New World Order

 ► “Thornstar“: That is how Lord of the Lost named their latest work, which got its mystical name from the pioneering high culture of the Pangaeians, that in many aspects is supposed to have laid the social, cultural and ideological foundation for following eras. The legends about the mythology of the Pangaeians live on a deep spirituality. The Thornstar born from the end of the earthly world, when light and darkness melt together, embodies the beginning of a new order and at the same time the redefinition of balance. The dark-rock-formation dedicated their sixth album to this complex topic and dressed it in a not less complex wall of sound, which fascinates with various influences – raw and brutal, but also beat-heavy, catchy and melodic – as well as epic width. The band around front man Chris “The Lord” Harms could not be prouder of their legacy.

 

 

Contrast program

“For me it is the album, which I can personally identify with the most”, Gared confirms, the man who knows how to play instruments like piano, synthesizer, percussion and guitar. “We have always worked together with a collective of musicians and producers that involves more people than just the five band members. Then it is just natural, that on one album one is involved more and on another maybe a little less. On ‘Thornstar’ I could contribute so much on so many levels as never before, that makes me proud”, the musician says happily, who still remembers the details of the creative development process: “Especially my mental reaction to “Ruins”. I just thought: ‘Wow, that sounds raw, earthy and brutal!’ I found the contrast to ‘Empyrean’ with its synthetic-futuristic seeming sound perfect. It is as if one would continue the ‘Escape To Space’-Story of ‘Empyrean’ on another planet, on which a few colonialists risk a complete restart now”, he ponders.

“And that was exactly the plan!”, singer Chris explains further. “A sequel of ‘Empyrean’. The creation of a new society in a new world, that also brings along a complete redefinition of all human values. But that was not free enough for me, because this version of ‘Earth Vol. 2’ would have been created by humans, who are already ideologically biased. So, for me it was much more interesting to look back.”

An exciting approach, but how did the sound nerd find this lore in the first place? “For me there were several points of contact”, he states, “first very early in school, because in Waldorf schools this topic is talked about more than in state schools, where the existence of pangaeian era is often labelled as ‘Atlantis of the North’ – therefore a sheer legend. In my crisis of faith as an 18-year-old I had many nightly discussions with a catholic priest, during summer vacation on Malta, in the town of Naxxar, in front of a church. One day I asked about the meaning of the town name. He told me about many possibilities, one of them was a direct link to the mythology of the G’hahyr. Later I heard many partly very contradicting things about the historical transition from the Neolithic age to the high cultures in several world conspiracy theoretical internet-programs – to which I was addicted for a long time. This made me want to research more deeply. A friend of mine is a historian and he gave me access to archives, that the ordinary mortal does not get to that easily.”

 

Experimental mood

The visions were immensely big during the research period and such a lyrical concept brings along a kind of responsibility too. Still Chris did not feel pressured in any moment. “The sources are so vague and partly contradicting, that it is completely acceptable to set a convenient focus with your own interpretation. Apart from that there is no institution, which raps you over the knuckles, when you interpret or tell about their gods in a wrong way. Unless the Pangaeians have a time machine, then this could become a problem”, he laughs. “Moreover, James Cameron copied much more from the pangaeian ideology in ‘Avatar’. Compared to that our ‘Thornstar’ is just a little light.”

The motivation of the group to improve themselves with each album countentwise and musically, “eventually leads us to some certain experiments”, Gared reveals. “Concerning sound design there are no limits for creativity and so it comes, that sometimes one throws a bass drum transport case on the floor in front of some sensitive microphones, for example, to thicken their electro-beats with the recorded and here and there digitally edited sound. My highlight were the recording sessions, in which Nik, Chris and myself each had their own drum set and for certain passages played and recorded the same simultaneously. With this one achieves an effect, that you usually know from choirs and orchestras, where several people from one group of instruments play the same and it sounds even broader and fatter through minimal, totally human differences in timing and intonation. It is one thing, to record the very same from the very same musician multiple times over another to achieve tonal width. But one comes not even close to the sound, that several musicians produce, when everyone has their own micro timing.”

 

Rebirth

Drummer Nik is impressed by the power and energy too, that was present during the genesis of the album: “At the beginning of every production you always have a rough idea, where the journey should lead to. Over the course of the creative phase, about which I personally think, that it lasted from the very first song idea to the final finish of the final mastering, an indescribable dynamic developed. With every time, that you heard or played the pieces, you discovered new details or contributed them yourself. And the longer you focus on the songs and the topic, the more you think about the history of the Pangaeians, for example. I guess, that initially none of us expected this magnificent result!”

Class can only agree with these words and he describes “Thornstar” as a kind of rebirth, “without there having been a death before. We got an addition to our family with π and Nik. That feels good and right. I am very proud of us all – Band and Crew”, says the bassist, and Chris promises at the end: “The studio in the north of Finland for the songwriting camp to the summer solstice 2019 is already booked!”

 

The voice from outside – in conversation with Benjamin Lawrenz

Basically, one can call Benjamin Lawrenz a permanent part of the Lord Of The Lost family. The long-time friend and production partner of Chris Harms works as a producer as well as mix- and mastering engineer at the Chameleon Studios in Hamburg too. Reasons enough to sit down at a table with Benny in a relaxed atmosphere and ask what working together with Chris is like.

 

Benny, how long do you know Chris?

I think, we know each other since 2009. Back then I started as a student at the SAE institute, Chris was one of my lecturers there. About a year later I was on tour with the guys already.

 

What do you appreciate about Chris as a musician, but also especially as a person?

To limit a person, who I know so intensively by now, to two lines, is definitively not possible! But to start somewhere: About him as a musician I appreciate his competence and creativity. About him as a person I appreciate his loyalty and helpfulness. For example, how he helped me, when I as a student was trying to get in touch with the branch.

 

What distinguishes Chris’ way of working?

A very high efficiency and determination: To bust deadlines, because one wanted to party, I do not know from him. Rather mails late at night, on Sundays or on vacation. And his creativity! Sometimes the squeak of a chair gets turned into an instrument.

 

How did you experience the career of Lord Of The Lost?

As very steady. The guys always made sure, that there is an advancement and always something new and they never relaxed after success.