Nightfall In Theros



It has been a real adventure to create such of a project like Thulnar. I remember I began to think seriously about it during a hot summer, year 2002, talking with my dear friend Luca (Elric Blackcrow). He told me he would have played trumpet in the underground Italian metal band Mors Tua, lead by Judge Weir (Simone Lanzoni). At those times, I was listening to various kinds of metal – from symphonic power to black – and I wanted to be able, a day, to create something like that; but I didn’t own enough technical skills. Anyway, I didn’t give up at all, but I began to ask Luca some precious advice – and he, studying at the Conservatory in Bologna, knows pretty well how to compose–. From that moment I searched for a balance between my different influences, even if the whole process revealed itself longer than I had expected. And unluckily, on September 2003, I was forced to leave for the military service and so the composition stopped for an year; but in my mind many ideas continued to develop. It was in the autumn of 2004 when, back home again, I resurrected the old works and suddenly I realized the need to add something new to the entire composition process… I mean, I had always liked symphonic metal – and I love it even now –, but I felt the necessity to merge it with my aggressive side. So I imagined classical instruments, acoustic, united with vocal lines sung in screaming, but I wanted orchestra to be a whole with the metal quartet, or quintet, sounding like they were playing in a concert hall at the same time. My goal was – and is – to treat orchestra’s magnificence not as a mere keyboard, but use its majestic impact. In the end, my first work, named Thulnar Demo, was recorded for personal use, a rehearsal for the future projects; it has been a project with various influences, a way to improve my skills about the different softwares I use. Then I spent some months to relax and think about the new stuff. I knew I had gained experience, so every tune was taking shape day after day. The making of The End of the Blissful Days was less chaotic than before, so from November ‘til springtime 2006 I completed everything. The only trouble was recording the vocal parts, ‘cause Luca was very busy with his studies; so we were able to record his performance after four months, July 2006. At first, I was satisfied of the final result after the mix – done by myself –. But after having heard many professional products, I decided to recruit Simone Lanzoni (Judge Weir) for the pre-mastering and thanks to his skill he gave to the entire record a power in the mix I had been unable to achieve. 2007 has been a very hard year. Talaborn Skies composition process began during a cold December 2006 and went on for the following year 'till December 2007. I usually plan every work since the beginning, working on the concept so every tunes will exactly have the feeling I want them to. The matter is Talaborn Skies is a long album, almost one hour of music, and its songs owns different approaches to the concept itself; they've not a plain structure, 'cause I like tempo changes and dynamic variations, and of course these changes must fit with the story behind. It took me time to merge the concept with the music, but in the end I think I made a good work... or I hope, at least. The final release's still planned for this autumn. DARKEN Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.