Hello Dragos! Welcome to the writings of Din Intunerec!
Hi Mihai, thank you for the invitation!
Why did you choose the name Genune for your band and why atmospheric Black Metal?
‘Genune’ can be translated into English as ‘chasm’ or ‘abyss’ and for us it has a somewhat psychological leaning as well, since the focus of our lyrics is often on how the unconscious side of the mind processes the outer world, by morphing its elements into fragmented images that we then use to shape our active understanding of it. That abyss can be the place of origin for our interpretation of the world, in a sense, so I felt that both the natural and abstract connotation of the word would fit the music I intended to write.
I would later also find out that it keeps me humble whenever I google ‘genune black metal’ as the search will always come back with ‘Showing results for genuine black metal’, which is fair enough I suppose.
Our blend of music is, first and foremost, what comes out naturally and this most likely stems from the fact that we are also fans of this genre and having listened to it for a long time, it informs our compositions without us putting much effort into following prescribed formulas. We’re however not the sort of band to write a song and then claim to not know what genre it is until some other entity comes and labels it. We know we play a mostly recognizable form of black metal and we’re ok with that.
Considering the fact that the band Genune was founded in 2012 as a one man band, did you change the initial idea with which you went on the road more than 9 years ago? Why did it take so long for the first album ‘Cern sol’ to appear? Could you please say a few words about this first album?
I would say that we certainly evolved throughout the years, compositionally and thematically, which is no surprise if you do something long enough, but in what regards the initial line-up, it was not really a choice. I started the band as a solo act because I did not know anyone else that would be interested in playing this sort of music, at that time.
The first album took that long to come out due to us having to learn to produce a record. We’re very DIY-minded and it took a while to gather the right equipment and knowledge. Adding to this, the songs on that album were written in the span of 5 years, during which influences and style varied a bit, as we ‘molded’ our sound into something we were satisfied with and were happy to present to others. But probably the most important reason was that we did not have a complete line-up until 2018, when the album came out.
The second album, ‘Inert & Unerring’ was released this year. Tell us more about this one, when you started working on it, did you use songs, ideas composed from the time the band initially started playing?
The entire album was written after the release of the first one, but I believe that some of the lyrics I had from before. I’d say that it’s the first album I’m actually for the most part satisfied with and given that it took less time to write, it sounds more homogenous overall. We also produced everything ourselves again, to a hopefully somewhat decent end result.
My personal take on black metal is that the genre is often at its best whenever (but not only) it borrows from a band’s local cultural substrata to create a previously unheard expression of it. To give some examples, the mystique of the Cascadian wilderness makes WITTR appealing. A unique expression of Swedish narcotic-driven apathy made Lifelover into who they were. Old Negura Bunget weaved traditional Romanian instruments and esoteric or spiritual motifs into black metal and created an almost mythical allure to their music.
All of this is to say that we tried to look at ourselves and see what we could bring forth that would create the type of expression we admired in others. To what degree we succeeded, we leave to listeners do decide.
‘Inert & Unerring’ is as such, thematically, about heritage. We try to understand in what form and shape our way of thinking and living is influenced by recent history and by the heritage it created. There are four songs and all of them revolve around and build upon different perceptions of what this heritage means. Unworthy Sons & Daughters, for example, was originally inspired by the idea of migration (something we’re all familiar with) and particularly that of the Romanian people from the rural areas to the cities, in the second half of the 20th Century. It uses descriptively apocalyptic imagery, inspired by the ‘violent’ face of heavy industry to contrast that reality to the emptiness of depopulated and abandoned rural areas, personified as ‘blue with heartache’, but that same blue also coming from the ‘nearing darkness’ that engulfs them into history. We mentioned before that the title is taken from Arthur Koestler’s ‘Darkness at Noon’ and it beautifully captures the essence of time moving forth without much pity or restraint against human protest, which ties in with the overall lyrical direction of the album.
How was this last album received, both by local listeners and by those from abroad? Did you get promotion from the press?
We are happy with the reception so far, especially since it all came organically. The album got a lot more attention than our previous efforts and I imagine we were helped by the artwork standing out, as many people commented. It captured the curiosity of enough listeners, which isn’t the easiest thing to do given how many releases come out each month. We were glad to see that it started various discussions and we’re humbled by the people praising it and promoting further, to whom we are ever so grateful.
Has the band Genune never played live before? Do you think we will ever be able to see Genune live considering that it is no longer a one-man band since 2014?
We have a complete line-up again and have started rehearsals, so it’s not excluded, but certainly not guaranteed. We are still getting acquainted with our new drummer, who we’ll be announcing as a new member in due time (it’s difficult to find a drummer that does not already play in 14 bands so we’re keeping him anonymous for now). Playing live has, however, never been a priority. I’d personally rather focus on writing and recording more music, but some members in the band would also like to start playing live, so we’ll see.
Who writes the lyrics and where do you find the inspiration for them?
So far, all the lyrics were written by me. I find that writing lyrics is often the hardest part of putting an album together, but I normally try to draw inspiration from the places and people I see, reflecting back on experiences and events, both mine or seen through fiction, as I do enjoy reading literature and poetry of various sorts. Occasionally, I also just look with awe at other bands’ lyrics (read ‘Aphelion Void’, ‘A Body Shrouded’, ‘They’ll Clap When You’re Gone’) to slap myself into writing something hopefully worthy of having eyes laid upon.
How do you see the black metal scene here in Romania?
Today we have some great bands like Akral Necrosis, Argus Megere, Katharos XIII and of course Dordeduh, all of which had killer last albums. There is still a lot of room to grow, though, so I’d pay attention to anything coming out through Loud Rage Music in the coming years.
Thank you for the interview, the last words belong to you.
I think I’ve rambled enough by now. Thank you for taking the time to interview us! Check out Madina Aknazarova for some great Tajik music.