Four-piece post-metal outfit BOLT GUN moved mountains with their acclaimed 2020 release, Begotten. This second full-length from the band delves deeper into a cinematic realm, taking inspiration from composers such as Hans Zimmer and Jóhann Jóhannsson, and smacking it up against heavy passages of droning noise.
Always a long time between live experiences, ALT//FEST will signal their rebirth with new line-up additions. We chatted with guitarist/synth/orchestral arranger Jon Vayla ahead of their return to the stage tomorrow.
Can you delve into how the current line-up has ushered in a new era for the band?
So the current line-up is myself, Andrew Trevenen, Valent Macukat, Claire Keet and Ollie Rundin. Since Talya Valenti (drums) left the band in late 2020/early 2021, we’ve really just focussed on writing new music and putting the next album together. Ollie (drums) has joined us recently in the preparation for ALT//FEST and, hopefully, we can start exploring new ideas with Ollie later this year. He has a lot of flexibility in styles and this helps with the more extreme sections as well as the more nuanced passages. Claire joined us on sax for several performances around the Begotten release, so having her involved has opened up creative possibilities on the new album and on stage.
Rehearsals lately have focussed on finding a natural expression of the songs. I’m a firm believer in not trying to re-create something exactly from the past, particularly if it’s been recorded or played by past band members. Everyone has to find their own expression of the ideas in order to make it enjoyable to play. We’ve put together a live set for this Saturday that includes a new song and an old song… and we’ll just have to see where Bolt Gun goes creatively in this form.
What has become the song you connect with most of Begotten and why?
Probably The Altar of Lies Will Not Be Destroyed, as it’s the one we’ve played the most and it’s the one that Paul Rankin made a film clip for. How Long The Same? is probably the next one for me, as i’ve got great memories of playing that with Claire and her adding some wonderful saxophone to the middle sections.
What keeps the band connected to the art of performance over solely releasing new material?
I think it’s hard to separate the performance from the preparation; the rehearsals. Speaking for myself, seeing everyone at rehearsal or working on an album… that’s often my main social activity. Life is otherwise busy with family and work. We’re good friends and I like spending time with them trying to create something unique and dynamic. It sounds corny, but I think connecting to the art of performance is really about the people on stage connecting with each other first. The live performance is an extension of doing this in rehearsal. If we can capture something unique in some of the moments of rehearsal, then we can usually find something similar on stage. Hopefully, people in the audience can feel some of these moments too.
In terms of new material, I am always writing and always recording new ideas. Time in my home studio is part of my weekly routine and I’m happy in that space. I like playing live too however, there’s only so much time. So if we are in the process of recording an album, we will often have a break from live shows.
Is the band looking toward new material? If so, can you give some insight into its direction?
Always. The pandemic meant a lot of downtime. There is a lot of new material for release in 2023. There’s still some debate about how we might release the new work, but I think there are about 70-minutes of songs being mixed in December by Ron Pollard. Most of the new material has Robin Stone (Norse, Stricht) on drums, so you can imagine the ferocity of some parts. Robin is a talented musician and also knows when something requires dynamics and subtlety.
In a surreal turn of events, we’ve also recorded a long track with Igor Cavalera (ex-Sepultura, PetBrick). It reminds me of the expansive sounds of Man is Wolf to Man, but with the addition of a legendary drummer going berserk. I’m personally still shocked that this has happened and really looking forward to releasing it 2023.
We are still exploring similar ideas and atmospheres to Begotten, but the new material is perhaps a little heavier and more guitar driven. There’s always a lot of influences for us but in the new music. I tried to approach something like the repeats and builds of Gorecki’s Symphony of Sorrowful Songs, with dark ambient textures and the guitar heft of bands like Esoteric and Swans. There are still lots of chaotic guitar/bass builds, black metal sections, noise and the sax parts have an Ornette Colemen vibe. It seems like a lot goes into the blender but there are still some definite boundaries and parameters about what goes in. We have also decided to take the new album to Ron Pollard (Tangled Thoughts of Leaving) for vocals, bass and the mixing stages. So Ron will certainly have a significant role in the final sound.
What would be your ideal contemporary Australian gig (in an ideal world) and why?
Drowning Horse is actually my favourite Australian band, so sharing the stage with them and seeing them at ALT//FEST is very exciting for me. I personally would love to play at Dark Mofo one year. That would be amazing to be on the bill with so many brilliant bands and artists.
Ideal five-band line-up? Maybe Portal, Drowning Horse, Departe, Spire and Lawrence English!
ALT // FEST is on Saturday, November 12 at Badlands Bar. Tickets available now here.