1. Can you give us an update on what has been going on with the band since the recording and release of the new album?
Recording our latest album in our studio/rehearsal room was a completely different beast compared to our previous two albums, which were recorded in a professional studio. We had to rearrange the space and experiment extensively to capture the entire song in one take, without a click track. We wanted a cinematic feeling, so we took our time working with Luca Leprotti (David di Donatello winner for best sound in "Volevo Nascondermi" by Giorgio Dritti) for the mixing. Once we had a version we liked, we sent everything to our label, Argonauta Records. While waiting for the album to be pressed and released, we worked on new material and went on a small tour in Germany.
2. Recently you released a new album. Musically, how does it differ from what you have released in the past?
Our first album, “Mask of Discomfort” (2017), was more of a stoner doom album, but it already hinted at elements that became more prominent in our next album, “Towards Nothingness” (2020) – black metal parts, ethereal post-rock guitars, ambient drone, and slow doom sections. With our latest release, we continued on this evolutionary path, adding more elements and focusing on the dynamics of various sections. We recorded it ourselves in our studio to maintain the freedom of not having time limits due to budget constraints. “Et in Arcadia Ego” was born from our first session together after a long pandemic break. We captured the energy of that day, playing the whole 27-minute track repeatedly without a click until it was perfect.
3. This is also your first release in four years. Can you tell us a bit more about what was going on during that time frame?
We had a complicated period after releasing our previous album, which coincided with our first major tour in June 2020. But everyone knows what happened then. Lockdowns and health concerns led to a period of inactivity. Depression set in, and we wrote parts at home. When we finally met again, we played for hours, jamming on what we had. We decided to create a long song representing the long wait, mixed emotions, and static floating of time, along with themes of death, apocalypse, and the dawn of humanity. After recording “Et in Arcadia Ego,” Simone left the band, and Giovanni joined as a second guitarist and synth player. We wanted to be ready as a new force before releasing the album.
4. What are some of the lyrical topics and subjects the band explores with the newer release, and how would you describe your progress as songwriters over the years?
We explore themes like the contrasts within the city and nature, occultism, paganism, death, depression, oblivion, abandonment, and psychedelics. Our music and lyrics are heavily influenced by the current political situation in Germany and globally.
5. I know the band's name comes from Roman and Etruscan mythology. Can you tell us a bit more about your interest in this topic?
We liked the idea of an Etruscan/Roman faceless god, an entity that can be molded into any desired shape, believed to observe, protect, and influence fate. Some members come from the Etruscan volcanic areas of Italy, and the constant touch with catacombs, unholy temples, and the ghosts of an ancient civilization worshiping nature, their forces, and powers, as well as the inner self, has always fascinated us.
6. Can you tell us a bit more about the artwork on the new album cover?
Choosing that artwork was spontaneous and connected with the concept of the new album. After one of the first times we played the long song entirely, our ex-synth player Simone instinctively suggested the title “Et in Arcadia Ego” and showed us the painting by Guercino with the same title. We officially asked the National Gallery Museum in Rome for permission to use the image, and to our surprise, maybe a metalhead was working the office desk, they gave us the ok.
7. What are some of the best shows the band has played so far, and how would you describe your stage performance?
Recently, we played a small release tour in Germany, which was our most intense experience to date, with the best show in Dresden headlining the last day of the Gockel Scream Festival. Lares has no form or shape, so we like to create a blurry and ethereal atmosphere on stage. Seeing people with eyes closed, completely lost in the sound and shaking – more than us after the concert – is the most important reward we’ve achieved. We are grateful that our experimental “monster” track album touched so many souls deeply.
8. Do you have any touring or show plans for the new album?
Yes, we are working on a second tour outside of Germany for the end of the year or 2025.
9. On a worldwide level, how has the reaction been to your music by fans of black and sludge metal?
We’ve had a lot of responses from the States, South America, and Northern Europe. Since the release of our second album, we’ve noticed a small but dedicated following. We know our music isn’t easy to digest for genre purists. We don’t believe in subgenre categories; it’s cool nowadays that there are no boundaries with music. Somewhere out there, there’s a trve black metal guy secretly listening to Mitski.
10. Where do you see the band heading musically in the future?
We’re in a constant jamming process. An album always represents the past for us. When you hear it, we’ve already moved on to another chapter. Our next goal is to experiment in fields we’ve never been before – maybe with more electronic elements, maybe with shorter, aggressive songs. For now, we might have had enough of concept albums and will surely do something different in the future.
11. Before we wrap up this interview, do you have any final words or thoughts?
Thanks for giving us this space, and thanks for reading. I hope you find new tunes today. Spread the evil. Cheers!
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