The truth is told every day by people who are bold enough to speak it. Truth, tradition and heritage in the line of fire is and has always been the black metal way. To admonish the weakness of contemporary ideals and to relish in the ways of olde when integrity and things like family, country and values actually meant something. To stand up and fight! To piss on the cross or any other symbol of oppression… To fight against TRUE fascism.

Black metal represents freedom but also duty. If you're a black metal entity and you're not pushing the boundaries or challenging ignorance, then you are not doing your job. Brazilian black metal duo, Kanvass, are proving to not only be stalwarts in their campaign against the status quo, but also soldiers in a new kind of war; one of enlightenment versus the reality of a new Dark Age, free-thinking versus ignorance, intelligence versus stupidity and greatness over mediocrity.

During one of my 2023 interviews, Ammonoch of Kanvass tells the truth…

Jeger

Hails and welcome. The reason I've taken an interest in your music is because I believe in what you're doing. It feels like a lot of black metal is retaliatory in nature, but it appears that Kanvass are very much on the offensive. There's an intimidating quality to your art; a level of danger that I feel has been missing from the scene for too long. What's your biggest motivator?

Ammonoch: Hail Jeger, it's my pleasure. My biggest motivator is the desire to create music that truly embodies the essence of black metal, which was always meant to be both impactful and meaningful. It was born out of spite towards organized religion, political agendas and overall greater Zeitgeist absurdities. I also feel a strong sense of dissatisfaction with the current state of the Brazilian scene and want to inject a new level of intensity and aggression into it. Way too many bands want to accomplish nothing at all and convey no practical message, nor their worldviews on practical terms.

How do you feel about so-called fascism in black metal? From my experience, and I guess you can say it's my profound belief that only sheep cry about fascism. After all, I feel like any opinion opposite that of the herd is considered fascist these days.

Ammonoch - I do agree. Fascism has become the scapegoat to blame for all the first-world kids' problems. Doesn't vote for left-wing politicians? Pro-borders? Pro-nations? Pro-army? Pro-family? Pro-any form of hierarchy? Don't support the social agenda to mutilate confused kids' genital organs? Believes globalism to be in decline? Fascist… Words bear ancient connotations, which encompass a large amount of metaphysical meanings, and their use changes slightly over time by modern sophists, constantly attempting to rewrite primeval meanings with their biased narratives. There are bright minds and intellects everywhere, and in these "modern" times, I'd say most of them would be branded fascists by today's standards. I do not condone or support fascism, including within the black metal scene. As an artist, I focus on creating music and conveying my message rather than promoting any political or social agendas. Quite the opposite, really. Our music is about not conforming to any herd mentality, as there are also scumbags to be found everywhere.

"Generation of Deserters" is a weapon of an album and it's been unleashed via the nefarious Hammer of Damnation. I would describe it as malicious and impactful on a few different fronts. If you had to attach a concept or a message to it, what would it be?

Ammonoch - The concept and message behind "Generation of Deserters" is a call to action against the weakness and apathy of modern society. It is a declaration that the time has come for those who are willing to stand up and fight for what they believe in, even if it means going against the grain. It is a term we brand the generational herd with. I see the modern world trying to implode all tradition, history, culture, hierarchy, sovereignty and identity from within their own borders. Traitors to their folk, deserters to their legacy.

There seems to be a sentiment of disdain attached to it as well - a disdain for weakness, stupidity and disloyalty as evidenced by not only the title of the album but also tracks like "Reality for Laymen", "The Age of Monologues" and "Twilight of Ignorance". Who or what is this vitriol directed towards?

Ammonoch: They're commentaries on modern society and its flaws, and it's meant to inspire listeners to rise above mediocrity and embrace strength, intelligence and critical-thinking. We have a personal interest in philosophy and psychology and have seen the issues of societies through these lens. Men are social creatures of culture and habit. Those lyrics bring profound cultural, psychological and ethical issues to the forefront. A great deal of political discourse is defended by people that have no deep understanding of why they actually defend it. As is the case with religion and children; they're simply told to follow something because of overall peer-pressure and the need to fit in a group or the petty need for a "pat in the back" atop the social stage. Thing is, stupid people in democracies influence the fate of all of us, and misguided morons are the ones willing to be the loudest.

I wouldn't call it raw but "Generation of Deserters" definitely has a stripped-down feel to it. Something similar to "Pentagram" or "Antichrist" era Gorgoroth. Do you feel like modest approaches to recording better represent the genre?

Ammonoch: Certainly, as a duo we wanted to capture the essence of the genre without any unnecessary embellishments or overproduction, which could be reproduced live by the two of us. A minimalist approach which seems to sound much more brutal and honest. Quite a few bands (including some established legends) sound clean and "digital" nowadays, or have their albums mastered without any instrument treble/noise. After a threshold, it just doesn't sound like the genre anymore.

It seems like most black metal artists these days have taken to the notion that in order to be viable, they must sound like an early 90's black metal band. I would say to these groups that one cannot relive or recreate the purity or the excitement/danger of youth, whether it be their own youth or the newness of a particular movement. Why do you think so many bands have taken to doing things this way?

Ammonoch: I believe that many bands try to emulate the early 90's black metal sound because it represents a certain authenticity and purity that they may feel is lacking in more modern forms of black metal. Additionally, it may be seen as a way to pay homage to the pioneers of the genre and to honor their legacy. However, I also agree that there is a danger in trying to recreate the past, as it can lead to stagnation and a lack of innovation within the genre. It is important for artists to find a balance between honoring the roots of black metal while also pushing the boundaries and creating something new and unique. I'd also argue that the black metal scene had its peak worldwide in the 90's, and the tales that young folk hear about today are of the 90's purity, violence and ideologies.

Is underground black metal even truly underground anymore? I actually see it as something that's becoming paradoxically popular, particularly since the dawn of social media. It makes sense to me that a true underground black metal band should have a minuscule or even a nonexistent social media footprint. Would you agree?

Ammonoch: The concept of underground is a constantly evolving one, and while social media may have made it easier for black metal bands to reach larger audiences, it doesn't necessarily mean that they are no longer underground, especially as social media followings are easily bought and may be all smoke and mirrors. It's a matter of perspective and definition. However, I do agree with your point about a true underground black metal band having a minuscule or even nonexistent social media presence, depending on their proposal and ideology. I'm all in for a practice-what-you-preach attitude, and if someone says they're "full misanthropic kult" while running instagram ads for their "kult-tapes", well... These are the types of bands which really wreck other serious ideology-oriented acts.

What's your opinion on true BM versus mainstream black metal? I'm of the mind that the two can very rarely occupy the same space.

Ammonoch: For serious bands which hit mainstream, I'd argue they're probably greatly misunderstood by the media and their growing fanbase. One can only appeal to so many people as long as they don't understand one's message or take one's music seriously to heart. Or their message's content is so non-utilitarian that no one is offended. For commercial, accessible acts made for mainstream consumption, they've become just brands, and they move the most money from label deals, gigs and merch, but mostly from non-true BM fans. As a musician, I deeply believe that a part of touring is having direct contact with public, getting to have a drink and chat, get to know what this or that cities' BM scene is like. Mainstream bands lost this so long ago. In Brazil, underground local bands (even from the 90's) often have to pay up producers/venues to have the opportunity to perform with international acts on larger events. It's extremely rare to have any kind of invitation for underground groups to play without spending, which further separates mainstream from the rest of us.

What does the future look like for Kanvass?

Ammonoch: We're looking forward to making international tours soon, as we've only toured Brazil for now. Possibly a South American tour at first, then we'll see. We're also on negotiations to have vinyl and tape versions for "Generation of Deserters". A videoclip for the album may also happen down the line. Overall, we're just excited to get the album out and perform live, which we enjoy.

Do you have a message for the horde?

Accuse, Oppose.

I have always believed that black metal is the truest form of musical expression. It is a genre that is raw, primal, and untamed. It reflects the darkness and nihilism that resides within the human soul. It is a means of transcending the limitations of our mundane existence and connecting with something greater and more profound. In a world that is increasingly sanitized and homogenized, black metal stands as a beacon of darkness and rebellion. It is a reminder that we are not mere cogs in a machine, but rather free and independent spirits who refuse to be tamed or controlled.

Hail.

"Pelagial" was without a doubt one of the best albums of 2013 and any metal fan should see The Ocean perform live to see the full spectrum of band's abilities, passion for music and professionalism. After one of those shows I had a chance to get in touch with Loic to ask a few questions about his instrument, and Robin added his 2 cents explaining the concept of the album with last 3 questions.

Chris

Even-though originally the album was written as instrumental you bring a lot to the table and your vocals complete the concept perfectly. I'm just curious what would you do if "Pelagial" was released as instrumental only? Stay home and do other things (like what?) or go with band on tour and sell merchandise?

First of all thank you for your comment. It's quite difficult to answer this question. I honestly think I would have stayed at home in Switzerland where I would have continued to work as a sound engineer in my little recording studio. I couldn't have been on tour and do the merch and not be able to sing. It seems weird to do that.

Your vocals either bring another level of intensity or calm the waters if needed. How do you decide when and what style of vocals to use?

What I love the most with my instrument is the ability to go in any direction. I like spontaneity, I think only that can deliver something honest. So in general I do not have to make this kind of decision. Rather it is a natural process, such as at time to feel a sung part would be more appropriate and more effective than some screams. I come from the rock scene and singing is really important and even crucial for me. I feel more in harmony with myself. I feel that the screams sometimes requires much more energy, disappointment or rage, that I do not necessarily always have.

It looks like you can go from clean to screams and back with ease and with perfect pitch. Does it take a lot of training or you simply were born with this talent? Do you try to push yourself to next level on each release, try new things?

[Laughs] Well, thank you very much. Note that I'm not so sure regarding the perfect pitch [laughs]. I honestly don't do much exercises for my voice. It's been more than 15 years that I've been singing. I learned singing by going to my rehearsals and trying to sing the songs of my favorite artists just because I thought it was cool. I think this is the best exercise. Keeping a natural process you don't need to ask yourself the question. What does that mean "the next level"? It is not you who decides if the album will sell or not. I often have no idea about my voice before returning to the studio. Don't force your destiny and try to do things as they come, live the present moment without asking yourself too many questions. The important thing is to be consistent with yourself, that's how I see things in my case.

On the stage with each performance you give 110% effort - how difficult is this on your vocal cords and your overall health? I know you had some problems even before the tour started… 

It is true that I had some issues with my voice. In the same time when you're doing more than 120 shows a year you should expect to have some difficulties at the end. A lot of people are still thinking that life on tour is easy, but often these people do not realize the actual conditions of a ride. They are often exacting, the lack of sleep, the long hours of traveling, eating infected food on highways and if you want to add some alcohol it will not make things easier. After one or two month of touring , you can really feel your body fall to shreds. We must learn to calm down even if it is not always obvious and easy.

Do you take special care of your instrument? How do you keep it in perfect shape? Egg yolks or plain whisky just does the trick?

There's no magic secret. The most important thing for me is to have a nice night of  sleep, which does not happen very often on tour. Sleep is really important and repairer for me. Then, if you have a healthy lifestyle and you eat decently it will help. About the whiskey, a glass five minutes before the show and an another one during  show. It works perfectly.

How hard was to write lyrics to a concept about descending into the ocean? You can't write/sing about fish,… well you can, but I don't think it would fit.

That's why the album was initially incepted as an instrumental album. For a long time I didn't really know how to approach this, the concept behind the album did not seem to allow for vocals or lyrics… the only way to do this was to approach it was to open up a parallel universe: one being the journey from the surface to the bottom of the sea, and one being a journey from the surface into the abyss of the human mind. Once this was clear, writing the lyrics was smooth sailing. It's always like that, you're fishing for the right idea, trying out a few things, and then at one point it eventually clicks and everything falls into place naturally.

"Pelagial" was meant to be one track on record and live. For live performance, how difficult is to cut parts of 'one' song when you can't play the whole set?

It sucks. That's what we had to on the Summer Slaughter tour we did in the US here, we had a 25 minutes set, so we could only play excerpts of the record, and it didn't really make sense, as the set always either started or ended in the middle of nowhere. It is possible to cut out certain bits, for example it works well to play the entire album minus 'Absyssopelagic II: Signals Of Anxiety' and 'Hadopelagic I: Omen Of The Deep'. That reduces the set from 54 to 45 minutes, and I feel like this still works well. But less than that is hard to do. 

It looks like concepts are the main thread of band's career, why this form?

I would not say that. The Ocean is meant to be an audio-visual experience, both on record and live, and though most of our albums follow a certain conceptual thread, this is only one aspect of the big whole… the music first and foremost, but also the visuals, the lighting, the album artwork and the lyrics all play together to create this holistic experience. Personally, I have always been intrigued by albums that were "real" albums, rather than a random collection of loose tracks. When I like a band, it's great when you realize that there is some thought behind the lyrics, the packaging and the way a band presents their art both on and off stage. That's what makes artists like Tool, Nine Inch Nails or Neurosis unique and outstanding, and that's what has inspired my own approach to art and music over the years.