Mithraic Magazine

SEKT Interview (An Interview With Andrew – By Zero)

Rarely does an artist truly capture the ethos of 2nd wave black metal without being somehow involved in those formative years through the late 80’s and early 90’s in Norway. There was a rebellion and a solid “fuck you” attitude that could only have come from a series of events in the subcultures of Olso, Bergen, Trondheim, and Perth… While the northern hemisphere was being set alight by Mayhem, Emperor, Immortal and that other guy, bands like Dybbuk, Tyrant, Samain were ripping apart the Western Australian scene with their own brand of extreme metal. Fast forward a few decades and that attitude is still there in the form of SEKT. Featuring members from those initial Australian bands,this, for lack of a better word, super group are here to keep that black flame burning, in a city where the last time it snowed was in 1968! We had the opportunity to speak to Andrew from Sekt about the inception of Sekt, the influences involved and keeping a solid level of honesty in the music…

Looking back to the formation of Sekt, could you share the initial spark or idea that brought the band together? Given the collective history in a huge number of black and death metal bands, what led to the decision to come together for this project?

Well, it’s a long story… In 1995 in Perth, Western Australia there were four bands that played Black Metal. Those bands were called Samain, Dybbuk, Tyrant and Impact Winter. The members of SEKT consist of musicians from three of the four bands mentioned. I was in Dybbuk with Louie Rando. Warren Hately was in Samain and James Campbell was in Tyrant. Each band had an independent demo tape release available for purchase at the three main record stores in Perth in 96’. Then in the late 90’s / 2000’s the global BM “scene” became simply put absolute shit… So that’s where it all ended for me and BM in Perth. We all went on to do many other projects, too many to name here…

I have remained personal friends with Louie, Warren and James for decades and so when I decided to write / record some new BM music I naturally asked them to join me. We are all old friends. Plus we still enjoy 90’s style BM, so SEKT is a great excuse for us to see each other and use it as my personal creative vehicle to channel my emotions and thoughts. Fortunately they all agreed and thus SEKT was forged. 

I must add that we are NOT a band. We do not rehearse nor do we play live we write and record on the spot in the studio as we track / record and we have done this in July which is our winter down here in the southern hemisphere.. 

The lineup of Sekt features members with experience in other notable Australian bands. How did these previous musical journeys and collaborations shape the identity and sound of Sekt? Had you all worked with each other in one way or another previously? Was there a clear idea and direction from the start?

Each of us comes from that mid-90s black metal era in Perth. We were around at the peak of the second wave so we know the attitude and emotions behind it. We are all in our late 40’s and 50’s now so we aren’t running around like kids provoking anyone or proving ourselves anymore. We just write music that comes naturally. Everyone in SEKT is super busy with our respective lives so we do what we can when we can and that’s on our annual July meeting.

SEKT like I’ve mentioned is purely a studio project. I bring in 3 or so riffs into the room and then Louie and I just jam out the rest and record it on the spot in one take. There is nothing much premeditated. Only the emotion that winter gives and as we have been doing this for 30 odd years it’s not hard to write a song together. We have a synergy. The main thing to capture for the albums is emotion then writing hooks and making sure it has good structure and flow. So we just fall into our groove and go for it.

Could you paint a picture of the music scene in Perth around the time of your coming together and how Sekt found its place within it?

I moved away from Perth in 2010 and returned in 2021 so I have no idea anymore what’s going on to be honest. I’ve heard from the other members in SEKT that there really isn’t much of anything good happening in Perth. I could be wrong but also I just don’t care as I’m busy with many other aspects of my life than going to gigs and socialising. I know Louie Rando has both feet solidly entrenched in the Perth “scene” so he’d know more than I. Warren Hately lives 3 hours away from here in the southwest so he’s out of the loop completely and James does three other projects so probably has more of an idea. When I returned to Perth in 2021 I just wanted to play with Louie again and since we live down the road from each other doing a BM project (among others) was a no brainer.

Doing SEKT is for us, first and foremost. If anyone else likes it then it’s simply a bonus but not our concern. Even though we are all in many other projects we have never stopped playing or listening to BM music so it’s good to get together once a year and get it out of our system and on “tape” again.

Can you recall some of the earliest ideas and experiments that defined Sekt’s sound? Were there any particular influences or bands that significantly impacted your direction in the beginning?

So we just fall into our groove and go for it. Then after the guitars and drums are tracked we add bass then Warren drives three hours up and does his vocals. No click tracks. Fuck all drop ins. Just start to finish one take songs. Louie tracks it all in his jam room. James does the graphic design work and I write all the music and lyrics…in and out. Quick and easy.

How do the collaborative processes work in the songwriting stages of Sekt? Is there a primary songwriter, or was it a more collective effort from the outset? For EIP, i can see that you and Rando were the main songwriters, is that still the case or are James and Warren more involved with the writing process now?

Obviously everyone adds their personal touch but I write everything. Due to the fact we do not rehearse It’s easier that way. I am the director and everyone has their role. The lads trust me so there is no “ego battles”. Every ship needs a captain as they say…

“Forest of Souls” comes at us just a couple of years after your debut. How do you feel Sekt’s sound and approach evolved between these two records? What were some of the key differences or developments you aimed for with “Forest of Souls”?

FOS was more refined as I boiled everything down that I personally like in BM without any “fillers”, So there were no scraps just to make up for a lengthier release. I only added one keyboard track as a outro and used natural wind soundtracks to create an atmosphere for the listener (us) of being in the elements of winter. BM is all about creating atmosphere. Period.

How has the reception been for “Forest of Souls” since its release? Have there been any surprising reactions or interpretations of the album that have stood out to you?

Well, I’m doing this interview with you so that’s excellent! We did one other interview that’s on YouTube with a bloke from Perth. Some people that I respect and trust from the old guard of BM in Norway, England, America and Australia like the albums so that’s good to hear. If my peers enjoy it then I’ve done a good job ya know…

(Ps, I’d love to have the albums released on vinyl so if anyone out there is keen to do this please do hit me up. Email can be found on the SEKT Bandcamp page).

You mention it on your bandcamp page and although “Expiate In Purgatory” is a great record in its own right, Forest Of Souls is a step up. This EP feels far more deliberate and direct. Could you talk a little about the concepts and ideas surrounding this record and where they came from. Was there anything in particular any ideas or influences that made you want to start writing for FOS?

Lyrically the songs skirt around occult knowledge. ie Astrotheology, anti Darwinism, anti Roman Catholic Church, depression, nature, and self awareness and the loss of blind ego. Transcending the material world and becoming more spiritual (take that as you will) and the breakaway from the sheep like society that permeates this forsaken species. Musically I just do what I always do and find the right emotion within myself before I turn on the amp.

Production wise this is awesome! It’s definitely fresh and all consuming but it’s still got that 2nd wave razor sharp coldness to it. Can you discuss the recording process and the choices you made in terms of capturing the album’s character?

Sure… It’s 100% DIY in the SEKT camp. The best way to get a good sound is to know how to play your instruments and have good gear. Then just mic up and press record. It’s that simple. There should be nothing else to it… Recording BM is about capturing emotion and nothing should ever be over produced. Listen to Early / mid BATHORY. It’s total Perfection. This is BM not Bon Jovi so it’s just the punk ethos. DIY Then me and Louie mix it. I’m a lot more particular about that process, everything has to have its place and in BM the drums must not be overbearing. So Louie obviously hates me haha…

And almost to follow up on the writing and production; Are there any specific tracks on “Forest of Souls” that you feel particularly represent the band’s sound and core ideals?

I’m all about full lengths. I think that one must take in the entire journey of an album. A good record has to be like this. From start to finish the listener must find a comfortable spot and go on the adventure, be open to interpretation and the album must be a full package along with the artwork. Obviously it’s harder to do these days with a digital releases. As in with no jacket/sleeve, But you get the point. I absolutely devour the albums from my favourite artists and thus I want to present my work in the same way. So I cannot recommend a single track as SEKT has many diverse styles over the entire albums spectrum.

Got any favourite full lengths? Those 10/10 start to finish killers? 

There are many so I’ll give a top of my head in the black metal genre. 

Nifelheim- Servants of darkness 

Barhory- Twilight of the gods

Ulver- Bergtatt 

You’ve once again chosen the powerful artwork of Gustave Doré for ‘Forest of Souls,’ echoing the visual style of ‘Expiate in Purgatory.’ Beyond the obvious aesthetic resonance that his work has with black metal, could you delve deeper into why his art so effectively complements Sekt’s music and themes? Specifically, how did the artwork for ‘Forest of Souls’ come into play in relation to the music and lyrical content? Did you select the art first and then develop the title and tracks, or was it the other way around?

I love art and I love classic albums with classic cover artwork. In the 90’s BM world there were certain artists that were used by many bands like Theodore Kittelsen, Necrolord, and Gustave was sporadically used as well. I love his work and I love bands with a consistent theme so it was an easy decision. Gustave has so much talent and so many great works that we cannot run out of covers!! Haha. I actually already have the next one picked for the third SEKT release so I’m looking forward to doing that.

Andrew, it’s been a real pleasure delving into the world of Sekt. Your dedication to the raw spirit of 2nd wave black metal, coupled with that fiercely independent DIY ethos, truly creates something compelling – it all works fucking perfectly! Forest of Souls is an awesome record, a testament to the enduring power of this genre, and I wholeheartedly encourage everyone with even a passing appreciation for authentic 2nd wave black metal to seek out what might just become their new favourite Australian band. Thank you for taking the time to share the origins and vision of Sekt with us.

(Stay tuned for a future discussion with Andrew about the history and rise of extreme metal in Western Australia!)

Links:
Bandcamp