1.For those that have never heard of you before, can you tell us a little bit about the band?
We are a symphonic black metal band from Bourges (France), officially active since 2013. Our debut album, A Cell Made of Chalk, Coal and Blood, mixed by Vladimir Cochet, was released in 2016.
Our music aims to be violent, fast, but also melodic and ethereal.
We place great importance on the lyrics and orchestral arrangements in our compositions.
2.In September you released a new album, musically how does it differ from the past you have released in the past?
This album is quite different, as we were extremely demanding regarding the compositions and, above all, the orchestrations, to ensure they were as epic and desperate as possible. All of this was made possible by the superb mix and master from Studio Henosis.
3.This is also your first album in 10 years, can you tell us a little bit more about the long wait in between releases?
Our lives have been very—perhaps too—demanding, and this project, given the ambition behind its lyrical verse and musical compositions, took a long time to finally come to fruition. Then came the processes of recording, mixing, and mastering, followed by the search for a label. The next album, for which we are currently wrapping up the recording, will arrive much sooner.
4.The lyrics on the new album cover Greek Mythology, can you tell us a little bit more about your interest in this topic?
Greek mythology is an extraordinarily rich resource, one that is endlessly open to reinterpretation and, indeed, frequently reinterpreted. It allows us to examine our own humanity and offers timeless lessons ; anyone can draw from it whatever they choose, or adapt it to suit their own purposes. For Medea, we decided to bring the myth into the contemporary world, portraying the heroine not only as a prisoner of her own madness but also as an inmate in an institution. In fact, the entire album unfolds as a conversation between a doctor and his patient—a significant departure from the myth as presented by Euripides, even if we decided to keep the versification.
5.In the past the band has also covered fantasy and horror themes, can you tell us a little bit more about your interest in these topics?
These are subjects we love, especially in their literary incarnations (Jack the Ripper, the serial killer Albert Fish, Lovecraft’s “The Outsider”…). Much like metal music, they compel the listener to seek out beauty within ugliness, meaning within horror.
6.Originally the band was known as Darkness Embrace, what was the cause of the name change and also the meaning and inspiration behind the name Ordeathral ?
Darkness Embrace was a name we chose when we were younger; it was too generic and eventually ceased to reflect who we were. We opted for Ordeathral (Orchestral/Death) because of its more "grandiose" and recognizable sound—a name that far better defines our identity, our themes and our ambition.
7.Can you tell us a little bit more about the artwork that is presented on the new albu cover?
The cover is the work of Florian Le Guillou, alias "Chromatorium". We wanted to blend Art Nouveau in the style of Mucha with the two facets of Medea (the lover and the killer), all set against the backdrop of that autumnal melancholy so aptly described by Charles Baudelaire and Paul Verlaine. In this, he exceeded our expectations and delivered a sublime creation.
8.What are some of the best shows that the band has played so far and also how would you describe your stage performance?
We played a few concerts in central France between 2015 and 2017, but none since then. Our goal was to recreate the distinct and rich atmosphere of our compositions, thereby offering an immersive experience within our music.
9.Do you have any touring or show plans for the new album?
For the moment, we prefer to focus on creating the next album, but we are not closed to the idea.
10.Currently the band is unsih=gned, are you looking for a label or have received any interest?
We approached several labels, but nothing came of it. Since we don’t have any concerts lined up in the near future, it’s quite difficult to find a label interested in releasing just a CD. But that hasn’t discouraged us—we fully intend to keep composing and to continue putting forward our future albums!
11.On a worldwide level how has the reaction been to your music by fans of symphonic black metal/
The reactions to both of our albums have generally been very positive, which reassures us regarding the quality of our work. Likewise, we are always glad to read reviews—whether positive or negative—as they all help us push ourselves further, allowing us to create music that is constantly evolving and, we sincerely hope, always unique.
12.Where do you see the band heading into musically during the future?
Something denser and more desperate, with orchestrations on par with Medea. Naturally, the use of verse will remain, though in a more complex and freer form—much like the 19th-century poets who moved beyond rigid conventions to offer a new and deeper kind of literature.
13.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?
We discovered black metal with classic bands that continue to inspire us: Emperor, Dissection, Sacramentum, Abigor, Lord Belial, Misanthrope, etc.
More recently, we have drawn inspiration from the arrangements crafted by bands like Septic Flesh, An Abstract Illusion, and Xanthochroid. We are also significantly influenced by some of our recent personal favorites, including As Light Dies, Helioss, and Winterhorde, as well as groups with a more instrumental metal focus, such as Once Upon a Winter or Mountainscape.
14.Before we wrap up this interview, do you have any final words or thoughts?
Stay attentive and open to all kinds of music; this is how art transcends the world and transforms our perspective, giving life meaning—a true meaning.
https://www.facebook.com/Ordeathral#
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