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My Dying Bride - At Home With Despair

By: David E. Gehlke

Doom metal's heart-stricken poet, Aaron Stainthorpe's lyrics of allure, metaphor, and romance have given My Dying Bride the emotional touch-up that their contemporaries (i.e. Paradise Lost, Cathedral) have lacked. The proof is in the band's back catalog, where gut-wrenchers like "The Cry of Mankind," "For You," "My Wine in Silence" and "A Cruel Taste of Winter" resonate with heart-on-sleeve poetry, laced with imagery and honesty, serving a musical backdrop where smoldering melodies and lead-weighted riffs rule the day. Since 1998's departure album 34.778 Complete, the course MDB has plotted has been set on crippling desolation of the emotional unkind, unsurpassed in its aura, marveled by its consistency.

The band's new album is
A Map of All Our Failures, which Blistering aptly described to Stainthorpe as being "miserable," a word synonymous with the Brits. Thanks to a Pro Tools-less production job that recalls the glory days of Turn Loose the Swans, the album is as rigid and deep as anything MDB has done the last decade, with Stainthorpe's intoxicating vocals leading the way. It supplements the band's previous works nicely, in lockstep with the bleak pulse of the band's mid-90's triumphs.

No chat with Stainthorpe is without discussion of the band's monumental climb to the top of the doom ladder, along with regular queries about when MDB will finally make their long-awaited return back to North America. The good-natured Brit was more than happy to submit to Blistering's interrogations about those and more, and after settling in with a glass of wine (the singer had just returned from rehearsal), off we went...

Blistering.com: For a band that has done very little live activity in North America, it has to be nice to know there is still an awareness of My Dying Bride. Is it comforting to know people still care about you over here?

Aaron Stainthorpe:
Of course it is! It means a lot to us. We had a blast when we over there with Dio, many, many years ago [1997]. We had a wonderful time and made a lot of great friends. We were more like tourists than anything, but we loved it. We thought weíd back before nowÖIím not sure what has gone wrong; there have been different hurdles placed in front of us. Weíre working with different people now on that side of the pond, so with a bit of luck, we can promote it over there with some shows. Letís face it: There are lesser bands who come to the States quite a lot. Iím left scratching my head wondering why theyíre doing it and why weíre not doing [it]. If we donít come over there in 2013, something is very wrong indeed.

Blistering.com: If you want to get technical, you did the 70,000 Tons of Metal cruise earlier this year, so that could count. However, with the sun and the waterÖthatís not exactly a My Dying Bride-type setting.

It was unusual. When we got offered it, I scratched my head and eyebrows were raised as well. We thought weíd see how it goes and weíll see if they genuinely mean it and the offer was for real. It was, and we went over and had an absolute blast. The show on the trip out was in the ballroom, then we played on the main deck in one in the morning, so it was dark and the atmosphere was great. It was a bit odd seeing people in bikinis and Speedos when youíre onstage. That is a first. Looking up at the stars, it was pretty cool because it can get pretty dark on the sea. It was a real unusual situation for a band like ours to be in, but if we get offered it again, weíll jump to it.

Blistering.com: Iíve read that playing live isnít one of your favorite things to do because you have to relive the stories behind your lyrics. Is playing live becoming less of a burden? Are you starting to enjoy it more?

ďEnjoyĒ is not a word I would use for it [laughs]. Itís not as hard as it was in the early days, but itís still difficult. I would love run up on stage in jeans and a t-shirt and belt out the songs and interact with the audience, but thatís not me.

Blistering.com: Thatís not you at all.

Itís not me at all and a couple of hours before we go onstage the nerves are kicking in and I almost become speechless. I donít want to talk anybody. [The band] is used to it, so they donít want to talk to me [laughs]. Iím pacing up and down and getting in the zone, and onstage, Iím in a different world. Itís a pretty miserable place to be and I donít feel like interacting with the audience. Not in a rude way, but Iím in a bubble and that bubble canít burst or otherwise, the atmosphere will be gone. The feeling, the intensity will be lost, and I think itís important to keep hold of that. Coming off stage is my favorite part of playing live. Iím exhausted mentally and physically because I really throw myself into it. Even the festivals are hard where weíre playing for an hour, but a headline tour where weíre playing for an hour and 40 minutes, Iím lucky to survive the tour. You gotta knuckle down, get to the gym, and get on with it.

Blistering.com: Onto the new album, and it appears youíre doing lots of promo for it, even videos. Not like you havenít promoted your albums hard before, but for A Map Of All Our Failures, youíre really hitting the promo scene hard.

Definitely. I think the record label is using an independent promoter. In the past, they were doing it themselves, so theyíd ring up the usual magazines for interviews, but I think theyíve funneled it out to specific companies whose specific job is to sell something. I went down to London to see these guys and they were coming up with magazines who wanted to do interviews who Iíve never heard of before. Thereís a circuit of magazines and you get to know some of the journalists over the years, but some of these magazines and newspapers popping upÖI did an interview with the Bangladesh Times! I thought, ďHold on a minute, thatís quite obscure!Ē Thereís some unusual publications coming out of the woodwork and asking My Dying Bride to be in their magazine and thatís a great thing. Our music is difficult to listen to, sometimes. I think thereís a lot of people out there who are unaware of this style of music and My Dying Bride, who might take a little plunge and they may just enjoy some of it. Itís not all doom and gloomÖweíll it is all doom and gloom.

Blistering.com: Letís not kid ourselves!

[laughs] Some people who think of heavy metal think Iron Maiden, but then when they hear My Dying Bride they might think twice and think heavy metal is a bigger genre than Iíve given it credit for.

Blistering.com: As for the sound of the new album, itís just miserable. Itís not like you donít have any miserable-sounding albums prior, but are you finding that as you rehearse these songs that theyíre...miserable?

Definitely. Weíre very aware of what our fans think and what they comment on. We pay attention to the My Dying Bride forum. Thereís a lot of people saying itís pretty miserable, but also has a slight retro feel. Weíve rather than plugging in the instruments right to the computer, weíve recorded it in the old style with speakers, some valve amps, and placed the microphones right in front of them. Not many people record like that anymore. Itís giving it a slight retro sound and people are harking back to the grand days of Turn Loose the Swans and The Angel and the Dark River. So people are thinking this is a return to form Ė not that I think we ever left the form Ė people seem to be really going on with it. Yeah, itís miserable. With a name like My Dying Bride and an album called A Map Of All Our Failures, what else do you expect?

Blistering.com: The album has the feel of both of those albums, definitely. What prompted you to record in such a manner?

I do like a good produced album and Iím sure most people do. I canít remember where it stemmed from. We recorded that way for the Barghest ĎO Whitby, the 27-minute EP. Iím not sure what Hamish [Glencross, guitars] and Andrewís [Craighan, guitars] original plan was, why they wanted to record in that style. Youíre making a rock for your own back by recording in that style. If you mention Pro Tools, itís just harder to edit when thereís feedback and fingers scraping up and down the fretboard; itís just harder to clean up. They were adamant they wanted to record in that style. Iím not a musician, so I couldnít give a shit, so I went along with it. We liked it and went along with it, so we thought to do the album in a similar style. The violins are still lovely and clean, the keyboards are there to embellish what was done before. Itís not like a demo, but thereís probably a couple of feedbacks creeping in there which adds to the rawness of the feel.

The next album could be WELL over-produced. Sometimes itís nice to have a little bit of pomp in what you do, a little bit of theater. Iím not suggesting weíve found this rough sound and are going to head right down that alley for every album we do onwards. The next one could be polished as you like.

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