Interview with 'Max', of 'Helalyn Flowers', 09 Nov 2010
Dedicated to my sweet girl, 'Sharon', my blue eyed angel.
Photo by 'Mirko Rotondi'... © HF 2009When did you first actually form, and who chose the name 'Helalyn Flowers', and does the name itself have any distinct meaning ?
(Max) We began as ‘The Claw’, which was formed back in 2003. Its style was more Goth-Rock-driven and the line-up was the typical 4-pieces band. Noemi and I felt that it wasn’t the rightest thing to express our creative needs, so we splitt the band in 2004 and started to write new stuff as a duo with the help of sequencers and electronics. That was the very first embryo of Helalyn Flowers. This name came to my mind like a blaze and both we agreed with using it as the band’s own’s.
‘Helalyn’ is an English Archaic term which stands for something like ‘subconscious’, ‘hidden’, ‘formless’ and so on. The idea of flowers (as symbol of life) growing up from an arid ground exactly reflects us as individuals and as a band. It’s freedom, shouting yourself for what you truly are. Nothing is impossible.
To Business, as a newcomer to your sounds, please introduce yourselves. Who plays what, and who’s behind the creative lyrical side ?
(Max) Officially, Helalyn Flowers always has been, is and will be a duo consisting of N0emi Aurora and me. At live shows, Ernst is our live-member behind drums and percussion's. All music, lyrics, imagery and everything else is ideated, done and approved by N0emi Aurora and me. Mainly, N0emi Aurora is responsible of all lyrics, visual, imagery and art, while I am more into production, music and instruments. But these are mainly ‘official’ roles. Actually, we are incessantly exchanging and comparing ideas on ideas.
The first few days, weeks what can you remember of them. Did you have an agenda, master plan. Were you surprised by what followed, and what were the first reactions like?
(Max) It can sound a bit odd, but we wern’t much surprised by what followed our first Mcd. I’d say that we were so happy with how things were going. This because we always used to project the main idea and image of Helalyn Flowers as a non-stop fluid led by our mental energy. The first reactions were wow, also including someone who scorned us!
Well, it’s N0emi Aurora who uses to write down all kind of events, but what she writes only her knows.
What was the first song you ever wrote as a functioning band, and is it still prominent today ?
(Max) “Acid Love Code” was the very first song we wrote as Helalyn Flowers and now we’re going to give it a live visibility. But “Alienate Me” is the song that really was able to increase our popularity immediately after the release of the debut Mcd. And we never stopped to play it live.
2005’s “Disconnection” MCD was your first official release, I believe after six months of being formed. What can you remember of its creation, were these easy times, or as a new band did you struggle at first. Do you think it aided as a building block, for future release's ?
(Max) Those were really joyful days that we’ll always remember. We got no expectations, just had fun and passion in doing it. We entered the studio only after a few months we started and we didn’t care about being in line with specific musical styles; we just wanted to make it our own sound. What I can remember is endless nights with tons of riffs, choruses, synthlines in the air…
Even though its differences with following stuff, of course it’s a super building block, especially for “Stitches Of Eden”. I think our next LP will have resonances and reverbs from it.
It’s an extremely important step for us, so we decided to perform 4/5 of it during our upcoming London show (on 11th December at Electrowerkz) as celebrating our first 5 years of life.
After it's initial release, how did you find the initial feedback. Plus did you find interest outside of Italy, and further afield. How long was it before you began to noticed?
(Max) Everyday I see lots of bands struggling to emerge from the deepest underground with very poor results. That wasn’t our case. We planned a massive promotion of “Disconnection” almost like a true label would. Simply we sent Cd’s to everyone: mags, radios, promoters, DJ's, websites… We self-managed site, myspace and every kind of promo tricks. We got warm responses from a lot of people, especially in the US and in the UK. We drove all this with determination and involvement, so when “E-Race Generation” was released we felt like a bomb was triggered and each step was a strong resonance.
E-Race Generation, was released. The following year, a huge change in sound feel and tempo. Stripping away the older 'gothic rock' elements. Bolder, louder and hints of modern industrial. Why such a drastic jump. Was it more a case of breaking the mould, and not just being a 'Goth Rock' band ?
(Max) Actually, we never cared of really being a Goth Rock act. What you hear is exactly what comes out from our minds and manufactured for Helalyn Flowers. Of course, we were aware of this strong diversity, but we think that one must consider “Disconnection” as a complete work, in despite of its length-time. There was no reason to enlarge it to a further Mini, single or Lp. It was perfect in its form. “E-Race Generation” marks our entry into more electronic fields. We wanted it faster, futuristic and frantic. And so it is.
Who would you say are you strongest influences. Do your lyrics and releases follow any set patterns or themes. Such as a particular concept?
(Max) As for the music, each release of ours reflects in some way influences from artists we really enjoy and make’ em our own influences in that specific moment. For example, in “Stitches Of Eden” you can hear references to Killing Joke, Gary Numan, Duran Duran, Orgy, Talk Talk, Marilyn Manson, Siouxsie… but we don’t consider them as sum points. Contrary, we like to play with them and let’ em be filtered by the Helalyn Flowers machine.
How long was it before you were approached by the 'Alfa Matrix' Label, and how have you found them since. To me, they hold certainly some of the most prolific and interesting, Industrial artists in the world. You now being one of them ?
(Max) We were contacted by the AM guys back in early 2007, thanks to our ever more increasing popularity among the Vampirefreaks network. They listened to our “E-Race Generation” that we submitted for the “Fxxk The Mainstream Vol. 1” and they offered a contract-deal after a couple of days. To be honest, we heard of them but never we imagined us as a band of their roster. We are not the biggest listeners of EBM so we expected to sign to a more metal/rock-oriented label. They strongly showed to believe in us and they have a very large distribution channel, so we accepted and signed to them in February 2007. They have great acts like Front 242 and Leather Strip, even though it’s not what I listen to every day.
Now being signed to a great label, with proper promotion and backing. Did you find you had to change your approach, or were you allowed 100% creative freedom. ?
(Max) We would not have sign to any label without having our total control on our product. Fortunately, Alfa Matrix is a label that doesn’t force its own acts to play in a specific way. Otherwise we would have fuck off.
June 2007 EP “Plaestik”, your debut EP, is released to the world. Now with backing and promotion, from a great Label. How did it fare, and did you feel it bought you the attention that you deserved at the time ?
(Max) Actually, I think it added what we missed as an unsigned act. They created a big ‘boom’ in the scene with our debut and this brought us at a major exposure. It went good.
The release of the debut-album, “A Voluntary Coincidence” in November 2007, shortly followed. Do you think this was the major turning point, and put you on the Worldwide map?
(Max) I think it really launched out our name even where there wasn’t possible as unsigned act. We had a lot of support from the main press, particularly from Rock Sound UK (as best newcomer), Flash (which featured us on the front-cover) and Orkus (act of the month).
What can you remember of its initial construction, was it an easy album to put together. Now being a settled band did you find things more fluid and relaxed?
(Max) Not really. “A Voluntary Coincidence” was difficult, controversial, critical even in its working of. You can hear it from the harsher moments like “Eye For A Day” to the sweetest like “Tide Line”. Even the most pop-driven tunes were contaminated with a growing sense of anger.
With each major release, comes a 'Special Edition CD', with exclusive Re-Mix material. Out of everything so far, is there any, that really stand out to you, and make you go wow, any you think is better than your original creation. I’m partial to 'Hybrid Moments (Xelius Project - Remix)' ?
(Max) I really love the 'Xelius RMX' as well as the ones by Andy (ex-Bluvertigo) and Neurobash. I think they have the power of going beyond the remix-thing. They are felt interpretations of our songs we really enjoy and yes… make us go wow.
Those ‘special editions’ are within the label’s politics, so it’s something we wouldn’t go to do if not ‘forced’ by Alfa Matrix. I’m not puking on it, be it clear, but we’re much more focused on our own music and see the remix as an extra that could be ok for just a bunch of songs, not necessarily for a full-length Cd set.
One thing also prominent of course, is you artwork on all releases. And also your overall visual look. Is this something you like to pride yourself on ?
(Max) Everything bound to our imagery (from pictures to artwork and symbolisms) isn’t made just for fashion or to join this-or-that trend. It’s how we really feel. We don’t do things people can expect. I’d rather stop doing all this. We came from a quite dark album like “A Voluntary Coincidence” and we’re here now with white backgrounds, Cyclops Flowers, Pop/Wave-like aesthetics and with a different sound. Exactly what people didn’t expect. Even we didn’t. In 2007 never we imagined to do an LP like “Stitches Of Eden”. To me, it’s one of the greatest aspects of being an ‘artist’. I find it exciting.
'Space Floor Romance', and the second stunning 'Stitches of Eden' soon followed. Do you think each release have brought about certain evolvements, and change in approach. Looking back at the older material, with your new skills and experience would you change anything ?
(Max) Of course, I’d change a lot of things but I think that it’d be stupid. We’ve always been sincere in what we do and each song reflects our truest mood and feelings.
Must ask about 'Hybrid Moments', my favourite. What its story, and hidden meanings ?
(Max) Musically, it started two days before we officially began the recordings for “Stitches Of Eden”. Suddenly we felt it was going to be one of our best songs ever so we were much motivated in finishing it and including it in the Lp. Very fast songwriting I’d say. Probably it was growing inside ourselves and we’re glad of having had faith in us. Lyrics are about us living different moments in our lives as bipolar stages.
Shortly you hit British, shore's, what can we expect to see at a live show. How do you think your sound translates into the live environment?
(Max) Well I can tell you that you won’t hear songs as they actually play on record. They’re more electro- crushing and entertaining. As usual, tons of sweat, draining make-ups and booming power. No pretentious stuff!
Thanks for your time, see you on the road shortly. Any last words to the masses ?
(Max) Looking forward to meet you in London at Dark Souls Fest!
Let’s say that it’d be a dream come true to see people becoming individuals living their own lives not being surrogate of outer will and power. Do what do you want and don’t lie to yourselves.
Thanks to you Edd for this pleasant talk...
For further info and contact:
http://www.helalynflowers.com
http://www.myspace.com/helalynflowers(Max) We began as ‘The Claw’, which was formed back in 2003. Its style was more Goth-Rock-driven and the line-up was the typical 4-pieces band. Noemi and I felt that it wasn’t the rightest thing to express our creative needs, so we splitt the band in 2004 and started to write new stuff as a duo with the help of sequencers and electronics. That was the very first embryo of Helalyn Flowers. This name came to my mind like a blaze and both we agreed with using it as the band’s own’s.
‘Helalyn’ is an English Archaic term which stands for something like ‘subconscious’, ‘hidden’, ‘formless’ and so on. The idea of flowers (as symbol of life) growing up from an arid ground exactly reflects us as individuals and as a band. It’s freedom, shouting yourself for what you truly are. Nothing is impossible.
To Business, as a newcomer to your sounds, please introduce yourselves. Who plays what, and who’s behind the creative lyrical side ?
(Max) Officially, Helalyn Flowers always has been, is and will be a duo consisting of N0emi Aurora and me. At live shows, Ernst is our live-member behind drums and percussion's. All music, lyrics, imagery and everything else is ideated, done and approved by N0emi Aurora and me. Mainly, N0emi Aurora is responsible of all lyrics, visual, imagery and art, while I am more into production, music and instruments. But these are mainly ‘official’ roles. Actually, we are incessantly exchanging and comparing ideas on ideas.
The first few days, weeks what can you remember of them. Did you have an agenda, master plan. Were you surprised by what followed, and what were the first reactions like?
(Max) It can sound a bit odd, but we wern’t much surprised by what followed our first Mcd. I’d say that we were so happy with how things were going. This because we always used to project the main idea and image of Helalyn Flowers as a non-stop fluid led by our mental energy. The first reactions were wow, also including someone who scorned us!
Well, it’s N0emi Aurora who uses to write down all kind of events, but what she writes only her knows.
What was the first song you ever wrote as a functioning band, and is it still prominent today ?
(Max) “Acid Love Code” was the very first song we wrote as Helalyn Flowers and now we’re going to give it a live visibility. But “Alienate Me” is the song that really was able to increase our popularity immediately after the release of the debut Mcd. And we never stopped to play it live.
2005’s “Disconnection” MCD was your first official release, I believe after six months of being formed. What can you remember of its creation, were these easy times, or as a new band did you struggle at first. Do you think it aided as a building block, for future release's ?
(Max) Those were really joyful days that we’ll always remember. We got no expectations, just had fun and passion in doing it. We entered the studio only after a few months we started and we didn’t care about being in line with specific musical styles; we just wanted to make it our own sound. What I can remember is endless nights with tons of riffs, choruses, synthlines in the air…
Even though its differences with following stuff, of course it’s a super building block, especially for “Stitches Of Eden”. I think our next LP will have resonances and reverbs from it.
It’s an extremely important step for us, so we decided to perform 4/5 of it during our upcoming London show (on 11th December at Electrowerkz) as celebrating our first 5 years of life.
After it's initial release, how did you find the initial feedback. Plus did you find interest outside of Italy, and further afield. How long was it before you began to noticed?
(Max) Everyday I see lots of bands struggling to emerge from the deepest underground with very poor results. That wasn’t our case. We planned a massive promotion of “Disconnection” almost like a true label would. Simply we sent Cd’s to everyone: mags, radios, promoters, DJ's, websites… We self-managed site, myspace and every kind of promo tricks. We got warm responses from a lot of people, especially in the US and in the UK. We drove all this with determination and involvement, so when “E-Race Generation” was released we felt like a bomb was triggered and each step was a strong resonance.
E-Race Generation, was released. The following year, a huge change in sound feel and tempo. Stripping away the older 'gothic rock' elements. Bolder, louder and hints of modern industrial. Why such a drastic jump. Was it more a case of breaking the mould, and not just being a 'Goth Rock' band ?
(Max) Actually, we never cared of really being a Goth Rock act. What you hear is exactly what comes out from our minds and manufactured for Helalyn Flowers. Of course, we were aware of this strong diversity, but we think that one must consider “Disconnection” as a complete work, in despite of its length-time. There was no reason to enlarge it to a further Mini, single or Lp. It was perfect in its form. “E-Race Generation” marks our entry into more electronic fields. We wanted it faster, futuristic and frantic. And so it is.
Who would you say are you strongest influences. Do your lyrics and releases follow any set patterns or themes. Such as a particular concept?
(Max) As for the music, each release of ours reflects in some way influences from artists we really enjoy and make’ em our own influences in that specific moment. For example, in “Stitches Of Eden” you can hear references to Killing Joke, Gary Numan, Duran Duran, Orgy, Talk Talk, Marilyn Manson, Siouxsie… but we don’t consider them as sum points. Contrary, we like to play with them and let’ em be filtered by the Helalyn Flowers machine.
How long was it before you were approached by the 'Alfa Matrix' Label, and how have you found them since. To me, they hold certainly some of the most prolific and interesting, Industrial artists in the world. You now being one of them ?
(Max) We were contacted by the AM guys back in early 2007, thanks to our ever more increasing popularity among the Vampirefreaks network. They listened to our “E-Race Generation” that we submitted for the “Fxxk The Mainstream Vol. 1” and they offered a contract-deal after a couple of days. To be honest, we heard of them but never we imagined us as a band of their roster. We are not the biggest listeners of EBM so we expected to sign to a more metal/rock-oriented label. They strongly showed to believe in us and they have a very large distribution channel, so we accepted and signed to them in February 2007. They have great acts like Front 242 and Leather Strip, even though it’s not what I listen to every day.
Now being signed to a great label, with proper promotion and backing. Did you find you had to change your approach, or were you allowed 100% creative freedom. ?
(Max) We would not have sign to any label without having our total control on our product. Fortunately, Alfa Matrix is a label that doesn’t force its own acts to play in a specific way. Otherwise we would have fuck off.
June 2007 EP “Plaestik”, your debut EP, is released to the world. Now with backing and promotion, from a great Label. How did it fare, and did you feel it bought you the attention that you deserved at the time ?
(Max) Actually, I think it added what we missed as an unsigned act. They created a big ‘boom’ in the scene with our debut and this brought us at a major exposure. It went good.
The release of the debut-album, “A Voluntary Coincidence” in November 2007, shortly followed. Do you think this was the major turning point, and put you on the Worldwide map?
(Max) I think it really launched out our name even where there wasn’t possible as unsigned act. We had a lot of support from the main press, particularly from Rock Sound UK (as best newcomer), Flash (which featured us on the front-cover) and Orkus (act of the month).
What can you remember of its initial construction, was it an easy album to put together. Now being a settled band did you find things more fluid and relaxed?
(Max) Not really. “A Voluntary Coincidence” was difficult, controversial, critical even in its working of. You can hear it from the harsher moments like “Eye For A Day” to the sweetest like “Tide Line”. Even the most pop-driven tunes were contaminated with a growing sense of anger.
With each major release, comes a 'Special Edition CD', with exclusive Re-Mix material. Out of everything so far, is there any, that really stand out to you, and make you go wow, any you think is better than your original creation. I’m partial to 'Hybrid Moments (Xelius Project - Remix)' ?
(Max) I really love the 'Xelius RMX' as well as the ones by Andy (ex-Bluvertigo) and Neurobash. I think they have the power of going beyond the remix-thing. They are felt interpretations of our songs we really enjoy and yes… make us go wow.
Those ‘special editions’ are within the label’s politics, so it’s something we wouldn’t go to do if not ‘forced’ by Alfa Matrix. I’m not puking on it, be it clear, but we’re much more focused on our own music and see the remix as an extra that could be ok for just a bunch of songs, not necessarily for a full-length Cd set.
One thing also prominent of course, is you artwork on all releases. And also your overall visual look. Is this something you like to pride yourself on ?
(Max) Everything bound to our imagery (from pictures to artwork and symbolisms) isn’t made just for fashion or to join this-or-that trend. It’s how we really feel. We don’t do things people can expect. I’d rather stop doing all this. We came from a quite dark album like “A Voluntary Coincidence” and we’re here now with white backgrounds, Cyclops Flowers, Pop/Wave-like aesthetics and with a different sound. Exactly what people didn’t expect. Even we didn’t. In 2007 never we imagined to do an LP like “Stitches Of Eden”. To me, it’s one of the greatest aspects of being an ‘artist’. I find it exciting.
'Space Floor Romance', and the second stunning 'Stitches of Eden' soon followed. Do you think each release have brought about certain evolvements, and change in approach. Looking back at the older material, with your new skills and experience would you change anything ?
(Max) Of course, I’d change a lot of things but I think that it’d be stupid. We’ve always been sincere in what we do and each song reflects our truest mood and feelings.
Must ask about 'Hybrid Moments', my favourite. What its story, and hidden meanings ?
(Max) Musically, it started two days before we officially began the recordings for “Stitches Of Eden”. Suddenly we felt it was going to be one of our best songs ever so we were much motivated in finishing it and including it in the Lp. Very fast songwriting I’d say. Probably it was growing inside ourselves and we’re glad of having had faith in us. Lyrics are about us living different moments in our lives as bipolar stages.
Shortly you hit British, shore's, what can we expect to see at a live show. How do you think your sound translates into the live environment?
(Max) Well I can tell you that you won’t hear songs as they actually play on record. They’re more electro- crushing and entertaining. As usual, tons of sweat, draining make-ups and booming power. No pretentious stuff!
Thanks for your time, see you on the road shortly. Any last words to the masses ?
(Max) Looking forward to meet you in London at Dark Souls Fest!
Let’s say that it’d be a dream come true to see people becoming individuals living their own lives not being surrogate of outer will and power. Do what do you want and don’t lie to yourselves.
Thanks to you Edd for this pleasant talk...
For further info and contact:
http://www.helalynflowers.com
http://www.facebook.com/helalynflowers
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