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1.For those that have never heard of you before, can you tell us a little bit about the solo project?
The solo project, in fact, has existed since 2014, but it was under a different name, A.M Ferrari Fradejas, and the music was very different, and considerably changed over the last four years. It became clearer when I released the previous EP, "Shiarkha," in 2022. It happened very spontaneously, over a guitar gifted to me on my birthday two years ago, my main instruments to write music for over thirty five years were the piano and keyboard. Why I didn't play guitar before is another story to tell, but when I plugged this one in, two months after the EP Shiarkha was released.
2.You released an ep in February, musically how does it differ from your previous release?
Under this project, it already differs from its predecessor, Shiarkha, which was much rawer, possibly less structured, and probably less colourful, and an only-one-flavour EP. The Eyriahrk Nunshkar EP incorporates more elements of all the music I have created over the years. In some ways, it feels like working on a puzzle, though I only noticed it after making this EP; I didn't think about it while making it. It more dramatically differs from the music I released under my previous name, which was a blend of progressive rock, psychedelic rock, contemporary, neofolk, and avant-pop, even soul. I'm not great with labels and am not keen on them, but I understand their use.
3.What are some of the lyrical topics and subjects you have explored so far with the music?
Until 2019, I drew inspiration from various things, such as cinema, which is also important to me, a painting, a movie, someone I met in the street or something I witnessed, and personal experiences too. I didn't talk about a release in 2021, though now I feel like it belongs to this project. I considered it to be a bit of a side project at the time. I actually wanted to distance myself from it because it was a gift for the dead or the departed. I released my first experimental short movie, which accompanied an album of mantras and rituals; the making of it was a ritual in itself. I had given myself a bit more than a month to get it ready for October 31st, 2021. I was reading a lot on the importance of the work of psychopomps (guides of souls who escort deceased souls from Earth to the afterlife), which, regardless of one's belief system or non-belief, is very much needed in our world. If we don't want to call it a soul, call it energy or memory, and we don't want it trapped here. The idea was to recreate this ritual or process in music and visuals; it came to me while I was walking in one of my favorite spots, a beautiful graveyard with a view of the sea, and so, when it happened, I had very little time to get it ready. The intertwined idea is that any sales from this release are sent to charities supporting bereavement after suicide and suicide prevention. Shiarkha, which was released in 2022, is the name of an owl I encountered during an inner journey, or shamanic journey. So far, the inspiration for this project has been drawn from journeying, channelling, or whatever you may call it. We all have a different understanding, and this is one of my understandings.
4.On the ep you also written your lyrics in 3 different languages, can you tell us a little bit more about the languages you used in your songwriting?
One of the languages is an improvised one; some people call it glossolalia, or speaking tongues. I admire those who know in their hearts what they say or what is happening to them. I have an amazing friend who speaks a light language; I don't have that confidence; I just don't know; our brain works in mysterious ways; and while there are also unseen realms that we don't know about, well, I don't. I have an understanding, but that doesn't mean that I know. However, I am working consciously on the intention and the energy I put into the work I do because, regardless of whether my music reaches two ears or more, as musicians, but not only, also as human beings, we have a duty and a responsibility to choose what energy and what message we want to convey. Regarding the languages themselves, I've always been fascinated by their sounds, dialects, and words, and as a child, I loved to sing in made-up languages. My music partner and husband, Santiago, and I have also developed some sort of dialect over the last thirteen years we have been together. Anyway, I am far from being the first to make up languages; we had Magma, Tolkien, and the Cocteau Twins, to name a few. In the creative process of this EP, other lyrics came to me in French and in English, which are the two main languages that I speak. My Spanish is not fluent, though I used some in my previous EP, "Shiarkha." The Māori bit happened when I researched sentences and words that depict the silver cord, the silver cord linking the astral form to the physical body during astral projection or out-of-body experience. I found some Māori words that I loved and used, and probably the translation wouldn't be accurate, but I love the sound of "Taura Hiriwa," for example, and so I used it.
5.What is the meaning and inspiration behind the name 'Eyriahrk Nunshkar'?
Another made-up word became a name. In fact, it was only the title of the second track of the EP at first, and when I finished the EP, it felt natural and logical that the solo project should be renamed, and that was going to be the new project name or pseudonym.
6.Can you tell us a little bit more about the artwork that is presented on the ep cover?
It was a picture taken on a very very windy day. I am very blessed to be living by the sea, and I was messing around like a 5-year-old trapped in a 49-year-old body, taking pictures of my hair in the wind. One shot was of the hair covering my eyes. I posted the picture, and someone said, "It should be an album art cover." This was before I even started working on the last EP. Now the EP art cover looks nothing like the original picture because I did some work on it, but once I finished the artwork, I realised it was an eye curtain made of hair. In some shamanic cultures, such as in Siberia, for example, one of the purposes of the eye curtains is to hide their eyes from ordinary people when they merge with their spirit helpers and also to act as a screen in order to help them go into trance. It also helps with journeying and helps to reach and maintain a specific altered state of consciousness, which makes sense in this context.
7.With this project you record everything by yourself, are you open to working with other musicians or do you prefer to work solo?
I feel very lucky to have been collaborating with many musicians and artists. I am still collaborating with other musicians at this time. It's not that I prefer to work solo; there are just different experiences. When I work solo, I am in a different realm, and the creative process is different as well. It's a bit like being in a dream state, and when I finish a recording, I don't remember the whole process. I am not trying to be mysterious or cryptic; it's just how I experience it. I also work very fast when I am alone—not that I am better than anyone; it's just that there is a stream of information that passes through me, and it's fast when it happens. I have to follow and materialise as it happens. In fact, it is anxiety-inducing for me, and I get impatient, though as I am growing older, I am dealing much better with it, and I am much more disciplined about it these days. When I work in collaboration, I am much more aware, and it's the work and energy of the people I work with that fuel me. I am always open to working with other musicians, not only for the experience of sharing but also for the opportunity of learning and growing as a musician. In the context of Eyriahrk Nunshkar, I don't know where this is going; I am experiencing and experimenting.
8.You also release your own music on your own label, are you open to working with other labels?
Yes, I actually contacted two record labels already because I really like the artists they are working with. For years, I didn't want to be signed, mainly due to bad past experiences, but I am not against it today.
9.On a worldwide level how has the reaction been to your music by fans of experimental and extreme metal?
I have been quite under the radar since working as a solo artist, and I would say even more with this project. But the few pieces of feedback I received have been very positive, which I am grateful for.
10.Can you tell us a little bit more about your other musical projects?
Current or past ones? I collaborated with many people, but currently I have a joint project, and since we're not revealing our identities for the time being, I won't say more on this one. We have already released an EP, and we are planning some new material. There is also the Fradejas & Fradejas duo with Santiago Fradejas, my music partner and husband; we released one free-form experimental EP and another free-form experimental album during COVID called OUM. We released our last EP in 2022 called "Los Nueve Buhos," which is more song-oriented but is a bonkers blend of old-fashioned crooning, extreme metal, and cowboy music with lyrics made up of the mixed-up language we created over the years. Some of our sources of inspiration were drawn by the White family of West Virginia, and other sources are beings from other alternative realms who we have given life to. I also collaborated more closely on Layma Azur's albums "Zeii" and "The Lower Sky.". Layma Azur is a rock-in-opposition, prog rock project founded in Buenos Aires by Santiago in 2005. Other recent collaborations include some vocal arrangements for Jeff Eacho, a great musician and friend, and vocal arrangements for Tribes of Medusa alongside the musicians, songwriters, and vocalists Valenteen and Evi Vine, also all dear friends. I collaborated with the production, arrangements, and backing vocals on a song called "The Legacy," written by a musician and friend, Tannith Storm, which we released last year. Past and current collaborations as a guest vocalist include the UK-based Goth crossover band The Eden House between 2009 and 2011, Sand Snowman, who is an amazing artist and musician that creates very unique music, a blend of experimental psychedelic prog folk, and also the equally amazing, unique, and talented Phi-Yaan-Zek.
11.When can we expect a full length and also where do you see yourself heading into as a musician during the future?
As to when there will be a full-length album, I have no idea at this time, but then I said that last summer, and I released an EP last February, so who knows? I have written a lot of music over the years. I also attempted on a few occasions to put a set together and play live, but what happened instead while rehearsing were new songs, albums, and EPs, and it's not like I had an audience waiting for me to play anyway. Where do I see myself heading as a musician in the future? Well, if all goes well, I will turn 50 next year. Over the last few years, I have lost friends, some younger than me. I live in the present more than ever! I am alive now, my husband is alive, and so are some of my loved ones, and that has become the most important thing in these times of uncertainty. I am just grateful for what I have, for the luxury of being able to create at home, and for the luxury of not compromising what I do. I live with the consequences of it, which might be that I am not able to make a living from what I do. The younger me would be frustrated and filled with feelings of unfairness. Luckily, I am older and taking on my responsibilities, and I am also admiring the fresh blood taking over! The metal and avant-garde fields are crowded, and the music field is also full of young, amazing musicians. I hear people saying, "Music is not as good as it used to be." I respectfully disagree; it's just that we have to search for it in this internet ocean. There are many fantastic artists and musicians under the radar who took the teachings from their ancestors and took it to the next level with better technique and craft in creating hybrids. If I can reach an audience and have the health to keep creating and maybe playing live again, if I can overcome my anxiety, but I would if the opportunity happened, then great! I would love to. I have amazing musician friends, and we spoke about creating our own network and scene and collaborating. I would love that, but if it doesn't happen, I am at peace with it and will enjoy and honour what I have, prioritise my loved ones, and see how I can be of better service to others.
12.What are some of the bands or musical styles you are currently listening to nowadays?
I wish I had more time; there is so much music to listen to and discover. At the moment, I try to make time to listen to what my friends release on Bandcamp. I listen to Zeresh, a one female band with a very unique tone, sound and atmosphere. I also listen to Kate Arnold, who does electro-mediaeval loopery on hammered dulcimer, violin, and vocals, also unique and beautiful. I try as well to make time to listen to new artists or artists I don't know on Bandcamp, YouTube, etc. I am listening to this fabulous artist called Kakushin Nishihara, a performer of a traditional instrument, the Satsuma Biwa (a five-stringed Japanese lute). She blends that with noise and experimental music. When I can make time to listen to more music, because life can get in the way, there will be Thantifaxath, Tom Yorke. A few days ago, I was introduced to Oranssi Pazuzu, and I loved it. I know they have been around for some time, but I didn't know them. Last week I listened to the last Sleepytime Gorilla Museum album, and as I expected from them, it was mind-blowing! I listen to black metal, death metal, contemporary classical, avant-garde, British 80's new wave, punk, pop, traditional folk music from various countries, fusion, grunge, electro, trance, goth, soul, industrial and the list goes on.
13.Before we wrap up this interview, do you have any final words or thoughts?
Yes, thank you so very much for inviting me to this interview and for giving musicians and artists exposure and the opportunity to express themselves.
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