Vulturine is a name I first came across in an issue of Call To The Infernal Hordes ‘zine. I knew then that, after reading their interview, they were the real deal. Their music transmits a certain deathly aura which I find pure in essence. It’s bleak, cold and pessimistic. So, after following their progress for some time, I finally decided to conduct an interview with the cult myself.
Hails! Ordinarily, I would ask you some questions regarding the formation of the band, however given the amount of information already available I feel it’s a bit redundant. So instead, let’s simply start off by telling us the meaning and backstory of the name ‘Vulturine’ and why you decided to choose this as your band name.
W: Hail James, regards! Let’s skip the boring parts about lineup changes and all that stuff, so readers will not get bored. I must apologize for the shit English as well. Vulturine name is connected with the imagery and aura of the vulture (death aura) and what it brings according to our beliefs and experiences. When this name came into my mind in late 90’s I felt the need to bring a more cold and harsh aura to this music genre as in those days bands got more and more in what we can say “soft ways”, not that it means I was about to make extreme fast or extreme stuff, but it was about to get Black Metal to a serious art level and a treat to the world instead of making fans and those kind of rock attitude. Basically it was an urge to bring back gruesome real feelings into music, so we called it “the end of fantasy”.
Your last album “Tentáculos da Aberração” (which translates to “Tentacles of Aberration”) is some of your best work yet. Can you tell us about the recording process?
W: Tentacles of the Aberration is our 4th manifestion. For this record, we used a better studio and equipment in comparison to our previous albums so it may have helped in the final result as the intention was to bring some organic feelings to this fusion of our old and new conceptions. If you pay some attention, this album has all the elements of our old discs but connect in a more sinister aura since Tentacles of Aberration is about DEVOTION. Our process of making albums always had this solitary aspect of composing the riffs and recomposing, decomposing and deconstructing them over and over, after that, the rest of the guys jump in the process with their own charge of negative content. The peculiar aspect is that we live in separated cities and states and this was important somehow for the band’s development over the years.
Aside from Vulturine, could you give us a synopsis on the various musical undertakings that you’ve been involved in throughout the years, in particular any recent outputs?
W: I’ve been active in the dark paths of musical/ideological opposition for more than 20 years now and recorded/participated in a vast amount of things in those years. Officially I have only Vulturine to carry on these days; anyway, I have some other things in mind concerning musical art to realize in the years that still left as I recently found near my location some real devoted partners that live for the serious aspect of what Black Metal/music art is, and when you meet some certain individuals that has the flame inside, so you know it’s time to raise the banners again. It will be announced soon.
It has been documented that one’s environment can have a subtle influence on the type of music you make. Given that, has your geographical bearings had any influence on how you approach music, or otherwise, shaped a certain “mentality” that reflects upon your work?
W: Hell yes, when Vulturine came into my mind I was traveling a lot inside the countryside because of job and I realize in that time a really sinister aspect of our nature, not those forests of fairytales but gruesome places of a desolated glory, I was even more into collecting these pieces of memories to cultivate a real aura instead of fake tales to inspire me. I dove deep into the darkness of the Sao Paulo state to create Vulturine, seeing faces of suffering in the streets, realizing the glorious aspect of architecture connected with the morbid aura of the fog city. So yes, people may wonder if Brazil is just Amazonia, but you must taste the darkness of South America for yourself to know what it’s all about. Vulturine is connected with all the darkness in man and for sure the place we live do inspire us somehow.
Do you aspire to be idiosyncratic in some way? How would you describe the “stereotypical” Brazilian metal sound? Does your sound style differ from that sound?
W: I don’t have any problem with this “old school official sound Brazilian bands must do” things are in that way and nothing I care about anymore. We don’t want to sound like the typical Brazilian, German, Hellenic, and Polish, French whatever sound, but to create something unique based in our devotion. I vomit in these underground rules of what bands must do because of their country origins; we don’t belong to these marketing underground dogmas manual for kids. Vulturine is just Black Metal fanaticism!
Many of the vocals in your songs are performed in Portuguese. Do you feel that singing in your native-tongue more accurately conveys the expression and nature of your music? You also have songs with English vocals, is there any particular reason for this?
W: I understand that every structure present in the music must be connected to serve a single purpose and sometimes Portuguese language just fits perfectly to what I want to describe within the lyrics, and as for the English lyrics, they serve to express other aspects of the art as well. Some old bands did that and you can see it as homage to some pioneers of this genre of negative nature.
Do you have any thoughts or opinions relating to environmentalism? What is your position on the concept of ‘ecofascism’
W: There’s an industry created towards environmental questions and big cartels making money within the exploitation of this and that’s all I can say.
What is your opinion about bands that start out playing black metal, but change their sound/style with subsequent material? Wouldn’t it be better to change the band name or start a new project if you want to do something different?
W: To be honest, I don’t think so much about what other groups or individuals do with their lives, those are things we have no control over. Instead, I give total attention and dedication to my cult, you know, we have been around with Vulturine for almost 14 years now and one can notice our never ending devotion to the art and this occult genre. Who knows what happens in peoples minds? Speaking about Vulturine, we kept our aura since the creation of the band and frankly I prefer if it dies rather than spit in the fundaments of our ideology as many do these days.
GG Allin was known as someone who lived on the edge and often showed extreme, chaotic behavior. You’ve covered a few of his songs on various recordings. Is there anything about him you find inspirational on a personal or artistic level?
W: When the other guys came with this idea I had never heard about GG ALLIN (only by few comments about his behavior and other covers), so I don’t have a deep view about his ways of making music, art, etc. I felt at the time of the recordings that I should respect and support the rest of the band in regards to their wishes, so it was done! I choose to cover Samael “With the gleam of the torches” from Blood Ritual, since this is an unique influence to me beyond all those years, ahhhh we have a version of Masters Hammers as well on our debut CD as a hidden track. This cover thing is not a rule for us and I think we have done all we wanted in this kind of manifestation, we might consider a Danzig cover in the future.
I’ve heard people state that bands in Brazil “try too hard to be evil” (whatever that means) and that they are just weak copycats of European bands (I don’t agree myself). What is your take on such sentiments?
W: Well, even a parrot can speak his lines. In these days I don’t care about impressions and opinions, you know, everyone wants to be experts in something, so for sure I know some people say Brazilian bands are just copycats or this and that. Some other “specialists” would like to hear Brazilian bands sounding just like Sarcófago all the time because it was cool back then, and Sepultura style because this is “exotic” and different from what they do in Europe and blab bla bla. When you have 25 years of a deep existence inside the cult, all those little things disappear before your eyes and you start a deep journey back to what you belong. WE do what we do without regret, care to please none but ourselves and our deeds and wonders (of hate) so it’s hard for me to take people serious that follow only standards and pre-conceived ideas.
You have previously mentioned having an interest in martial arts. Could you maybe tell us about your rank, and whether you get to travel much in regards to the sport? Are you a fighting instructor or otherwise partake in professional settings?
W: I practice martial arts since 13 years old (I’m now 40) I’m Tae Kwon do second degree Black Belt and muay thay student (6 years) the reason I keep myself inside the dojo is to escape from the mediocrity of some aspects of the modern life. Some teachings of bushido also keep me interested in the martial arts spirit as the deep devotion to death and deconstruction of false values representing the physical and mental conquest of the self. Back to the question, I’m not professional fighter or none of this, just a student of the diverse aspects of this art.
It’s not that surprising to find certain musicians having an interest in martial arts, given how many metalheads have taken an interest in fitness and weightlifting, although it’s definitely not common either. One would expect the average metalhead to prefer to sit in their room and listen to records. How important is the discipline factor? What about meditation?
W: Good point, society wants lambs instead wolves and then you have many people training every day to beat someone, I don’t want to be a target you know. If someone is a retard and think martial arts will give him super powers and one will have impressive chances in street fighting, well, I feel sorry for this guy because martial arts, discipline, mental training is a lot different than simple violence. Yes, you can be ignorant and violent but the dojo training is more than that. Since 2 years ago I started to practice meditation and I don’t have knowledge to do some kind of explanation on this topic.
It’s funny how everything is so impersonal nowadays with the internet and instant texting. It’s as if though people have lost touch with communication and real values. Do you still send out hand-written letters by snailmail as was done in the old days before internet?
W: Sometimes I just do some kind of trade thing with some individuals around the globe and it’s the closest thing to the old mail system I have in contact.
Our conversation has reached its end. Thanks for taking the time to answer these questions, much respect my friend. I hope the questions were to your liking, and by that, you were able articulate your thoughts. Thanks again and hails.
W: All Hail and keep spreading the (un)religion of hate. Vulturinelegions[@]gmail.com