Interview with Dead Talks

Hi! How did the transition from Corpse Molester Cult to Dead Talks influence your musical direction?
Hi! With Corpse Molester Cult we had done everything we had to give to death ‘n roll type of thing. For us it was just time to move forward and explore what else we could make and kind of just to keep things interesting. I think that we gave ourselves freedom to bring more psychedelia and melancholy to our songs, just empty canvas to paint what comes in mind. We kind of just took our foot off a brake.

What does releasing “Veneration of the Dead” mean for the band, considering it’s your debut full-length album?
It means everything to us. Veneration of the Dead was our boot to kick doors open and show that we are still around and to show ourselves that we got this. With Corpse Molester Cult things were slow and we did not get things done. Dead Talks evolved from ruins of Corpse Molester Cult so we have done this together for a long time. Now we rehearse weekly, throw around new ideas all the time, have fun and everything is rolling forward. New found motivation so to speak. Old bastards are still going strong.

What inspired the dark and macabre themes explored in the album?
Thing around us. First, I tried to create some lyrical concept around this old Finnish crime, where small covenant steals corpses from cemetery, cut them into pieces and bury in swamp. All this in a hope of some treasure to rise from there. Tomi took our name, Dead Talks from these handwritten notes relating to this case. But in the end, I just had so much different ideas, so there is some religious criticism, hatred to modern mankind and this selfish world we live in. Some lyrics came from my own depression. Yes, cliche but I sank deep before and after recordings.

How has being part of Finland’s death metal scene shaped Dead Talks’ sound and approach to music?
Finland has long and dark winters, our melancholy rises from there. So that’s why we have great bands here. All of us (Dead Talks) have been part of the scene for long time. In our hometown, Lohja, death metal or metal in general was huge back in 90’s. For example, Tomi, Juki, Joni and Tipi from Dead Talks, played in this locally “big” band called KÄSI. I was their huge fan as a teen and went all shows I could. Back then most of our influences came from Sweden. Bands like Grave, Dismember, Entombed, Tiamat etc. Of course, in Finland, we had Amorphis, Xysma, Sentenced, Disgrace, Terveet Kädet, Mana Mana and such. Nowadays scene is blooming with band like Galvanizer, Azatoth, Gorekaust, Thy Idle Hands, Cryptic Hatred and many more. Proud to be part of that.

Can you share the stories or messages you’re trying to convey to your audience through the album’s songs?
Keep your eyes open and learn as much as possible from this world around us. Create your own opinions and view of life. Learn from the past. Venerate the dead. Our world is what we made of it, be yourself. Our lyrics reflects my reality but also our sense of humor. Don’t take things so fucking seriously, don’t be a puritan.

How did the collaboration with the album cover artist come about, and what was the concept behind the artwork?
Jani Toropainen is great guy we can call a friend. He made our logo with Tomi before we announced Dead Talks existence. Been around from day one. He has made our “ Control, Power and Complete Dominance” single cover, some shirt designs and our Lohja influenced backdrop. Everybody should come and see it live. Cover of “Veneration of the Dead” is inspired by this 1930’s crime in Finland called Case Tattariswamp ( in Finnish Tapaus Tattarisuo ). There this man, Vilho “Noita” Kallio had a covenant and with this covenant they dug up some corpses and buried them in a swamp of Tattari. In hopes that some treasure would rise from there. One severed hand were found by outsider and this case remained mystery for really long time. Our album cover design is Jani’s version of that severed hand in a swamp. Vilho Kallios drawn picture is also on a album cover.

What challenges did you face as a new band during the creation of “Veneration of the Dead”?
The most annoying thing on our way was Covid – epidemic. Had to post-pone some studio dates and cancel a few rehearsals. Also, album pressing was delayed. We have been doing this for so long together, that we had no problems at recordings. Album was recorded in Helsinki with Jan “Snoopy” Rechberger and we already had done Corpse Molester Cult “Benedictus Perverticus” – EP with him. He knew us and our way of working. Helsinki is near to our hometown, so it was easy to get to the studio if needed. Snoopy tried his best to keep our ideas together and sometimes he just had to say what was working and what did not. Really cool guy.

What drew you to death metal as a genre, and how does it allow you to explore unique themes and emotions?
For me it was that usual way. Listened a lot my brother’s Black Sabbath albums as a kid and went from there to Metallica and Sepultura. But finally like at age 14, I had this epiphany when listened Grave – Into the Grave song first time. Could not stop smiling when those massive guitars started to grind and that superior singing by Jörgen Sandström! God damn! I was sold. After that found Entombed, Dismember, Tiamat and such. Nowadays death metal to us is kind of a therapy. A few friends gather once a week to drink coffee or beer and play some tunes. Let off some steam and get away from that evil “8-17” life for a moment. Personally I can write my rage on paper and let it out. We have some songs that really get me on this red zone and there I can release all my frustrations and rage. Love it.

How do you approach the exploration of mortality and the afterlife in “Veneration of the Dead”?
As I get older, I think of death, and everything related to it more often. Have I really lived my best life or did I fucked something up? Does anybody remember me after I’m gone? What have I left to next generations? Why am I like this? Are we even real? That kind of mindfucks. I have always had interested in history and humanity’s ability to destroy everything. Why won’t we learn anything? We have done these same things repeatedly and still we do them. Religions, wars, poverty, genocides, school shootings, child molesting and over all terrorizing. I have generated this fear of that there is just nothingness after we die. We just shut down. That’s why philosophical theories, like solipsism interests me. Am I really me?

How do you collaborate as a band during the songwriting process?
Usually, Tomi or Juki have some riffs or skeleton of a song ready. We play it repeatedly and start to create some flesh over that pale skeleton. Tipi might bring some melodies to it, Joni makes some bassline and then I sit in the corner of our rehearsal room, take a huge cup of coffee and start to write lyrics while others keep playing that song. I have my head filled with different ideas and concepts from where I start to dig something on the blank paper. Sometimes lyrics comes easily, but sometimes not. Then I just leave those ideas to cook and we try something else or play some older songs. This works for us and we already have enough songs done for a new album.

What do you hope fans take away from “Veneration of the Dead” after listening to it?
I hope that some youngster will get that same feeling that I got from listening to Into the Grave for the first time. If we impact on even one person like that, our work is done correctly.

How do you see Dead Talks evolving and growing in the future, and what can fans expect from you in the future? Thank you for your time!
New material is darker and more serious. Songs are getting more psychedelic and doomish colors. Our goal is to make another album soon and to make that even heavier and more sinister than “Veneration of the Dead” was. Also hoping to get to play more live shows and in bigger places and if we are lucky, even abroad. We are ready, but are you?

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