SCEPTOCRYPT - Answered by Malcolm Callus, thank you!
Questions prepared Duzl, thank you!
Sceptocrypt was formed in 1992 in Malta with the members there, however let's cut to the chase! It is now 2024 and you are trying to bring the band back to life after 24 years, how is it going and why the attempt to come back didn't come sooner?
Although Scepto was founded in Malta, it's always been artistically limiting and too hot for my liking to live there. So come our split in 1999, I started extreme metal band Dysmenorrhea, momentarily joined Achiral (2nd guitar) & Weeping Silence (bass), and continued organising underground music events under the monicker of Bisoul Promotions, while waiting for Malta to join the EU, which happened in 2004, so I left to Germany intent to make a living out of teaching music (which is more possible in a bigger country).
But as my German was far from decent, and discovering there were less metal bands per capita in the cities I lived (namely Berlin & Hamburg), I popped to London on a 2-week holiday to test the waters. I was immediately sold, and 2 months later, I moved here.
Despite the idea to reform Sceptocrypt always at the back of my head, I initially met a metalhead into flamenco (Mick from Corpsing) and together we started a duo that evolved into an anomalous world music band EthnaMorte, which pushed me to better my guitar/composition skills. So when EthnaMorte came to a hiatus in 2015, I resumed writing for Sceptocrypt with new ideas learnt along the way. Jammed with some guys on and off but never managed to get a steady line-up so in 2016 we all went our separate ways. Until in 2022 I was introduced to a good drummer available to jam (as much as the big city with lots of metal bands that London is, finding a good drummer able to commit seems quite the feat here). We meanwhile tried some bassists, and chose our current one Dip Roy. Our search for vocalist was not as successful, so currently I am writing all lyrics and singing them. Along the way, Andrea Paro joined us on samples & noize.
It did not work out with the 2022 drummer! So how's it going? It could be much more fun if we had a drummer, but things are alright anyway, life has to go on...... anyone interested, email us at band@sceptocrypt.com
Have you thought about starting a completely new band instead, wouldn't that be easier?
I see no reason why starting a new band is easier. To find dedicated musicians is the harder part. So once that is sorted, why start afresh when the name Sceptocrypt already had a small name for itself through acclaimed reviews worldwide in the 90s?
The music of Sceptocrypt is somewhat atypical - it has a lot of different elements, be it the instruments, the atmosphere, the backing chorales and the overall concept. The individual songs are different, some are death metal, others I would say are more like scenic ambient music! Tell us something about how the songs are created...
Like every other band worlwide I suppose – i.e. someones comes up with a motif (aka a riff), and then that idea is developed. Not necessarily so, but more often times than not, a tentative sequence of riffs is laid out by one bandmember, and the others contribute by suggesting changes to the riffs/sequence.
I however do not have a clear cut answer why songs differ sometimes. Come to think of it, it might be as we definitely listen to a wide array of music, and just like when one goes to dine out they are free to choose cuisines from all corners of the world, likewise we set no limits to the food for our ears, and the food we present to others!
What's for sure is that we do not consider our musical presentations as songs, but as soundscapes, where the listener is taken on a journey. And who knows, maybe along the trip, they sometimes stop for a salad, then hike a bit, then have a steak to stack up on protein before going uphill, then after a good ole cold pint & passing of wind, they wanna have a soup! I am kidding of course. We are artists, and we compose the way we feel! Hopefully others understand the avalanche of emotions conveyed.
But I lately tried an experiment & fed an AI analyser our latest two tracks. Whereas one came up as predominantly death/black metal with gothic, thrash and doom metal/sludge making up for the smaller percentages, in contrast, the other one popped up a mix of art rock, experimental electronic & folk rock. Do I have a problem, or should any of your readers, have a problem with that? I say that as long as it is done right, they should enjoy the experience.
Could you somehow define your work to the listeners?
Well, despite I never abandoned the idea of reviving Sceptocrypt, I always had it at the back of my head that the return had to differ from being a complete rehash of our 90s sound.
So whereas non-metal influences were quite obvious before (in the sense that when songs delved away from their main extreme metal core, it was obvious what style we were flirting with), nowadays, with 25 years more experience dealing with varied genres, whenever an influence is non-metal, it is disguised more maturely. In the sense that a musician might trace the influence, but a non-musician might not.
So for Sceptocrypt mk2, we set out a manifesto for our new Extreme Music Research sound, which is also published at our website as follows :
Proud of but not limited by the heritage that is extreme metal, Sceptocrypt have always been known to not be confined by one style and to welcome cross-genre influences! So for our re-launch, we have a vision that we are calling Extreme Music Research. Read our manifesto as follows!
Extreme – undettered by trying different forms of experimentation, from over-the-top technical riffs to the lack of same in form of time & harmonic changes that flow seamlessly, an extremity measured in the myriad of influences recalled to shape the final aural palette.
Music – in a time when visual media continually compliments the music industry, we aim to present you music that evokes you the more you close your eyes, aiding you to see colours with your ears, where colour has no limit set by your visual spectrum, and thus extreme!
Research – we shall be free to research past effective music templates as we merge them with/as merchants to/for future sounds.
We look forward to share with you some surprising musical twists as this new journey unfolds! And that you welcome our will to stay restless in our discoveries!
The tag “you need not fear shame to play this game” that you see at our website is there for a reason. So enjoy this game with us! Shamelessly!
Are the lyrics conceptual and intertwined with the songs? Were they newly created or did you pull them out of the drawer just like the songs?
Everything is a reflection of when inspiration hits.
The soundscapes dropped since our comeback (Oratorio Mortem 2 : The Unwanted Requiem) and The Wards Outside were both penned in 2023.
Other tracks for our upcoming full-length were composed over a timespan. Without spilling beans about song titles yet, listeners will be presented with a tune from 1999 with original lyrics & structure yet all music re-written in 2015, an instrumental from 2016, a completely new 2023 banger, and another that started off in 2016 but was finalised only in 2024.
This is a works in progress. We keep refreshing the tunes ever so often, and I am sure the spectrum of influences will present itself once we release the full-length fucker!
You're a guitar/bass teacher, so there's no doubt about your playing skills, but anyway, listening to your songs, I wonder if it's not difficult to find similar experienced musicians who could keep up with you and especially understand the philosophy of your songs?
It is extremely difficult believe me, but I persist out of my love for my music!
The world of a private teacher (not working in a school) translates into most evenings being held up, and hence less networking.
What makes it even harder is that once you find skilled players they got to be realistic that the underground functions on artistic merit over financial reward. Being an artist is about pushing boundaries, and I do not think that many greats of the underground - bands like Dodheimsgard, Gorguts, or similar ilk for instance - live from music full-time. There are rewards in life no money nor popularity can buy!
To feel part of this school of thought, one has to continually get a kick from merging music styles. No more no less – just the right mindset to produce music to make listeners go “wtf?” !
Is it your band, where you rigorously apply teaching tendencies to set the direction, or does democracy and creative freedom work in Sceptocrypt? Do you allow the members to change the music you have written, or do you insist on your own and always have the last word? There are a lot of musicians, especially composers, who can't imagine playing someone else's music and there is a dictatorship in their bands. How do you perceive it?
Sceptocrypt in Malta had 4 main song-writers, Abela & myself in the 1st line-up, and then myself, bassist Johann and vocalist/keyboardist Conrad in the 2nd line-up. With others contributing occasionally, but less. So we were always feeding off each others' ideas (sometimes fighting hehe, but disagreements can only exist in a democracy) and suggesting changes to each other accordingly.
Fast forward to Sceptocrypt mk2, I would welcome suggestions to current riffs from the other bandmembers anytime, even a whole song for the matter. But nowadays, the others prefer writing around my riffs. Maybe inadvertently, as we are all so keen to find a drummer to get out live as soon as possible that unconsciously we sticking to the songs as they are, to then experiment once the line-up is complete.
So what is your idea of a music teacher if I may ask? A good tutor is the student's friend, using one's experience to consistently get the better out of their student. Through showing the fastest way to learn anything, but also by allowing them to make mistakes, since every slip-up is a small win in learning how not to do it! As bandmembers (myself included) past and present, we feel content how any musical challenges within a riff turn into a reward – to better ourselves collectively as musicians, and also for the benefit of better tunes!
Dictatorships are arguably a weak trait of who cannot handle a divergent opinion, and maybe composers who do not accept suggestions are sometimes incapable of adapting their style, and growing. Not that original ideas have to always change, but there is never any harm in trying alternative suggestions from each bandmember. After all, it creates a chemistry that every one can stand behind!
If I'm not mistaken, you yourself feel more of an artist than a musician, could you explain why and what you see as the fundamental difference in these two terms in the context of music, creation and performing?
I consider myself to be an artist, a musician and a metalhead all at once, sometimes one taking over the other, which one depends on the mood of the moment.
Whether I try to avoid it or welcome it, whatever I do/create, comes from years of loving/disliking things about metal - the type of music I generally gravitate to - and other musical genres in general.
As a musician, I however do not allow metal to cast any confines of what musical emotions I can explore.
Finally, I consider myself an artist, and for me the creation of art is something that should always get a reaction. Not necessarily be liked, sometimes it could upset, but definitely and mostly never could one be indifferent to its presence.
So going back to your previous question about the polar diversity of our songs, this maybe explains further why.
You are known to be a great lover of flamenco, could you describe what fascinates you about it?
Considering the guitar's predecessors were the lute (that came from Europe) and the oud (that came from Arabia), the latter had considerable influence on the Mediterranean, and in turn the Arabic influence on the gypsies that moved to Andalusia, and developed the Roma chanting of flamenco. As a son of the mediterrean seas, this flirting with the Phyrgian mode must be something in the air and sands, broken chants you can hear from flamenco to Maltese ghana to Greek lullabies. This is the b9 interval, the 2nd most used interval after the diabolus in musica b5th, due to its dissonance, and there is hardly any avant-garde act that does not use it, even in metal!
Growing up as a guitarist, I always admired the amazing plucking techniques that this style of music brings forth, as well as the half-barre techniques of the fretting hand. Indeed, to play flamenco is no easy feat, and I hold them players in high regard. Like blues, it is the chant of the forsaken, and like metal, it comes with many subgenres. I personally gravitate towards Canto Jondo (deep singing) and the Solea, a solemn style of flamenco where the subject matter is generally tragedy, death & desperation, as opposed to the more upbeat flamenco the non-aficionados associate the style with.
So there you go, even in the flamenco world, I tend to prefer the styles that are less subject to commercial capitalism.
But of course, flamenco is just another facet of what I listen to. For example, I like reggae for its bass lines, jazz for its harmonies, latin & African music for its beats, and etc etc,...., I like to learn from any style.
Let's continue with the flamenco influences. During the Sceptocrypt hibernation you had a project EthnaMorte - which we shouldn't forget to mention - combining elements of metal with traditional music and Latin rhythm. How would you define EthnaMorte's genre, and what brought you guys to dissolve?
First off EthnaMorte was not a project but a band. I find this word “project” as a term when musicians put their hands into many pies not knowing what they really want, as opposed to dedicating themselves towards a purpose. So as Ethnamorte was the main thing I was involved in from 2007-2015, it was not a project but a life choice.
Our sound was a collection of different types of music from diverse corners of this world, hence the “ethna” as a reference to the various ethnicities that helped shape different musical genres, and “morte” (Italian for “death”) to reflect the band’s gusto to promote the death of musical confines by experimenting with same genres as tools not limitations!
Shifting our sound along the years, we started off with a tag “world music with a dark twist” moving to “death to music confines” and finally to “avant-world-noir” as to compliment our ever-changing sound and more literature works that continued to surface into our works.
Although there were times in our ever-changing line-up where we were 9 people, the best synergy existed when we were primarily only a duo, of myself on many instruments, and Fabio on vocals and percussions, theatrics & scenography. Being a sought after tourist guide in his hometown, Fabio always returned to Italy to make a better living in summer. One fine summer he made a baby, and eventually moved back there to grow his son up. As we both preferred to compose by rehearsing face to face, we decided to put the band on hold. I been to see him earlier this year, and both him and his son are doing fine, quite frankly much better than he ever felt living in London, a city that can drain you as much as it rewards you sometimes.
You come from Malta, you lived in Germany, USA & Australia for some time, now you live in England (London). Could you compare the differences between the scenes (metal - underground) in the countries and highlight both the positives and the negatives?
I think I cannot, because it has been so long ago, that my comparisons might be outdated.
But I am a gentleman, and as Dasa has asked, to lady shall be answered haha!
· Australia – Although Sydney has a consistent calendar of events, Melbourne is the best for music overall. But overall, the isle is still very far away, and hence ends up with having more local bands and a repetitive music calendar due to less touring bands.
· USA – New York is amazing, truly a city with many colours that never sleeps, with anything from goth to metal to punk to any other alternative adding to the buzz! On the other hand, in Boston I was mostly studying so did not go out enough other to say there is a healthy jazz scene (then again I was studying at Berklee College of Music, so knew no other). Found some goth but no metal.
· London – was much better before Brexit came along making it difficult for smaller bands to tour here. But still a place for lots of live music. But London is not reflective of all England, and any other cities I only visited mostly for few days. I like Liverpool, but it seems more of an indie & cover version scene.
· Germany – Hamburg has more live music whereas Berlin is a good scene for industrial, being the electronic mecca it is. For metal, both however do not compare to London, not even in its post-Brexit slope. On the other hand, for industrial & goth, Berlin is one of the capitals of the world!
If any of your readers are sure I wrote something that is complete bs, blame Dasa for insisting on an answer :D
You recently performed with Sceptocrypt in London as part of Renaissance Open Air Festival, but your fans might have been surprised, as it was an acoustic one-man show set. How did that happen, what were your impressions, and what was the feedback?
I see no reason why fans would have been surprised as it was advertised both by ourselves and the festival as an acoustic show. But yeah, you always get those who do not read the details......
Anyway, Sceptocrypt played 2 sets. The 1st was earlier so the people were still arriving. Being an open air park, luckily it rained during my 1st song so more people came to the stage, the only place offering shelter.
On the contrary, the 2nd set was received much better as the place was buzzing with attendants by now. Maybe as one of our songs features the French playwright Antonin Artuad as protagonist, some French people attending came to compliment me about our works afterwards.
The reason I however played was to present Sceptocrypt in hope of finding a drummer by playing live to the London audience. Unfortunately, this has not yet happened, so once again, if anyone is interested in the tunes you can hear at
www.sceptocrypt.com/lyrics-songs, pls email us.
You took the role of singer in the new songs, I know you are struggling finding a drummer, but what about the vocals? Growl, clean, narrative - what is your idea of a singer? Or do you plan to do both roles in the future?
I actually do not want to be the band's vocalist for the main reason it frees me to focus more on the guitar riffs (which are not that easy). I also believe that a vocalist not having to play the guitar at the same time is more flexible with his voice and building a rapport with the audience, and hence we are looking for a vocalist too.
But as vocalists normally prefer to have a full band before entering the scene, for now I am singing in the studio, and writing more lyrics, just because they come to me. Ex-vocalist Conrad might also contribute.
Funnily enough, from feedback for The Wards Outside more people appreciated my erratic vocals than my guitar work :) So let's see what the future holds!
The band could definitely benefit from a second guitarist, right?
It could, but we are keeping it under consideration for now. Once we have a vocalist and drummer and the songs are more full, there is more magic in my head that could be translated onto the guitar, not to forget we now have a noize & synths guy.
You have quite long tracks, how much material do you have at the moment, are you planning to record any album? So far you're only releasing singles, if I'm not mistaken.
Yes, we released 2 singles 3 months apart, mostly as a statement to showcase we are back, but the long-term intention is to release full-lengths.
Other than the 4 tracks mentioned earlier, we also currently have 5 more songs that could encompass a 2nd full length. But things could change and we might release an EP between albums, so only time will tell.
Music in general is your passion and also your job. I wonder what are the trends in guitar teaching? How's it going with the younger generation? What's their motivation nowadays? In the past everyone aspired towards The Beatles, what do they want now? I suppose The Beatles are not idols for the young generation anymore :)
I agree that The Beatles are not the thing anymore, although they do have some numbers, that from time to time I suggest to learn easy strumming songs. Kids nowadays idolize more Ed Sheeran and bimbo Taylor Swift, but then again I teach adults too, who tend to lean towards Slash, Bonamassa, Tool and Rage vs the Machine! But that is just an idea. The best thing about being a tutor is the amount of new artists that each student listens to – I am always presented with new names I have not heard before – and us working on their fave songs to help boost their motivation.
And that brings up another question. Technology today - streaming, spotify, etc.... what do you think? Social media and its influence on music? How do you find yourself in these areas?
As for streaming, it is a double edged sword. With people always on the move, they tend to listen to music more on streaming platforms, so although most bands know that most digital platforms are ripping them off, they still post their music there to reach a wider audience. As for Sceptocrypt, we are not on Spotify, but on the free platforms like Facebook, Instagram, etc. Eventually, once we start gigging we might bow to the unwanted elephant in the room, but for now, we find no necessity.
Personally, I never use Spotify/similar. I work from home so I listen music via playing my CDs or YouTube. I sometimes discover new music from YouTube, but I prefer to discover bands live as support bands to other bands I attend shows of.
I do not stream music from a mobile, also as generally I leave home to go to gigs, so during my journey I rest my ears.
Because of your job you have a home studio. Are you the type who likes to do everything yourself or do you let someone else with an objective view mix and master your music? Do you always have the final word?
Before the advent of the current Sceptocrypt line-up with no drummer leading us to share ideas more remotely, I never recorded my riffs other than as a quick video from my mobile, and even nowadays my home studio is more set up for teaching group lessons than recording.
Due to the time I have to spend – not necessarily like - working on computers to promote myself as a guitar tutor, I spend less time on DAWs. I do not hate the process, but there is only so much my eye sight can deal with daily.
For that reason, guitar, bass & drums for our latest “The Wards Outside” were recorded live at our ex-drummer Dan, with anything else handled later at bassist Dip's own home studio. With the mastering outsourced to the crafty hands of Ays Kura from Amnion Studios.
Do not take me wrong – I love the studio and can do more than 12hours at a stretch playing, listening, etc. But I like it as my playground where I get to be the musician and the others push the buttons. I try to be present throughout nearly every step, as for it to get released as Sceptocrypt, it needs my stamp of approval, as every strict dictator must ensure haha!
Kidding apart, it is like a parent who wants to ensure their children look good before going out, so creative control is rightly called for. There can not be Rotting Christ without Sakis, Kreator without Petrozza, Sabbath without Iommi..... so Callus has to oversee Sceptocrypt!
You are quite a thoughtful person. Do you look for some kind of philosophy in music (extreme metal in particular)? Yeah, I guess there's a difference between looking for depth and soul and social dimension in Cannibal Corpse as opposed to Napalm Death. How do you feel about it?
I follow or seek no particular line of philosophy, thus allowing myself to be free to conceive Art, in all its facets, like a sponge takes to water. But every now and again, like any human, I go through experiences that I end up writing about. These end up into my lyrics, into which I put a lot of effort. I hope to think I am right in saying they are miles away from your average metal band, and hence invite your readers to check them out at
https://sceptocrypt.com/lyrics-songs/
What are your ambitions after all these years? What would you like to achieve, do you have any goals and what are your closest plans for the future?
My short term goal is to find a drummer, and soon after a vocalist. My long term goal is to release more music under the monicker of Sceptocrypt. We already have a label deal for once we get to record the songs, so hope the line-up is completed soon so we get cracking!
Thanks for your time Malcolm, it was a pleasure. Good luck with the band and the last words are yours.
Thanks to you Dasa, and the readers of Deadly Storm! If anyone is interested further about Sceptocrypt, please follow our @sceptocrypt handle for our socials, with direct links at
www.sceptocrypt.com
Some riffs can also be found using the handle @coolgoolmusic where I post music-related reels as a music tutor, including but not limited to only Sceptocrypt, and where you can also see me play guitar in different tunings, bass & ukulele, and occasionally other instruments.
One last shout out for drummers (and maybe vocalists) based in London or who can commute here regularly – pls read
https://sceptocrypt.com/2024/02/20/seek-drum-vox/ and act accordingly via email and/or phone (no whatsapp/facebook pls). We chat only by talking to you not through msg ping-pong! Like normal human beings!
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