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doomedandstoned · 4 years ago

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A Rendezvous with Moscow Doomers Train To Elsewhere

~By Sound Animal~

Photographs by Makhmud Podzhigay

This is a momentous occasion for people around the world who appreciate Stoner Doom Metal and its hybrid forms. The Russian Train to Elsewhere has been solid all along. Then, on May 21, 2021, they played live at Peak Sound Endless Misery Doom Fest, revealing their new lineup to the public. And it’s absolutely astonishing.

On June 9th they released the audio as a bootleg. Lead guitarist Maria K. "Gerard" integral to the band all along, now debuts the recording of her vocals, which intertwine with the lead vocalist, Anna Utopian, who also plays keyboards and stepped in to replace the previous vocalist. On drums we have M'aiq the Liar, Olga on the rhythm guitar that keeps me going and going with this band, and on bass, Anton "Vargtimmen" Bryukov. Their previous singer, Denis Generalov, is no longer with the band. We’ll miss him and always appreciate his massive contribution to the previous demo and album. I’m glad to see that in the wake of his moving onward, the band didn’t falter. In fact, this new era of Train to Elsewhere is electrifying.

Live at Peak Sound (Official Bootleg) by Train to Elsewhere

Their sound is hypnotic and contemplatively atmospheric. The excellent drums are pared down to the essentials, as the best Doom drums are. The slow lullaby groove takes us into the imaginative liminal world of Nod as if we’re on a sleeper car bumping over the metal tracks, hypnagogic images combining the forest landscape outside the window with the mind inside. They play everything at a slow, minimalistic, heavy pace, never giving into the egotistical show of shredding to demonstrate just how fast they can play meaningless notes. No, conversely, every note matters.

Anna Utopian’s expressive vocals are consistently strong and delicious, beautifully doing justice to the intense lyrics while she creates Eastern atmospherics on the keyboards. Rarely does any Metal band have so much female representation within it. All the women in this band come across as authentic, being purely themselves as much as the men are, which can be a challenging project, considering the objectified roles they are so regularly expected to play on stage in that particular genre. There are no distracting displays here.

This ability to be genuine is not surprising with this low-key band, though, as they are not about surface level of life. Instead, the music provokes profound speculations and nuanced states of consciousness. It was Anton’s articulate brilliance in interviews that first locked me into their work.

When Maria sings, I stop moving completely. Until she’s done. Only utter stillness will allow the cilia in my ears to vibrate with the kind of desperate attention they require when encountering my favorite female vocalist. I wasn’t expecting that. No one told me. But I’m telling you, Stoner Doom fans. You must listen to this band that has something to say, and you must prepare yourself for Maria’s one of a kind voice. Words don’t do it justice. It’s the low beneath low. Her throat allows everything through, not just part of the frequency of life. All of it. The inflections indicate so much nobility in the depths of life that surely no one could take living for granted again.

First, I’d like to ask about that slow groove that’s consistent through the songs. I’m curious how the different band members feel that movement within their bodies. As a loop circulating through the body, a sway side-to-side (like bumping over train tracks underneath), a sleepwalking headbang, a standing spiral? Perhaps the way they feel the groove move through their bodies changes song to song.

Maria: We’ve never rehearsed our on-stage choreography or something like that. It comes naturally from our perception of the music. I can say, I like the heavy, powerful low-tune sound of traditional Doom. I like the sound of our guitars, amplified and enhanced with stage gear, going through bodies of musicians and audience. I think the sound should fill all the possible space it can, changing it in its special way.

Anton: For our band it’s very individual, some of us stay more or less still, others move to the music, whichever is more comfortable. It’s an interesting question because movement to music and dance is a very early part of human culture in a way it’s ritualistic. Although we never rehearsed stage movement it’s interesting to see the connection with the audience in that light. It’s great when some people dance to our music and move to it.

Anna: Generally, when I’m playing on stage or rehearsing at the studio, I feel some kind of special energy coming through my body. Especially when I sing. I begin to feel very inspired and optimistic about everything around me. I don’t really rehearse my on-stage choreography; I just have some clear ideas about what I have to do on some of our songs. So most of the time I just improvise my on-stage movements. Also I enjoy having that special connection with the audience, it’s an unforgettable experience, especially, when you’re playing on stage and see the people dancing to your songs and even starting to sing any of your songs that you’re playing. That’s when the magic happens for me.

Olga: I felt this only after I became part of the band – the feeling of the unified space with a group of people. When I listen to our music I can almost see how our melodies combine with each other, winding and supporting each other. Seems like their directions and weight are not less material than stage equipment. And our bodies move with the space movement. In this context I like “The Path” most of all – it resonated with me first and still makes me sway to its rhythm emerging in my subconscious in everyday life. I like both versions of it – with Denis and with Anna on vocals, which feel very different.

I love that about the unified space and the melodies themselves playing a tangible role within it. And the rhythm arising from the subconscious. And Anna feels energy coming through her – I feel a tangible effect from that! What scales are you most fond of? Is that part of the particular Folk element of your Doom that creates that tonality? Are there any folk melodies that influence any of the songs? In what ways does your location influence you?

Maria: I’m fond of northern folk, especially Finno-Ugric music, also I try to look at our music from different dimensions, adding Eastern tonality (Arabic, Turkish, Jewish music), as well as blues riffs, chromatic and classical minor scales, influences from Southern and Eastern European folk tradition… Our “Nortern Summer” is a reminiscence to native Karelian folk tunes, and “Mothir” is our adaptation of Icelandic folk song.

Anton: The idea of our project was to express through the language of Traditional Doom some of our folk influences. Yet we are not a folk band in a traditional sense of the word; we try to incorporate those melodies a bit more delicately, but they are very important.

As for the location it has a great influence on us from the vast forests to the existential gloomy culture and literature, we are shaped by this as musicians. As for Finnish folk it is an important part of our culture which sometimes flies under the radar when people are talking about Russia. For instance, Russian poets of the XIXth century with their gloomy and even Gnostic outlook on existence are a big influence for the Russian language texts of our first album.

Anna: I feel inspired by nature. I like spending some time in the forest. In terms of music, I usually prefer songs in minor scales; I like songs that sound not so depressing, but emotional. For example, I like adding some French coldwave sound to our music, as well as some blues rock.

Olga: Here I agree with Anton. The country’s history defined the distinct visual component of our surroundings, inspired by the folklore ideas and concepts we faced from early childhood, it nurtured in our minds the tendency to reflect and the idea of complicated intricacy of life, even its wholeness in imperfection. Maria shapes those images in multilayered sincerity, bringing the ideas into reality.

Samhain by Train to Elsewhere

What is the composition and arranging like for these songs? Do they ever arise from improv jams? Is it mostly one person’s vision per tune? Do the words or riffs tend to come first? Are you most interested in getting across specific meaning through the lyrics or in something else, like creating a subtle mood that goes beyond words?

Maria: Most music comes from improvisations and jams. Sometimes it happens that I bring raw material – several riffs and text – and we try to combine them into a song and repeat it till it seems ready. Also, we have some texts and some jam records that could fit together – so, why not make a song out of them. The needed mood appears when the song is almost ready and we try to play it slower or heavier or faster, add keyboards and guitar solo elements – that comes out of practice.

Anton: My personal contribution is mostly the bass parts in terms of composition, that’s all I do. But sometimes I can advise the band to play slower and heavier, as well as bring in some references from the underground doom scene. Also, I write some of the English-language lyrics like our title track from the debut album Samhain, which has been influenced by folk horror films like The Wickerman (1973) and British classical poetry.

Olga: Most of all I value the moment when the composition is almost finished, when the main direction is defined, but the result can be changed in unexpected ways with new fragments. Then the experiments begin, making us closer to realization of the plot, and I like the way each of us adds his sound to the final feel of the composition and atmosphere.

I like that you call it a plot. Stories really do arise from the subtle nuances within the music itself, whether there are lyrics or not. What emotional process would you hope listeners go through with these paganism-referencing songs? Is there something subconscious about the ancient primal archetypes that can serve people even if they don’t think about those mythologies in their ordinary lives?

Maria: Every song has its own references, atmosphere and path to lead the listener through. Of course, when the full song structure appears in your head, it’s a powerful inspirational impulse.

Anton: I would like to add that myths are powerful archetypes in our subconscious. We like to work with that because the modern world is not concerned with authentic myth and we want to help the listeners experience them. Of course, the interpretation of the myth is psychologically different for every individual but there are important patterns.

For example, facing death and mortality has been approached differently in different cultures. And aesthetically the pagan myth is very poetic and it fascinates me. The main themes of the lyrics are the recognition of one's mortality and different aspects of death -- on "The Path," mystical dark field of pre-Christian pagan tradition in "Samhain" and "Mothir," Gnosticism in "Ashes," omens and symbolism in "Silent Guard," romanticism in "Where you live," and pagan beauty of nature in "Northern Summer." The title track "Samhain" was inspired by a cult folk horror film The Wicker Man (1973) while also referencing the original pagan roots of Halloween -- Samhain.

Olga: The concept of mythology and paganism is the great mirror for the human soul, referring to times, when there were fewer concrete facts and the whole world consisted of trembling windings of human fears and desires.

“Trembling winding of human fears and desires.” I love that. Back before we could fact check everything in a search engine, reality was more amorphous, full of outrageous possibilities, eccentric cutting-edge experiments. Would you like to tell us about Sigil of Time? Is there a mentally different approach to folk music in that one? Some of you are able to participate in that band. Does it feel like a new compartment of the self opening up, like a new realm of a room that you can inhabit? How is that room decorated differently than the room in which Train to Elsewhere sleeps and dreams?

Maria: First material was recorded about ten years ago as my solo project, then we collaborated with Anton for a rather long time – but never released it till spring 2020. In this project I can release my vision that cannot be expressed with a heavy band. Usually, I create meditative multi-instrumentalist soundscapes in a much more intuitive way; most of them are instrumentals or vocals that don't carry any lyrics. Often the recordings wait for some time to be reviewed and even corrected a bit before releasing. Anton records a bass line and manages different synthetic and noise parts. To talk about the room: it’s for chamber music and solitary thoughts.

Anton: Sigil of Time was mostly our experiments with post-industrial dark ambient and dark folk music as well as some field recordings. We didn’t plan to release it to the public but our label Kryrart Records encouraged us to share our music with the world. It’s more of an abstract stream of consciousness inspired by dreams and visions but some lyrics and melodies which ended up in Train to Elsewhere were first composed for Sigil of Time so the two are interconnected.

What were the mechanical methods you used to get the post-industrial effects? That’s intriguing: I’d be curious to hear about any specific dream or vision that inspired a song.

Maria: Sigil of Time is mostly based on acoustic instruments (especially guitars), as we could mention earlier. We use it for recording guitar pedals and post-production with different kinds of distortion and delay, octavers and reversed echoes, also adding such things as different samples, raw analog synthesizer sound… In different periods of time Sigil had a tendency to explore various sources, while anthologies unite tracks from earlier times.

Usually, a song starts from the feeling of total clarity, when the idea of lyrics meets the image of musical sketch, giving a whole plan of what to do. It changes several times while recording, usually each part is improvisation, keeping only several repeating moments. Mixing inserts its corrections, and when the song is almost ready, I leave it for several days, returning to it later with minimal changes.

Anton: As for Train to Elsewhere we use techniques common for recording traditional doom metal. Maybe one thing that sets us apart is that we use the sounds of the amps and their built-in distortion power rather than custom distortion pedals for pedal boards. We want to capture a primal raw sound of early rock and metal. About dreams – before writing the lyrics to Samhain I saw a dream in which I was in a vast endless autumn forest as far as I could see. The forest seemed very old, even ancient; later the dream inspired me to write the lyrics to Samhain.

We would like to thank you for these wonderful interesting questions, it was great answering them. We’re very glad and honored you enjoyed our music so much.

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