Search Results
6/20/2025, 1:01:28 PM
>Q: Ehnahre is on an edge – between primitivism and detailed intellectual well-thought artistic conception or so I think. Where do you see yourself in such creative aspects? Which of both aspects is closer to you?
>A: I like to think of Ehnahre as sitting right on the edge between both worlds. We write music that is very detailed and complex and extremely difficult and academic. But those things are used to create furious, dark, ugly music. I like to call it a “calculated insanity”.
>Q: How do you explain that your music has always been affiliated with “metal” when since the beginning, we cannot say that it is strictly speaking?
>Iskandar Hasnaoui: Our music is aimed at all those who are not afraid of violence, darkness, or complexity: and there is a part of the metal public whose tastes meet these criteria.
>Q: The main aspect with this part is that it doesn’t repeat itself, which basically goes for more or less all parts on the album. Why do you write your music following a line instead of going back and forth, like most bands do?
>Hasjarl: We went from being obsessed with black metal to contemporary classical music because it was primarily a path based on spiritual criteria [...] Wouldn’t the better angle to your question be: why do so many bands follow established rules or abide by patterns that have been established by others? There’s so many ways to structure an idea, a song, to express a dynamic, to evoke emotions. Every artist is a demiurge in his field of work – it is a tragedy when only a minority chooses to seize that opportunity. The key to understanding the structures within Fas is to keep thinking in terms of contemporary classical music. Revisited with our capabilities of course, and within a very specific, narrow context. [...] What I’m trying to convey is that Fas would not exist without Penderecki and Wyschnegradsky. That’s what unlocked these musical territories for us, territories Bataille would call le trouble.
>A: I like to think of Ehnahre as sitting right on the edge between both worlds. We write music that is very detailed and complex and extremely difficult and academic. But those things are used to create furious, dark, ugly music. I like to call it a “calculated insanity”.
>Q: How do you explain that your music has always been affiliated with “metal” when since the beginning, we cannot say that it is strictly speaking?
>Iskandar Hasnaoui: Our music is aimed at all those who are not afraid of violence, darkness, or complexity: and there is a part of the metal public whose tastes meet these criteria.
>Q: The main aspect with this part is that it doesn’t repeat itself, which basically goes for more or less all parts on the album. Why do you write your music following a line instead of going back and forth, like most bands do?
>Hasjarl: We went from being obsessed with black metal to contemporary classical music because it was primarily a path based on spiritual criteria [...] Wouldn’t the better angle to your question be: why do so many bands follow established rules or abide by patterns that have been established by others? There’s so many ways to structure an idea, a song, to express a dynamic, to evoke emotions. Every artist is a demiurge in his field of work – it is a tragedy when only a minority chooses to seize that opportunity. The key to understanding the structures within Fas is to keep thinking in terms of contemporary classical music. Revisited with our capabilities of course, and within a very specific, narrow context. [...] What I’m trying to convey is that Fas would not exist without Penderecki and Wyschnegradsky. That’s what unlocked these musical territories for us, territories Bataille would call le trouble.
Page 1