Interview: GAEREA

Interview: GAEREA

- in Written interviews

Time. Immortality. Endless Life. Endless death.
“[…] something at once dead and never dying, a thing utterly without destiny and thus imperishable, possessing that abysmal absence of mind, that infinite vacuity which is the essence of all that is immortal.”

You write beautiful and complex lyrics. Some phrases – like Six feet under is deep enough to make us equal—are pretty profound, and seem to be commentaries on modern life, while others are more lucid and/or esoteric. What are some of the things that inspire your songs? 

People. Their fears and yet their unique beauty in their own imperfection. Their art. Their way of seeing only imaginable creatures and yet, having the power to control them. We are creatures of modern society and a reflection of its ups and downs. As much unknown as worms, the crawling to catch the light of the sun is an everyday fight. Yet, again, we imprison our minds in our own creations that are meant to be distractions. Turning on the television, there are equality messages, and we’re stuck in our lives believing that is possible in our modern conception of civilization. We need to embrace chaos and destruction in order to fulfill our primitive desires.

Many of the images inside the EP are dual images. Was there a certain meaning to that?  

The duality of every image represents the duality of our body, mind, and soul. See it as a provocation and, in a very paradoxical way of speaking, salvation. For there is absolution in this work that, on other hand, speaks of the immense void of lost beings we’re in.

What albums and artists influenced you the most? 

Obsidian Kingdom, for their unique way of observing humanity and capturing their essence in ways that beauty and grotesque blends in an unimaginable way.

Your EP has gotten some great reviews – and with good reason. Your songs strike a great balance between atmosphere and aggression. What is planned next for Gaerea? Is there a full-length coming? 

“Void of numbness” chapter, as the first of GAEREA, is far from its ending. There is another creation coming and much will be known of it in the following months.

You have some shows coming up. Can you tell us about those dates? 

The debut show was in Porto, Portugal, in an obscure dark art festival named North Dissonant Voices. The perfect moment for a first appearance, we presumed. There are two more performances about to happen on Spanish soil in February, and one more in Lisbon, Portugal, in April. These are the four shows where “GAEREA” will be celebrated, played in full by a five-piece band.

You’ve got a pretty clear mission statement: Let’s make one thing clear. We need to stress the fact that our era is lost in a huge void of numbness. We are here to bring and present you what your system could not solve by itself. We’ll cover the daylight with ashes and smash the massive skull that’s blocking your brain and will to evolve. We’re GAEREA. Can you talk about that statement? 

We are not interested in the apocalyptic vision of life or death. What matters is what comes before it and what leads to it. What passes in the depths of human rationality for this to happen. It is between these two lines, in the division between the beginning and the end, good and evil and between the end of life and the beginning of death, in that vital twilight. That is where we enter. It is all the vast inadequate thinking that torments our conscience, it is the fear of sin and its absorption made by ourselves through the invocation of that disturbance capable of doing so. A scouring through the ashes and the remains of life that remain in our era. The taste and satisfaction of seeing death work and of seeing the human cry happen. In the background, we, Humans. In the background, we, GAEREA.

Why have you chosen to remain anonymous? 

GAEREA’s existence is inevitable for modern and contemporary society. Is a form of expression that arises to dismantle this view of the individual one right before the environment where he lives. Sometimes we have to destroy everything we know so we can build something new. We are part of this phase of forgetting what once was an absolute and unquestionable reality and finally breaking the glass in order to await for chaos. For it comes to us in various forms and faces. We are the mask and Persona that anyone could be; a puppet that the world shapes to justify what comes next.

You have some gorgeous art. Can you talk a bit about the art and artist, and what you wanted to convey? How important is the visual element to your music? 

The central creature that appears on the cover serves its purpose to put the individual at the center of his small, vast world. By centralizing all emotions and subjects in the real and palpable world, reality and justification become logical and intuitive. It is a return to individualism in its most raw way, recounting the suffering of the “I” in a solitary and cold way. Several souls lost in time and space for a hard and severe movement.

Where can people find your merch and music?

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About the author

Morgan Sylvia is a writer, a metalhead, a coffee addict, a beer snob, an Aquarius, and a work in progress. A former obituarist, she lives in Maine and is now working as a full-time freelance writer. Her work has appeared in several anthologies, most recently with a tale about the Scottish witch hunts in Wicked Witches ( She also has stories in the forthcoming horror anthologies Twice Upon An Apocalypse and Northern Frights. In 2014, she released her first book, Whispers From The Apocalypse, an apocalyptic horror poetry collection. Her debut horror novel, Abode, will be released from Bloodshot Books in 2017.

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