With an atmosphere that smells of dampness and death, the Finns Hooded Menace return with Lachrymose Monuments of Obscuration, an album that unites the cold melancholy of doom/death with the epic grandeur of classic ’80s heavy metal. Dark, heavy and paradoxically majestic, the band’s new work shows a group that is not afraid to evolve without betraying its identity. Lasse Pyykkö, founder and guitarist, speaks about the creative process, the sonic exploration behind the new album and what it means today to remain faithful to darkness with honesty, passion and melancholy.
Your new album Lachrymose Monuments of Obscuration has already been released. How much does it differ from your previous works in terms of composition, atmosphere and overall vision?
''On the previous album, The Tritonus Bell, the influences from classic ’80s heavy metal began to flourish, and I would say that the new album goes even further in that direction. It is difficult for me to be objective because I am very close to it, but I feel that Lachrymose Monuments of Obscuration has a darker and more imposing atmosphere, with all those epic moments that make you raise your fist, the numerous choirs from synths and such elements. I also believe that the guitar sound has improved; it has that slightly detuned, “static chorus” tone, which I have become obsessed with. It is also the first time we use cello on one of our albums. The synth sounds that strongly recall ’80s Iron Maiden are something new for us as well. Death/doom remains the stable foundation on which we build, we simply become a little bolder with each album. There is tremendous inspiration you can draw between classic heavy metal and death metal, and I am already excited and curious to see what our next chapter will be like.''
The themes and lyrics of Hooded Menace are always rich and captivating. What was the main source of inspiration behind this album? Were there specific stories, emotions or experiences that shaped its narrative?
''As usual, we drew inspiration from horror films or anything dark and transcendental, passed it through our own filter and these grim, enigmatic visions emerged. The films The Blood Splattered Bride, Carnival of Souls and the series The Blind Dead served as inspiration for some songs on the new record. However, in general we do not want to over-explain the lyrics; we prefer to let people interpret them in their own way. As for the music, inspiration mainly comes from the music I listen to myself, not so much from personal experiences (except for the experience of music itself).''
Hooded Menace have been a cornerstone of the doom/death scene for years. Looking back, how do you feel the band has evolved since its formation? Are there elements in the sound, the performances or the way you write that have changed the most?
''As I mentioned a little earlier, yes, obviously the ’80s heavy metal influences have entered our sound. I also believe that my guitar playing has improved greatly compared to the early albums. Back then I did not pay much attention to things like proper vibrato or playing as cleanly as possible. After all, originally I was a drummer.''
Can you describe your creative process? How do the guitar ideas, lyrics and arrangements “tie together”?
''Up to today, I have composed all the music. I have also written most of the lyrics since the album Darkness Drips Forth and onwards, although Harri has his own contribution as well. For each new song I record a demo, and in fact at that stage the tracks are almost fully shaped, with vocal lines (and temporary lyrics) and drum patterns already ready. Usually the final lyrics are the last thing we complete.''
The production and atmosphere of your albums are always deeply immersive. How directly are you involved in the recording and production processes, and which elements do you focus on the most to ensure that your characteristic sound is captured properly?
''This time we booked a local studio (Guru Studio), so I could be present at all stages of the process, thus it was easier to convey my ideas about the production and to try different things. It was wonderful, but also exhausting. A big thank you to the sound engineer Heikki Marttila for the collaboration, he was excellent. The two previous albums were re-amped and mixed outside Finland, without any member of the band being present, so there was a lot of file exchange and e-mails. I like that method as well, but you must trust the person on the other end very much , that is why we chose guys like Andy LaRoque and Jaime Gomez Arellano. I believe that our characteristic sound lies mainly in the songs themselves and in the way we play. As one may notice, our guitar sound has changed from record to record after Effigies of Evil. The first three albums had almost the same guitar tone. Lachrymose Monuments of Obscuration has the most “’80s” guitar sound we have ever had, with micro pitch shifting, bigger delays and Soldano amplifiers “burning”.
Doom and death metal are genres with an extremely dedicated audience that has specific expectations. How do you manage to stay faithful to your characteristic sound while at the same time experimenting and evolving musically? Have you ever felt pressure — either from fans or from yourselves — to maintain certain elements?
''During the composing process, there are always some ideas that are rejected because they sound too far from what the band represents. On the other hand, I have learned that often the ideas that initially make me hesitate eventually turn out to be some of my favorite moments in the songs. It is a delicate balance. You simply have to trust your instinct and follow it. I think it is foolish to restrict yourself excessively by “rules,” even if some fans would like to see you “locked” into your original sound. There are always such people, you know. But, to be honest, I too would sometimes like to see Slayer release Reign in Blood again and again, or Hell Awaits, to be fair... I like the idea of staying faithful to the core and identity of the band, but that should not prevent you from fully expressing yourself.''
Were there significant obstacles or unforeseen events during the composition or recording of this album? How did these difficulties affect the final result?
''Yes, there were, but it is something personal. That is life. It certainly drained more of my energy, especially while we were working on the mixing.''
There is always a particular aesthetic behind your album covers, which perfectly complement your dark themes. Can you tell us a little more about the concept and artistic direction of this record’s cover, and how it connects to the music?
''As with the lyrics, we do not want to over-explain the cover; we prefer people to interpret it in their own way. I can say, however, that it deals with grief and the unknown... And, as always, the Blind Dead adorn the cover , this time in spectral form. I think all this “weaves” harmoniously with the music of the album.''
Looking back at your path, which moment, release or event would you say was a real turning point for Hooded Menace? Are there experiences that essentially shaped your direction or creative identity?
'' I would say that The Tritonus Bell opened a new chapter for us, giving greater emphasis to classic ’80s heavy metal. On that album we perfected our sound more than ever. Of course, our music still has its roots in death/doom, but it now includes many more elements. I think it is an exciting mixture of different styles. There is nothing “unique” in the riffs themselves , the magic happens when all these elements are combined. On Lachrymose Monuments of Obscuration we pushed it even further. The influences from ’80s heavy metal entered our music very naturally. Perhaps the best way to explain it is that for about the last ten years I have been listening to much more classic metal than death or doom or anything else. What plays most in my headphones always influences how I write music.''
Finally, as your fans follow every step with enthusiasm, what can they expect from Hooded Menace in the coming years? Are there new plans, ideas, tours or collaborations on the horizon? How do you imagine the band’s next chapter?
''At the moment there is nothing in the plans. We stopped live performances in 2018, so I think it is safe to say that tours are not going to happen. Lives were taking more energy from me than they were giving me, if you ask me. I know that at some point I will slowly start writing new material, but up to that point. Yes, maybe it does not sound very “cool” or exciting, but that is how it is.''
Originally published as part of the 20th issue of Metal Defiance Fanzine. All interviews are strictly prohibited from being republished or reproduced, in whole or in part, without prior written permission from the publisher.