In the shadowed realms of the UK post-metal scene, VNDER A CRVMBLING MOON (VACM) stands as a brooding colossus. With their roots entwined in the soils of Garganjua, Conjurer, and Codex Alimentarius, this ensemble delves deep into the abyss of human experience, sculpting soundscapes that resonate with the weight of worlds.
Their journey continues with the forthcoming release of their second album, “II: Aging & Formless,” and we are thrilled to host the premiere of its second single, “Nocturnal Passenger.”
This track, like a lantern in the gloom, guides the listener through the thicket of their own thoughts, away from the drone of everyday existence. It’s in this darkness that VNDER A CRVMBLING MOON finds its true voice, a resonant sound that fills the vast, empty spaces with a light of its own making.
Their craft, a complex blend of the heavy and the ethereal, doesn’t just traverse the dark; it finds its roots there, growing in depth and intensity with each note.
The band’s ability to meld disparate sounds into a cohesive whole is a testament to their journey through the musical landscapes of their predecessors while charting a path distinctly their own. This path, illuminated by the faint glow of “Nocturnal Passenger,” wanders through the ruins of what was and into the possibility of what could be, inviting listeners to lose themselves in the catharsis of post metal.
In this world VNDER A CRVMBLING MOON creates, the night is not something to fear. Instead, it’s a canvas, vast and endless, upon which they paint their sounds. Each stroke adds color to the darkness, each chord a brushstroke that brings to life the intricate details of a world waiting to be discovered.
Dive deeper into the shadows and discover the full story of VNDER A CRVMBLING MOON’s odyssey in our interview, where they unravel the layers of their sonic universe, from the genesis of “Nocturnal Passenger” to the ethereal landscapes of “II: Aging & Formless.”
With “Nocturnal Passenger” heralding as the second single off your new album “II: Aging & Formless”, could you share the narrative or concept behind this track and how it weaves into the album’s overarching story?
Ray: So a couple of years ago, I moved out of the city into a forested area here in Devon. Having the forest at my fingertips had a big impact on my mind. With all life throws at us, demands from us and the constant inundation of daily life and humanity, running into the treeline to hide away from the noise, to wander and to be by yourself as a relief and a liberation.
The album is themed around that catharsis and this track in particular explores the premise of being comfortable with the dark, being comfortable with your own company and letting quiet, hidden places guide you away from the drone of everyday life, helping you to endure, to tread the path that is in front of you, no matter what led to it.
Your sound is acomplex blend of doom, black metal, and post-metal elements. Can you delve into the process of blending these genres? How do you maintain a balance without one overshadowing the others, especially in your latest work?
Scott: In all honesty, this isn’t something I think about when writing at all. I love all these styles of music but I never really know where a song is going when it starts. Things just lurch from one movement to another and sometimes things call out to be fast, sometimes slow but it’s never a conscious decision.
Given the thematic depth of your albums, what emotional landscapes were you aiming to explore in “II: Aging & Formless”? How does this album’s emotional journey differ from your debut, “I: Oblivion”?
Scott: I feel as though the themes are similar on both albums but, with Aging and Formless, the music really sounds like a journey to me and so the lyrical theme narrates this journey more so than the first one. I wrote the lyrics on the first album and they are not something I put a lot of thought into but this time, Ray was able to hear the entire musical piece and form a lyrical journey of his own to accompany the music. And this adds it’s own weight and makes the whole album make more sense on both levels.
Your debut album was a product of isolation, reflecting an insufferable world’s engulfment. How has the transition from isolation to a more connected world influenced the thematic and musical direction of “II: Aging & Formless”?
Scott: In all honesty, I don’t think the world opening up again has influenced this album. Musically, a lot of this was demoed in the same time frame as I: Oblivion so it’s still steeped in that world but what I’ve come to realise is my outlook and approach to the world hasn’t changed from being more isolated to not. I’m influenced by the same things and feel the same things as I always have and that comes through the music.
The visual aspect of an album plays a significant role in its narrative and thematic delivery. Could you discuss the concept behind the artwork for “II: Aging & Formless” and how it complements the music?
Scott: The artwork for Aging and Formless was done by my partner. There wasn’t necessarily a concept behind it from a band/music perspective. She does a lot of abstract art that I really love and I just really loved the colours used in this piece. I don’t know much about art, I am definitely attracted to some things more than others but have a hard time understanding why. It could be the colours, the shapes that form or the flow of the piece itself but this one really stood out and I know her inspiration/approach behind this piece which works with the music and lyrics but that wasn’t intentional which makes it even cooler for me.
As one of the UK’s emerging heavy acts, how do you view your position within the local post-metal scene? Are there any challenges or advantages you’ve encountered due to your geographical or cultural context?
Ray: The band is very much a mixture of backgrounds, influences, projects and also where we’re based in the UK! There’s a lot of strength as a result of that, as the people in the band are all heavy-hitters in their own areas and whilst there’s a lot of varied tastes and styles, there’s a shared love of the bleak, the miserable and the heavy in our sound! The geographical split can be a challenge at times, but that means when we do meet to rehearse and perform, we are focused, locked in and we maximise our energy into when we play together, either in a practice space or on stage.
I wouldn’t say we’re trying to attain any specific position in the post-metal scene at this point, we’re enjoying occupying a bridge between multiple scenes (doom, post-metal, death metal etc.). What we mainly want to do is get our music out there, to enjoy the writing/producing process and continue to evolve our recorded and live sound, and to show how blending different influences can result in some really great music! We also want to see how we can develop our visual style, try to develop something unique whilst still having the focus on our music.
Looking beyond “II: Aging & Formless”, are there any unexplored themes or musical directions you’re eager to tackle in future projects? How do you envision your sound evolving?
Scott: Not especially, what will be will be. The best results I find come from not really thinking about that stuff too much.
Reflecting on the past year, were there any bands or artists within your local scene or beyond that captured your attention? How do they inspire or challenge you musically?
Ray: There are so many amazing bands we see out there! Whether its at a large festival like Damnation or ArcTanGent, local shows in Devon or Bristol, or catching a titan of the scene when they’re on tour, as a band always wanting to develop, you are constantly hearing and seeing inspiration on new music or live performances.
Many in the band are huge fans of Cult of Luna (and have been for many years), so they are a huge inspiration to us in more than one way. Other than the soundscapes they build, massive hooks and visceral production, being lucky enough to see their stage and lighting production has made us think about our live performances and when to dial up/down the heaviness.
We have also been lucky enough to share the stage with Din of Celestial Birds, who are one of the strongest up and coming post-metal bands in the UK right now.
Seeing them go from strength to strength is amazing and the atmosphere they create when they play live is really inspirational.
With the release of “II: Aging & Formless”, how do you approach translating the album’s dense atmospheres and intricate soundscapes into a live performance setting? Are there any tracks you’re particularly excited or challenged to perform live?
Ray: To be completely honest, we’d love to play the entire album. Our main guitarist and song writer Scott has been building, developing and sitting on these songs for a couple of years. Bringing myself in to add vocals and lyrical themes as the finishing piece of the puzzle and then working with Ripcord Records to put it out, has been really exciting. Every track has a special meaning and we definitely want to create an opportunity to perform the album in its entirety live!
If I had to pick a track that means the most, it would probably be Bury Me With The Fallen Trees. As not only is it the album closer, with a massive build and outro that I think will hit hard live, the theme behind the track is the one that means the most. There’s a small woodland on the west coast of Scotland that is full of really old trees that fell in a storm and all regrew. Its an incredible place, that has a real sense of calm and solitude.
It inspired me to write a song about feeling connected to somewhere and to belonging to something at the end of your days. Plus as well as all that, the riffs are killer, the bridge section is epic and the vocals are huge, so it will be immensely fun to play live when we do.
In an era where digital platforms dominate, how do you navigate the balance between online engagement and maintaining the authenticity and depth of your music? What strategies do you employ to ensure your sound remains uncompromised while reaching a broader audience?
Scott: Social media feels like a must but I honestly hate it in many ways. It’s a necessary evil but it plays no part in what we do musically and in truth, the engagement aspect of it is tiring in itself haha. While it’s always nice to expand your audience, the music we create is for us first and foremost so as long as we’re a part of creating music we love, that’s all that matters and if other people want to join in for the ride, they are more than welcome.
