…” now that the hype about this masterpiece keeps on growing?

Andrey: I agreed to participate, because I really wanted to create atmospheric music, but I just couldn’t find like-minded musicians in my city. Me and the original Elderwind singer were about to pull the plug on our folk black metal project Krom’ and to give birth to what would eventually become known as Gherzen (an atmospheric black metal project based in Samara focusing on historical and political themes - ed.). But it still wasn't enough for me. When Vyacheslav sent me his first demos, it seemed to me that there was completely different music there. And it's good that he gave me complete freedom in writing my parts. Then I realized that "my time had come" and that I could implement my ideas that did not work in other projects. Subsequently, in some tracks, the guitars parts were even rewritten for the new drum parts.

Alexander, when you got the offer to collaborate with Elderwind (in 2015, is that correct?), was it difficult to move away from the specifics of the meaningless and merciless gore/grind to “beautiful scenes where autumn languishes in the hearts” or turn the straightforward hardcore lyrics into “melancholy moans” for the “Mater Natura Excelsa” split-CD? Or had the desire “to sing hymns to the dawn” already built up, so that everything poured out in a natural way?

Alexander: As I recall, it was 2014. The guys were looking for a vocalist, and Andrey suggested that I had a go with new instrumental demos, since I had collaborated with him in other bands before. That’s when it all fell into place, we got in touch with Vyacheslav and began to create together. I have always loved atmospheric black, pagan and other derivatives of these styles, but it just happened that I came across a few musicians from the gore-grind environment and began playing with them. It was a period when I used to listen to simple groove-laden stuff in the spirit of Cock and Ball Torture, Tu Carne, S.R.O.M. and Rompeprop. At certain periods of my life, I was interested in and was making different kinds of music, so I’ve never experienced internal contradictions. I get too bored if I play the same thing from year to year, I want to be engaged in different styles. Depending on my mood.

On “The Colder the Night” the lyrics, like the music, are so bright and inspiring. Even considering the fact that the direction had been shifted by Vyacheslav, was it your intention to make them so childishly touching and sincere? Or was it a particularly happy period in your life?

Alexander: I wouldn’t say that it was a happy period of my life, it’s just that I was writing lyrics to the music that was already done, to fit the mood of the music, so that everything would be in harmony. At the same time, I took into account Vyacheslav’ suggestions. It was important to understand how he felt while creating new compositions, so that my words would emphasize his music, not contradict it or go sideways.

I admire Elderwind's ability to connect external factors with inner feelings. "Fires" is the pinnacle of that, both musically and lyrically. The lines “We bury our bodies in Fire, not at graveyards / the soul has turned to ashes in agony and anger” and the subsequent shift to the frenzy of voice and instruments confirm that. Was the transition from the detachment of the first album to the focus on "fatal carelessness of men" a natural, irreversible process?

Vyacheslav: Everything is cyclical, thus, going from detachment to focus and vice versa is quite easy.
Alexander: Perhaps the transformation is natural, but it is far from irreversible. It's like kings in checkers - a jump can be both far and close, in any direction where the wind of inspiration blows.

Dmitry, you joined in 2019, when the band was working on “Fires”. Did you want to make the album as heavy as possible, be it roaring backing vocals or bass? What exactly did you want to contribute?

Dmitry: I didn't make the album heavy on purpose, although I'm honestly very happy that "Fires" turned out to be very "metal". I had a desire to make the bass a full-fledged instrument in the overall variety of Elderwind “voices”, to make the bass parts self-sufficient and interesting. I believe the idea was a success.

As a musician with the largest number of regularly performing bands, were you the driving force behind the transformation from a home-studio project into a live line-up with an intense concert schedule?

Dmitry: We had discussed the “live” Elderwind with Vyacheslav even before I joined the project, so I believe that everything happened as it was supposed to happen - at the moment when every band member was as ready as possible for that.

What are the main disadvantages, besides the obvious ones, in living hundreds of kilometers apart? Or maybe the distance offers certain advantages (like focusing on a working relationship instead of quarreling over day-to-day matters)?

Vyacheslav: I don’t feel any restrictions from living in different cities. Modern technologies and transportation allow us to get together at any given moment. The only drawback is that the logistics get more complicated when it comes to concerts, but we can work it out.
Andrey: At first I probably didn’t notice the disadvantages, but now the distance has definitely become a drawback for the recording process and for creating new material as well. On the other hand, there are some advantages, as bands’ evolution often suffers from day-to-day quarrels, and I am a difficult person in this regard. I used to play in a band full of slackers, and unconsciously I had to exert psychological pressure on the most malicious violators of discipline. There came a point when the tension in the group reached its limit, and we went separate ways. (laughs)
Dmitry: Rare rehearsals and inability to work on song arrangements together is the greatest disadvantage. I don't see any benefits in being so far away from one another. (laughs) As for quarrels, there are none in this band.
Alexander: The disadvantages are that it’s not always possible to sort out some musical moments/nuances quickly. It would be easier, faster and more fruitful to do it face-to-face. As to quarrels, the distance doesn’t really matter. Fortunately, we have long outgrown the age when band members try to compete among themselves or give ultimatums. We will always find a compromise and support one another because we are united by a common goal; we’re not trying to feed our egos.

The Russian alternative and extreme metal scene is developing rapidly, a huge number of new and old releases are coming out on a variety of formats, from vinyls to cassettes tapes, which was unthinkable just five years ago. What is this upturn about and will it bring more tours or festivals, for example?

Andrey: I stopped taking any interest in new developments on any scenes long ago. But to be honest, I'm surprised that there is an upturn.
Dmitry: All of the above (records, physical releases, etc.) was already there five or even ten years ago, and, unfortunately, there is no development when it comes to this. People are yet to learn to support their scene and buy these physical products. The difference is that 10 years ago, Russian extreme bands could only get a vinyl release via a foreign label, while now there are Russian companies releasing stuff on vinyl, but the essence has not changed - 90% of the circulation sells abroad. Therefore, it is impossible to talk about any development.
As for tours, they have always taken place in central European Russia, and while some acts have started reaching the Urals with the help of local enthusiasts, alas, Siberia and the Far East remain uncovered by the majority bands and promoters. In fact, everyone should just do their job; it is up to artists to put up a show, and it is up to promoters to make it happen, but unfortunately there is a huge problem with promoters in this country. In between “whatever, I don’t care if the club is shitty or equipment sucks; no one came to a show because they had no idea it was happening” and “I’ll be bringing the same three bands again and again every two months, I’m sick and tired of them, and there are fewer people with each gig, while the ticket price is higher - but idolize and worship me”, there is a disastrously thin stratum of excellent underground promoters involved in the scene but those few enthusiasts keep everything going.

I can't help asking about how divided the metal scene is, it seems there are some narrow circles of musicians who support one another, but, as a rule, it is difficult to break through the wall of skepticism or indifference, isn’t it?

Andrey: Yes, it is. And I don't see anything wrong with that. Personally, I’ve never been much for making friends with everyone, it’s up to everyone whether they want to do it. But there is no point in making enemies either.
Dmitry: Alas, it has always been like this. The metalhead brotherhood doesn’t exist in Russia. But in general there are no "narrow circles". Some people are friends, some are not, this is normal.
Alexander: I don’t remember if there has ever been a more or less unified metal scene. I recall a time when some styles were thriving, some bands were popular, and so on. Atmospheric black metal and post black metal are in that position at the moment, but it's hard to say how long it will last. In any case, those who really need it and value it will remain “combat-ready”, and ordinary onlookers will disperse as soon as the halo of popularity around the style dissipates.

How do you react to negativity? Some fans can be stingy with support but are sure to express disapproval, as if you have to live up to their expectations. And in general, how much does criticism hurt you? Can praise and rave reviews make up for it?

Dmitry: Criticism and negativity do not hurt. On the contrary, criticism and negativity are always more fun and interesting to read.
Andrey: Dissatisfied listeners expressing their dissatisfaction are my favorite ones. Their comments are the most amusing. And positive reviews evoke a feeling of gratitude. In general, I take only positive emotions from that.
Vyacheslav: I’m never bothered with criticism or negativity. I try not to pay attention to negative comments, and if the criticism is constructive I take it into account. In any case, you can’t please everyone, and there will always be people for whom the grass used to be greener. As for the positive feedback, such attention is always inspiring and makes me want to go on and do it more productively. As you know, six years passed between "The Magic of Nature" and "The Colder the Night". That’s a long time. If I had felt and seen more active support at that time, the work would have progressed more efficiently and with a greater desire.
Alexander: I’ve learned to accept both praise and negativity calmly. This too shall pass. I don’t take negativity to heart, I’ve developed immunity over the years. The Russian listener has always been merciless in their assessments, and this is what hardens or “kills” musicians. If you do something and put it on public display, be ready to listen to all the truths and untruths and don’t let them dishearten you or go to your head.

The fourth, upcoming Elderwind LP will be much longer than the previous ones – is the new material already 80 minutes long? Will there be room for experimentation, like bringing in elements from other styles, more acoustics, unusual instruments or clean vocals? Are the songs getting even more epic and intense?

Vyacheslav: It's too early to say what the album will be like and how long it will be. There is still a lot of work to do, but there will be new elements and instruments. At the moment, it is clear that the compositions have become more voluminous, more epic. Unfortunately, it is not always possible to fit your ideas into a more “digestible format” of 5-6 minutes. I like compositions that are wide, that have a story, not only in the lyrics, but also in the riffs, melody and atmosphere that gets deeper as the time goes.
Andrey: I can only say that the band doesn’t stand still, and the next album, like the previous ones, will be a new step in the creative development of the band and, I think, each member individually.

Lyric-wise, Elderwind made a certain transition from “the cold in the soul” on the first album, bright colors on the second one, where the magic became autumnal, to the pain of fires on the third. “Fires” ends with a track called “Rebirth” - what concepts can we expect next? Will there be further development of near-philosophical themes, as in "Relict", for example? Or will it be more like a spiral, coming back to the icy cold and maybe even Nordic themes?

Vyacheslav: As I said before, it is too early to say how this will turn out, but I think that all of the aspects mentioned above will be present to some extent.
Alexander: While working on every new album, Vyacheslav has a theme in mind that is formed to some degree, and I write the lyrics based on it, to already written instrumental parts. At the same time, more layers are added, with digressions into philosophical reflections. There will always be something new, but the nature, being our foundation, will not disappear, this is our essence.

Metal, and underground music in general, is often about rising up to challenges, being non-conformist, thinking for yourself and not kneeling down before any leader. How do you feel about the current situation with political views in metal? Do you think that creativity should express a worldview? And is the “nature-related” theme a kind of safe haven in our difficult times?

Andrey: I would answer the first part of the question if I could see at least some views on the political situation from representatives of our metal scene. Creativity owes nothing to anyone, it simply exists, it can be accepted or passed by. We have other projects for "dangerous" topics.
Dmitry: Metal is just a music style, and a pretty conformist one. People who kneel, no matter to whom and under what circumstances, think for themselves too. The current state of political views in metal, if we are talking about Russia, is exactly the same as 5-10-15 years ago. If we are talking about foreign artists who are actively slinging mud at the Russian culture, I can only wish them to die in torment and oblivion. And I wish the same to Russian artists who are ashamed to be Russian. Elderwind is not a political band, this project has been following its own path for more than 10 years and will keep going. The question about the "safety" of nature-related topics is completely inappropriate.
Vyacheslav: I think that if you have something to say in music, you need to speak out instead of smoothing things over. Of course, if the music is suitable for that. It would probably be surprising and inappropriate to hear lyrics glorifying the beauty of nature in thrash metal.
Alexander: In the underground scene people tend to deal with quite strange challenges – some crawl under the burden of their own weaknesses and vices, some kneel down before their own ephemeral non-conformism. I believe that thinking for yourself is not always the same as "challenging" something. The "nature-related theme" is our "natural habitat" (pun intended). It also reflects our worldview, a solid part of it to be precise. Creativity can express and reflect anything, including a worldview, but it does not have to. Current political views in metal? Each has them in their own way, you can come across totally opposite views. In fact, times have always been difficult, at the moment they are no more and no less difficult than ever, it’s just that difficulties are slightly different.

Everything about Elderwind is basically DIY, from making albums to designing merchandise (only vinyls are delegated to Depth of Void Records). Is it difficult to produce merchandise on your own, without any assistance from labels? Is the demand growing, what kind of merch can we expect at festivals? And artist support in general, - have there been any changes for the better lately? How about reissuing your back catalogue?

Dmitry: Publishing anything has always been difficult. I don’t understand what “demand” for merchandise means - if a band has fans and the band makes cool and nice merchandise, the fans will always buy it. Alas, the support of performing artists is still the same as 5-10-15 years ago. We think about reissues from time to time but so far nothing is set in stone.
Vyacheslav: Judging by Elderwind, the support from listeners in Russia in terms of buying releases and merchandise is really low. I can recall and count every copy bought from me. The main support used to come from Europe and America. Until recently, we didn’t encounter any particular difficulties with releasing albums. Time will tell what happens next. As for the reissues, “The Magic of Nature” was re-released in 2018.

Each of you has various side projects. I’d like to hear about the most prominent ones, and especially about those that Elderwind fans would be eager to pay attention to.

Vyacheslav: In Yekaterinburg I have an atmospheric black metal project called Eisflammen, we released a new album “Follow Me” last winter. The same theme, close to nature, but with a different concept, celebrating the strength of the spirit and will, the conquest of peaks, Ural frosty nights and the interaction between the man with nature. The band plays live regularly, and I hope that sooner or later we will play outside our region.
Andrey: I would like to highlight Gherzen, of course. But I hope that someday I’ll get down to another project of mine, which perhaps will be even closer to Elderwind fans.
Dmitry: I play black metal in Ignis and grindcore in Bastard Youth.
Alexander: Check out Eisflammen, Ignis and Gherzen, you will surely find something interesting there.

Elderwind live shows in October 2021 were absolutely stunning and harmoniously structured from new material to the old one; what can we expect from Elderwind at Metal Over Russia and Shallow Grave festivals? Will there be only proven hits? How about “Flammifer”, a Summoning cover that works so great for festival dances and circle pits?

Vyacheslav: Expect the already proven songs.

The Madstream Booking agency has recently announced a fairly large-scale Elderwind tour of seven Russian cities dedicated to the 10th anniversary of "The Magic of Nature". Do you want to make your set as long as possible, and play the entire first album and the best songs from subsequent releases as well (including "Temple")? And maybe even some new material?

Vyacheslav: We will play the whole album and perhaps some songs from the subsequent releases.
Andrey: I really hope that new tracks that have not yet been released will be played on the tour. We already tried one of them at our joint rehearsal in Samara.

How important is the visual component to you, from album artwork to stage image? Will Vlad Gradobyk continue to cooperate with you? Will your stage image be the same, as if you’ve come out of the fire, or are you looking for new ideas?

Vyacheslav: The visual, ideological component is an integral part of the band. We’ll have the same image at festivals. But for the "The Magic of Nature" anniversary tour we’ll be developing a new elaborate stage image. In terms of album art, I would like to consider some other artists.

What is Elderwind for you in general, how dedicated are you to your creations, and what is the place of Elderwind in your life and in your hearts?

Vyacheslav: Elderwind is a part of me.
Andrey: I give my 100 percent both at rehearsals and at live shows. Otherwise, why do this at all? But unfortunately for the band, when there are no gigs I dedicate myself more to my main business. It's still hard for me to find a balance between work and hobby, but that’s the price of self-growth.
Alexander: For me Elderwind is the main project, there is a lot happening in all aspects, including live performances, writing, recording and interesting communication with friends. Therefore my engagement is proportionate.
Dmitry: Elderwind is a locomotive that only rushes forward and cannot be stopped!

“The Magic of Nature" ends with Alexander Sinyugin’s shrieks "No one will remember me." Of course, the fans remember him and want to know how he is doing. I wonder if he regrets leaving Elderwind? Guest appearances sometimes happen at anniversaries, is there a chance to see him on stage in Samara, for example?

Vyacheslav: It was his conscious decision to leave the band. I don't think he regrets it. Alexander is actively involved in other projects, he currently plays in L'angoisse.
Andrey: I will not answer for Alexander, but we’ve thought of his guest appearance on stage in Samara.

Finally, if you dream without limits and think of the future without fear, how would you like to see Elderwind in 5-10 years and the Russian metal scene in general, and what could you say to your listeners?

Andrey: I dream of performing with a symphony orchestra and releasing it on DVD. (laughs)
Vyacheslav: I would like to see the band active and in demand, at one of major European festivals. I wish everyone more memorable, catchy music.
Dmitry: I'm sure whatever Elderwind will become in 5-10 years, it will be interesting and cool! I would like to see the national scene as original, sincere and, what’s most important, alive! I wish the listeners to be reasonable and aware, to support their favorite bands and hope for the best!
Alexander: I’d like to thank you for interesting and far-reaching questions, and for your interest in our band. I would like to see Elderwind prosper in every sense. Listen to more good music, don’t pass by your young local bands, give them a chance to be heard and gain a foothold in your personal playlists. Looking forward to seeing you at our live shows!

Elderwind on Facebook: https://www.facebook.com/Elderwindband

Interview by KNfromSU
Photos by Yury Kopylets, Ivan Prikhodko (courtesy of Elderwind)
July 2022
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