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Ayin Aleph: Emotions beyond mainstream

With her debut album the Russian-born artist AYIN ALEPH (who is living in France now) has made a remarkable first step into the metal genre. She isn´t spending her time on furry disguises or using fancy pseudonyms, instead, the likeable Russian rather puts her energy into the music. Easy to prove that her choice is the right one: just listen to the new album "Ayin Aleph II" which offers high-powered Metal and might generate euphoria not only with baroque fans. But read for yourself the interesting things she has to talk about...

Hi Ayin, congratulations to "Ayin Aleph II", a great listening experience that has touched me deeply. Was the CD arranged in a way so that the attentive listener can follow the music better?
I have recorded this album fort wo reasons:
First of all I proved that metal can be played on a classical instrument that has nothing to do with metal. I wanted to justify that metal music can sound with only one instrument that is quite „classical“ and that is almost not used in the metal and I can get with it a big sound like an electric band.

Of course that without the distortion and saturation effects, one can listen to all the parts of guitar and bass etc… played by another instrument. It makes the listening easier.
I have picked several songs of the metal album and I have recorded new choirs in between each song to create a unique global piece.
I allow myself to play all that with a completely unclassical way of playing in order to expresso more precisely my sense of metal.
Second reason, a lot of people don’t like metal but love my acoustic album. It means that I enlarge the audience of my music.

Were there any other personal or musical influences for your new album?
None. My musical and personal influences are always the same. The main influence is baroque music and thrash and progressive metal.

There are also some oriental influences e.g. towards the end of „Grey Ashes”. How come those into the overall picture of Ayin Aleph?
It is not really oriental. It is rather baroque. It comes naturally. This „leitmotiv“ goes all through my music and all my inspirations. Anyway almost all the harmonic basis is baroque.
The end of „Grey Ashes“ is just a „cadenza“ typical of baroque music. I think that certain fluid oriental elements are parts of the baroque music sometimes. I use this ort his without thinking what influence it is. I do them as I feel them without any analysis.

The music sounds very organic, pulsating and breathing, as if it would live. Is this due to the recording, the songwriting, or even to both?
It is the consequence of all: not only songwriting and recording. It is the consequence of my inspiration, interpretation and my physical and mental capacities in order to express all my loving hate that the good sky is throwing on me. Personnally, like an organon tube, I of course throw all these communication to my audience.

The music is accompanied by many percussive sounds. Which kind of tools were used?
It is only piano. There is just a little bit of harpsichord. As you know piano is not a percussive instrument but I play this instrument that is originally very „inging“ like a metal girl and I groove on it where it has to be and I’m sure that this way of playing gives this percussive impressions and believe it was done on purpose. I mean that all my percussive sound is my way of piano playing.

Since texts are not available, I can not give any interpretation of them, unfortunately. Just the titles, however, seems to me as if they have the theme of awakening to act.
I am not sure that I have clearly understood your question. My lyrics are writen after I have done the music. I create a topic in the lyrics that corresponds to the music. If you have the opportunity to read them, there are allegories of the vital senses and they are the emotional pictures of my darkness. A lot of people compare me to Tim Blake in terms of poetry, but I don’t think so. I can not give an analytical point of views on my sense because I produce the universe. So you are the only ones to judge.

Ayin Aleph, thank you for the interview. Any last words?
Thank you for you too. My last words are: Fuck off and live and be in love.

Author: Markus Seibel, transl. Tatjana Ziegler
Date: 2010-06-13

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