Ελληνικά
Last Updated on 05:39 PM by Giorgos Tsekas
The Dead Creed is a musical expression that piqued my interest from the very first moment. By joining the grim aesthetics of Death Metal with the exaltation of the spirit through the acoustic facet of religious music (regardless of religious preferences), can offer you too much if you let it touch you. The uniqueness of the Dead Creed’s sound offers a mystical experience that can talk to your heart if you let it. To better understand the Dead Creed and to prepare for their live performances, I exchanged a few words with the mastermind of Dead Creed, Thomas.
Good evening, Thomas! Let me welcome you once again to Metal Invader, however this time you’re with us with another status: You’re the mind behind The Dead Creed. First of all, how are you these days? Is everything alright?
Good evening, Elpida. Everything’s good. Preparations for gigs, is a kind of pressure that helps with your next steps. This is my first interview with this status.
The Dead Creed is a special blend of music and “culture”. It combines the monastic and ascetic life with the acoustic manifestation of metal. If I remember well, somewhere you had characterized the music of the DC as acoustic Death Metal / Catacomb Blues (for the last term there has been a homonymous digital release with two pieces). On level one, is the way I perceive your music the way it actually is? Is this what The Dead Creed really represents or is there something more?
Dead Creed’s basis lies upon what you mentioned. It’s a blend, whose biggest influence is the ascetic life and monasticism. Initially, the idea of Acoustic Death Metal came when I was thinking of just jamming some Death Metal on my acoustic guitar. After all, on whatever instrument I lay my hands on, I end up playing Death Metal. The acoustic instruments reveal in the wider circle of listeners that, which only those familiar with the extreme metal sounds can understand via sacred noise. “Catacomb Blues” is a term I use due to the fact that The Dead Creed are exactly that. All of the compositions and the rehearsals happen inside a catacomb; a place with a unique atmosphere.
On a second level, what urged you to express yourself in this way? What made you want to get involved with such a special, and essentially unprecedented, kind of music? To base one’s music onto these pillars is a courageous decision.
I wanted to express myself in my own way. I didn’t think about it a lot, it was spontaneous and everything fell into place quickly. It’s an experience that became a musical expression. These elements are parts of my reality here in Ouranoupolis.
Many believe that the ascetic life and metal, even if it’s acoustic, are two incompatible concepts. Of course, you refute this “argument” with your music, but could you bridge the gap with a few words here?
Anyone who has questions can very simply pay a visit to Mount Athos. No matter what you believe in. A visit of a night with the necessary respect towards the premises and a little bit of cautious bias is enough to convince you. An hour in the morning service of a monastery will fill you with awe. This birthed in me the idea to try and take off this feeling into music. Remains, chanting, minimal lighting by the candles, ossuaries, nature, spirit, abstention from the rest of the world… Death Metal enough?
A video for the track “Arch Angel” has been uploaded and it was actually shot in this catacomb, you mentioned before. In the video’s description you mention that this particular catacomb is the ground zero for The Dead Creed; the point where it all started. Could you elaborate a little bit on that?
The “Arch Angel” song is a track included in the second Dead Creed album, which I’ve been composing some time now. With this video, like you said, I wanted to give the world a glimpse of the source of where the music of Dead Creed is being born; a flooded catacomb with special acoustic and spiritual significance. Everything sounds different in there. I just used my cell phone to capture the pure sound without effects. 3 years ago I started playing acoustic guitar in there in the evenings. There’s a special serenity in this space.
The Dead Creed essentially is you. There are no other members, not even for the live gigs. Does this reflect the ascetic mentality of the Dead Creed and the exaltation of the spirit being a purely personal matter or simply just one person may be enough for the music to reach its full potential? Will there be any guest musicians either in recordings or in live performances?
Of course a full lineup would enhance the Dead Creed’s sound and at times many people expressed the interest to contribute. Being the only member adds, as you said, much in this asceticism concept. Also, although being alone is difficult for live gigs, the sight of one person who sounds like 2-3 people together is an interesting thing to see. There will definitely be special guests in subsequent recordings from different spectrums of music, because – it’s no secret – that the Dead Creed have attracted the interest of musicians far outside the metal scene.
To my knowledge, you have recorded the debut of Dead Creed (“Pieces To Cure The Soul During the Darkest Hours”) and released a rough mix. When should we expect the official release of the album?
The debut has been ready the last five months. It has been delayed because of the hectic daily program. I used all this time for extra hearings to make corrections. These days the last details are being settled and the album will be sent for printing on CD and LP, and the demo ‘Catacomb Blues’ will be printed on a tape (via Three Shades Of Black).
You’ve been active for almost a year and already the name of The Dead Creed keeps increasing in force, with more and more people becoming familiar with your music. How does this make you feel? Do you feel like a part of your consciousness touches and wins other people?
The response is very positive and gives me strength to go on. The music of The Dead Creed surprises and constantly wins more and more listeners, the extent of which as I stated above is beyond the metal circles. It has even reached the ears of monks. There is music for fun, and music for entertainment. So I think that anyone, regardless of musical preferences, could simply devote time for a single hearing and let the sound do its job. The results are of interest in most cases.
Within the plans of the future live appearances of The Dead Creed, appearances with Oranssi Pazuzu and Hexvessel in Athens on November 11, and 
with Inquisition and Embrace of Thorns on November 17 in Trikala are included, among other appearances in Greece and abroad. How does all that make you feel? Are you anxious?
I always stress out when I’m playing live, regardless of the band. Most of the scheduled appearances of The Dead Creed are combined with my appearances with other bands I’m a member of, or my business trips. The tight schedule and organization increase the stress levels. I feel like I need to be as ready as possible to be able to stand worthy to very interesting bands with which I will share the stage and show what the Dead Creed profess as honestly as possible to a crowd that’s not yet familiar with my music.
Alright, that’s all from me for the time being. Thank you, Thomas, for making the time. The last words are yours!
Thanks a lot for this interview. It’s an honor to find myself within the columns of Metal Invader! All is ONE is All.
