Interview with J.M.A. of Bird from the Abyss
Interviewed by Starlight Temple Society | 2009

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-Expel the histories of Bird of the Abyss.

BFTA: Bird From The Abyss has existed a long time, many years just as an idea in the somewhere deep in my mind.As long as I can remember I've had this vision, something about ancient wizards playing ritualistic, grotesque music with their primitive instruments in some temple to honor Gods of the underworld to gain knowledge and power, a long time before I even knew to play any instrument. This idea has been, more or less, in the background through various musical experiments over the years, evolving all the time as my interest of mythology, and later, the occult grew. And in 2008 it took more of a form, (at this point it was crystal clear to me what in wanted to do musically) got a name, and now it's out here among us.

-After this, we should start with "I", the debut EP. What will the listener feel, see, hear and experience from this recording?

BFTA: Reflections of fear, isolation, hatred, anxiety and depression blended to this bizarre beauty of ancient mythological and paranormal world. I've given the consept what there is to it, the rest is mainly about the listener, as in any form of art people will experience it differently. It's a short voyage, and if one is willing to take it, there will definitely be SOME way one is going to feel about it.

-The first thing I noted was the length- for this kind of music the EP was quite short. Was there any purpose in keeping the playing time of the EP cut down to mere minutes?

BFTA: Yes, there was. So long I have had this thing growing inside me, I just had to set it free. It happened in form of a short and pithy entirety, to let people know what I'm about to do, and at the same time to give an impression that this is not all, there is plenty of room to make progress.

-Give me an example of what kind of feedback you've received on the demo....

BFTA: Heh, I was expecting something like "Fuck, man, now you've gone completely insane, is this the kind of bullshit you create all day and night?", even from my closest frinds, heh. Actually I'm quite surprised on the positive feedback I've been receiving, there's people (many thanks to You), from all over the world, who even made the effort to buy the cd (free download was available) and/or write me e-mails, where they tell me how much they enjoyed my creations, this is really something I didn't expect. Of course there is the negative feedback too, mainly about the lenght (that was due to come), but people often stay quiet if they don't have anything nice to say, I'm quite disappointed with that. I'm still waiting the ultimate criticizism, a nice, thorough mockery of my music.

-You're currently working on material for the debut album scheduled to be released by Starlight Temple Society. I've had the good fortune of listening to what you've so far completed- there seems to be a noticeable progression from "I" to this currently unnamed debut. What can you tell us about what's done, and how you hope to shape the remaining material?

BFTA: Well, I don't want to go in any details about what's already made and what's to be done. Maybe I can reveal that what was short, will now be long, what was heavy, is now heavier, new experiments have made and proven to fit. The same kind of primitive/minimalistic and ritualistic aspect will be present in composition. It will definetly be doomy... it will definetly be... Bird From The Abyss.

-Will you include vocals this time?

BFTA: I don't have much of a singing voice, so I don't think there is going to be anything even close to singing, but I used my voice on "I" and will continue to use it.

-What are you hoping to achieve with the debut album?

BFTA: That, it is going to be released on a label as a "real" pressed release is quite of an achievement by itself. Everything else that is to come, is bonus.

-What kind of person would appreciate this coming record, and BFTA in general?

BFTA: I think that any open-minded person who enjoys dark, experimental music. Maybe the fans of weird fiction, people who love horror, good (and bad) literature and cinema, too. And of course everybody who has felt a sinister force while wondering deep in the forests, and respects dark arts of nature. This is really a hard question...

-Noticeable are the mythological depictions of ancient Egypt and similar cultures in the visual and audial representation of BFTA. What do these things mean to you? How important are they to BFTA?

BFTA: One thing about ancient egyptians, these people must've known something about the world! I just get that feeling from everything related to them. "Eye of Horus" is on the cover of "I" for it's traditional meaning (it's also very interesting figure in many ways), every reference I use definetly has it's meaning in specific content. And I think there will be references to ancient egypt and mesopotamia in music of BFTA in future.

-Other than this, you claim to be influenced by the Left Hand Path. What pathways in particular help to shape your character? Has it helped in or stemmed from your involvement in creating this kind of music?

BFTA: I've always liked the idea, that people should not give themselves compelety in hands of some higher force to follow blindly, rather work these things out on an individual level, not like any major (western) religion where it's very precise what to believe. Like in Shamanism, which is, in some level, related to "modern" western magic, where these things are very personal and are experienced individually and it's really up to one's self, what to make of them, and yes some of these things are closely related to my music.

-What exactly does the name "Bird from the Abyss" mean?

BFTA: It has some resemblance to "Tuonen Joutsen", roughly translated "Swan of The Underworld", inhabitant of The Black River of The Underworld in Finnish mythology, it's also symboling some forces of these forests that I'm surrounded with. It also sounds quite nice.

-How much time and energy do you invest in BFTA? are you inspired at all times to write and perform this kind of music, or does it only come at special moments?

BFTA: Hell, maybe sometimes too much, I've been living quite like a monk with this stuff, Heh. Maybe I should invest more time to some humanlike activities... Lot of time is spent in just playing, (I have a lot to build up as a musician, especially in technical side,) not all related to BFTA. I come at least few musical ideas, that could be used in BFTA, every day, these could be textural elements, riffs, chord progressions, melody lines or maybe just a specific sound. But I must admit that have I difficulties to form songs from these ideas from time to time, dark periods of day and year help me a lot. Creating this music is also therapeutic to me in some sick way...

-You use a lot of strange and unusual instrumentation in your music, Are these real instruments or merely effects? How do you go about creating BFTA from song to song?

BFTA: Mainly this music is based on guitars (which is also my main instrument). On "I" there were present a classical, nylon string guitar and an electric guitar. On this upcoming full-lenght, there will be fearured a steel string acoustic guitar in alternate tuning(s). And about stranger ones, yes, the 32-string concert zither isn't really the most common instrument, is it? It can sound pretty much like a steel-string guitar, especially when played traditionally, like in classical or folk music. I don't play it traditionally, for my inability and lack of interest, but I'm using it for it's characteristic cast, to create eerie sound(s) and almost every song I use it in, it is tuned differently. It has been out use now, because it's in of need new strings and damn, they cost a lot. New flute will also be introducted on new material, a nice, deep sounding one, in a minor key. I have couple of these wooden flutes, and they're great! Also a lot of textures, drones and ambiences are created with guitar and bass, I really can't blame anyone to confuse them for synths, because of this effects processor device, which really can turn any electric guitar or bass to a synthesizer, but maybe it keeps the sounds a bit more earthly and less synthetic. Percussions varies from chimes to frame drum and between, these are sometimes highly effected to create unusual sound, sometimes to imitate some percussive instruments I don't have access to. I don't have any specific pattern to make these songs, I usually record as much as I can in one session, then let it simmer, come back to it, record some more... One song can be a very, very long process, from first push of rec button to a complete post-produced song, the minimum is about a month or so.

-What was your inspiration for mixing together so many interesting styles to create this eclectic sound? What bands, composers and performers spark your urge to experiment?

BFTA: Well, I don't really know, it has just happened. Certain aspects of every music I like went in a demonic blender of my mind, and later I vomited this malformed creature. Some major influences in the field of music have been Black Sabbath and Comus, and before I heard Electric Wizard, I didn't even know what the word "heavy" ment, loads of bands who where in the 60's and 70's called heavy, progressive or psychedelic have influenced me in some way. Also folk/tradional music from all over the world. I have a passion for blues, I admire the genius of Johann Sebastian Bach. There are lots of, more or less, direct influences in the fields of cinema and literature, too, maybe I won't go any deeper to these, it could take all day, but I take the opportunity to strongly recommed everyone to watch Harry Smith's cutout-animation film "Heaven and Earth Magic" from '62, it's really something.

-When and why did you first become interested in creating music?

BFTA: I was raised to be a creative person, I have painted and drawn from a very early age. Craeting music came to my life later, but I've been exposed to it from a very early age too, as my father is, and his father was, a musician. Maybe I could say creating music is in my blood, or one could insert here some other suitable, lame, cliche.

-Do you consider BFTA a "negative" or "positive" band in any sense?

BFTA: To me, it's good a balance of both.

-What kind of things do you do outside of BFTA that we haven't already covered?

BFTA: I have some activities, more or less harmfull to my mind, body and soul. Remember kids "Witchcraft Destroys Minds and Reaps Souls", and drugs are definetly bad...

-Ultimately, what do you want to become of BFTA? Where do you want to be in 2-3 years from our chat?

BFTA: I really haven't thought about that much, performing live this music is a dream of mine, maybe mixed with some performance art, to create a unforgettable ritualistic show... A vinyl release of my music is also a reasonable goal...

-Thank you J.M.A., please end our study of Bird from the Abyss in the manner you wish.

BFTA: Beware, The Bird is among us, and it's getting stronger! Thank You.