It's the most important that the tunes of the 5 member are satisfying and I thought that it's finally like we returned
(I): As you turned your attention to „DOGMA“, what things did you thought of as you faced the production?
K: After all the songs were present, at the time we thought about what kind of approach we should do, we talked about wanting to go with even lower tunes than usual. For this purpose, we had the reality that if the kick drumms wouldn't make lower tunes, the bass wouldn't be heard, so we watched out for that. Regarding the set we changed thhe tunes that were directly hit, to say so it means that we requested a metal like Tam in the beginning. Towards the Tam Ruki was annoying me if I couldn't go even lower (lol). To go lower, I started searching for a set with a body that sounded properly. As a result I settled down with the Oak shell set, and with the first round (playing it) I already thought „wow, what is this rebounding sound?!“, so we started with this. The melodies this time are like that too, but we also wished for more symbols, and with the drums itself we wanted to exceed the extension line we had until now.
(I): It was the moment you started the production that you could clearly see the tunes that you should produce as a band, wasn't it?
K: I think, we could see the direction clearly.
R: The moment we just we had tunings with chord A and B, I understood that my part was to support the lower part and so we thought of this as an axis. But I always end up thinking that it's a good tune we made, but we also get to see reflection points, don't we? That's good, but I wondered if we couldn't record it more normaly. As in how could we record without mistakes, without wasting something? This time we investigated this.
(I): What do think about all the present songs?
R: As expected there are many intense songs. That means, it's just songs with high tempo and low tuning. In the middle of the pripro I thought that you probably wouldn't notice anything even if you think about detailed phrases. That's why we changed our point of view and made the plays itself more simple. We thought that chipping it off (the complicated parts) made more sense. After that I just had to be carefull of the picking.
(I): What you thought about the compositions is, that while you were putting various compositions together, unexpectedly it didn't sound complicated. I had the impression that you arranged something with an super comformity.
R: Indeed, as I took each of the deta of the pripro with me home to add the phrases, I said, that the composition is quite complicated, but as I tried adding it, that wasn't the case (lol), I got the feeling that I could accept it. That is a strange part of us, isn't it?
K: Because we were adding just the necessary things, as a result, the compositions were increasing. Nevertheless, because we are not doing some crazy things like jumping from 1 to 3, it was our way of constructing above going through with the order firmly.
(I): The recording went on smoothly, wasn't it? With a basic sound proucing are there parts that the reader of this magazine should be able to imitate?
R: Regarding the bass, first of all you're leaving the middle (tunes/ the middle of the bass) out and just go with high and low tunes, but that won't be enough, though it can rise the ecitement, doesn't it? If you do so, for the most part it should sound like that than (lol)
K: Because the drums are an accustic instrument, different people make different sounds , so it's a little difficult... This time I used an Snare of BelleGlass, didn't I? So, Until now basically I hang onto all of the rim and hit (the drum set), but this time, even if I didn't hang on, the sound came out as if I'd hang on, if anything, I wanted to hit it till it's real breaking point! Because I think that everyone can hit (the drums) without hanging onto the rim, I wanted to pay attention to this way of making tunes.