Intriguing minds can only hide stimulating thoughts. Through the clutter of ignorant masses, Ryan Lipynsky seems to be one among the few thinking beings. A conversation with him is always a pleasure. Others would claim this to be some kind of enlightenment, too. Anyway, the following words belong to him. The occult element is now more obvious than ever, huh? I mean, the frost of “V” adds a majestic sense to what you’ve actually excreted. Is the world led to the indisputable end?
This is a great reaction! The best part of this is that there was much less intention to be so obviously inclusive of the occult. It is and always will be a natural part of this beast of a band that we created in 2000. The end is of course disputable. But I am simply pointing out these seemingly invisible alarms that are signaling things to be going further into collapse. Who am I to see when and where, but shit is hitting the fan. I think the idea of “the hidden” is what you are picking up on this. This album was written with specific purpose and aim. The WHOLE was more important than the separated pieces this time, which allowed each individual song to have a sense of exploration inside of it. The process was pure magick in a sense as it was methodical yet yielded surprising and excellent result! I am even shocked of how well we executed and exceeded producing and birthing the visions I had in the infancy stages of writing V.
I haven’t yet read the lyrics of the album. Are they formed in the same technophobic content and anxieties concerning Nature’s revenge like the ones you’ve written so far?
Aha! Yes they are. I think you neatly explained the way I write lyrics with that last line. My ultimate worship is that of Mother Nature. I think the ideas of using inner forces to combat these anxieties and illuminating the unwanted dark rooms you enter is the idea of my expression. As much negative there can be in my lyrics, I usually have a very positive experience purging these apocalyptic thoughts. Pure catharsis. Pure chaos organized into sonic art. That is a positive experience if you ask me! I am not afraid of technology but the social engine of mind control is stronger than ever. People are “Sleepwalking through a Maze” these days. Last album Electrocution focused on the “Diseased and the Deceit” and this album is much more “Into a Chasm”.
In my opinion, the dynamics of every song are shared equally between music and lyrics. It’s kind of complicated, though. Concerning the releases you’ve been part of, I have often the sense that your initial aim is to mention the issues that have to do with your brain. Is this true or is music the primal thing you’d want to promote?
I’ve always regarded the words and what comes out of my mouth to have the same value of the chords and note patterns I create. It is my belief that the magick [part obvious / part only known to my self] has enabled UT to acquire this certain ætheric quality that our band is engulfed in. It is almost indefinable and indescribable. My process is important to me as well as collaborating. Whatever I write has to be important to me. ALL of my words from UT, Thralldom, The Howling Wind and Pollution can be linked by words and ideas that will carry with me throughout the rest of my musical career. I am still on the path of self-discovery and uncover more and more meaning to things that I previous thought I understood fully.
I’d describe your music as some seriously heavy shit, full into sludge, and so smartly played. I mean, it isn’t that easy for someone to create such cold atmosphere through heavy massacre rhythms. Would you like to explain to us?
I am a musician who knows a bit of music theory and uses it in my many ways to approach song writing. My focus is to always maintain a balance of craftsmanship and yet still vomiting chaos vibes. I consider my main weapon to be my craft of putting my ideas together in a cohesive way. I take pride in that. I don’t rehash some other bands riffs, I am always trying to get more out of my playing and expanding my mind. Never satisfied really and it is the art of musick. If I am going to be in a loud, dark doomy band, I want to make it ravenous and dangerous. If not, why waste your time. In fact if you are half assing “Extreme Music”, don’t waste your time!
The new record is aroused with the back-to-the-basics feeling of your debut album. What forced you dig such empty, nihilistic sounds in this new effort? “Electrocution” didn’t seem to leave that kind of promises…
Yes. We decided to just use one rule and one rule only on this record. “No fast parts” – meaning the snare always maintained its absolute power and the tempo was never accelerated too much. Wanted to stay in the deep slow void inside the listeners brain. It’s taxing, but that is the point, reward through process of abandoning your time. It may take quite a few listens before you hear all the things we have done and inserted inside each song. Electrocution was more focused on rock sound and some more immediate punk sounding things. I like that album very much and think we were perhaps slightly unfocused with our song selection. I think that certain songs are still excellent like “God is a Beast” which will easily become something of a UT classic. People always shout for it live.
I very much like the title of the record’s second song, “The Horsemen Arrive in the Night”. What is this talking about? Smells like some kind of symbolism here…
It’s a twisted, metaphorical biblical reference through the toxic sludge mixture of modernity and catastrophe. The song expresses a feeling of impending doom. How evil is classically conducted under the veil of night. Also about things going down are in the near future. Bleak world. IN the art work there are three horsemen, perhaps the red one has already arrived!?
I’ve got this feeling that both UT and The Howling Wind are guided by the same apparent black metal aura. Since you’re the main composer of those bands that could be easily explained. Still, though, this black metal touch is expressed differently from one another. How is that able for you to discern the vibes for each one of these bands?
I’ve told this to someone else recently, the Black Metal in my harsh vox and my riffs is from two bands mainly; early Bathory and early Darkthrone. I like newer Darkthrone but the early stuff has that cold soul vibe. The difference is in the drumming. Darren is a powerhouse that just stomps and crushes in his path. More of a Crover or Bill Wards on meets Thor style. Tim is more like a Fenriz “no frills” and organic drummer where he is efficient and plays the PERFECT drum beats. It’s more of a metal thing and I have very specific ideas for THW. UT is like a Melvin’s kind of band with a black aura to me.
The new record sounds so damn sure. Has the stability in the band’s line-up played an important role in this? If my memory doesn’t cheat, it’s been almost ten years that you guys are ploughing the stages and studios.
Your memory serves you well! It’s very important. Any studio we have been in, people have been surprise how efficient, rehearsed and prepared we are as a band. We don’t fuck around! UT started with a different drummer Pete, and he lasted one year. Darren joined in 2001 and we haven’t looked back. We set a goal years ago to “one day be able to record quality albums on our own” and we are almost there. We have grown together as a band and certain songs we can play literally effortlessly. Not to mention I’ve played with Darren since we were kids. Our playing is tuned in and we play in a defined beast of a band. Confidence and a daring attitude is our path and we try not to stray from it.
You know, I was quite surprised seeing you covering Roky Erickson and Charles Manson. How did this come up anyway?
Well, Jay is very much into 60’s psych and all that 70’s killer tripped out stuff. SO years ago he got me hip to Roky Erickson and now I think he had one of the best rock voices of all time. His combination of weird, fucked up alien/Lucifer lyrics really made his accessible sounds seem very morbid and enchanting especially “The Evil One” for me. The idea for the Roky split 7” with Minsk came about from being on tour with them and having a spirited exchange of ideas and spirits. The Manson record came about through Jay and Darren. It was their idea and Jay even got Wooden Wand involved. I participated by added ambient sounds, interpreted the guitar lines and the application of the sample of Charlie. I always found that even though he is batshit nutty, he often had profound things to say. Like a captured demon of truth. Darren Verni did the vocals and I think they sound amazing. Very raw and basic 2 acoustic guitar, ambience and voice. A change of pace and something for collectors really as its only in edition of 200. Available on Chrome Peeler. Google that shit.
There must be many who expect to see you performing THESE new songs on stage. You should know that in our country there’s at least one of those guys and that’s fucking me. Is Greece out of your touring plans once more?
Yes I can only hope! We have made many awesome friends and contacts over the years! New songs have been sounding great live! 2011 looks promising for UT.
Some months ago, you’d told me you were about to record as a solo artist some day. Is this thought in advance? Are there any songs?
I hope to one day write some songs on an acoustic with non-screaming vocals! No songs yet. Get about an albums worth of songs and then do them in a studio with instruments. I would use my own name. But this is only an idea at this point. My outlook on my future in music is one that I’ve always had – once I get older I just revert back to acoustic and voice and move to the mountains. Hahaha…
Would you like to tell us about the five records that changed your whole life?
1. Dokken – Under the Lock and Key. The first tape I ever bought from Models [pre-sports store] off Sunrise Highway in Patchouge area of Long Island, New York. To most this is glam crap [and I understand] but something about Lynch’s flat 5th sound really appealed to me! I was in the 5th grade.
2. Black Sabbath – Black Sabbath. This record is more of a religious thing. This is where the holy tri tone of doom metal was born. And born out of blues and warnings of bastards. No different then our outlook. Except we tread in the dazzling and bizarre landscape of 2010.
3. Celtic Frost – Morbid Tales. Riff master of bending and chromatic tastiness. It gets no better for blending punk intensity with great drumbeats and masterful roaring and organic, primal metal riffing.
4. Neurosis – Through Silver in Blood. This is the blue print for what countless post 2000 bands in the doom realm and UT is no exception. But we never wanted to copy their sound merely just to one day attain the intensity I witnessed during the live shows from this era of the band.
5. Kiss – S/T and Hotter Than Hell. Another favorite [albums] from my youth! Love this and I listen to it often until this very day! I don’t care if people hate Kiss, I love them!
Thank you for this interview. Is there anything you would like to add? Predictions, promotion, anything…
Check out our other bands Abandoner, The Howling Wind and Pollution, MKRL and more to come. Thanks for taking the time to listen and think about our musick.
“Our virtues and our failings are inseparable, like force and matter. When they separate, man is no more” – Tesla