English transcript of Deneb's radio interview with Alaridos Radio

Here you can find the English transcript of that almost 1-hour-long interview Deneb had with Alaridos Radio. It's an online radio station located in Gran Canaria, Spain. The interview was going in Spanish.

Here you can watch the interview itself, and you can tune in any time to listen to Alaridos Radio for free online and you can follow them on Instagram, on Facebook and on TikTok as well.

 

Alaridos: Hi everyone and welcome to Alaridos! I present you today's chat not just with great joy but with extraordinary joy. I've been waiting for it long ago! Today I'm talking to Deneb from the band CYGNUS. Welcome to Alaridos Radio, Deneb, welcome to your musical home! How are you doing?

Deneb: Thank you very much, Devanna, I've also been waiting for this moment! Indeed we couldn't make an agreement about it for long, but finally we could make this meeting happen. I'm excited to talk about music, about content, about history, about everything.

Alaridos: Fantastic! Before we start talking I want you to choose whether it should be like any other interview or if we should make an analysis of one of your songs directly. This is now your home and this is my invitation sent delivered to you.

Deneb: You know, Devanna, that I'm at your service.

Alaridos: It's your home now! You tell me e.g "I'd love to analyze this song". This is your place now, our place, your home!

Deneb: Thank you so so much!

Alaridos: This is more than an interview, it's a relaxed chat! Deneb, before we start talking, I would like to give a brushstroke, a sneak peek about you for our listeners. You started playing music at the gentle age of 4, in this case classic piano, then at the age of 12 you switched to bass, right?

Deneb: Yes, it's right. My first encounter with music is from my very early years. My parents took me to classical piano classes. Well, you know, a little boy always wants rather to go out, to play football with friends, so practically these piano classes were always a torture for me. Especially because at this age I didn't like classical music at all. Also it's like as if your hands were little spiders while doing all these techniques. For a little boy who wants to be elsewhere and wants to play something else... well, let's say I didn't value these in that moment, even though I learned a lot indeed. It made me have a different understanding about music. Today I especially value this sensibility. It makes you develop a sensibility, a level of hearing, a level of interpretation. Some don't know that they have it, but let's say that it's there and what you say is certain. I was 12 when I fell in love with the electric bass and I already had a certain knowledge about music and certain basic concepts, so I didn't have to start it over. It was a love at first sight and watching it it was decided as well. By this shift I'm always armed because I have always something to hold in my hand.

Alaridos: Of course! Other than this, who tells us that an inspiration comes to you tonight? The Muses inspire you to play an intro for us, if I understand...

Deneb: Well, for now I have a show within a few hours. It was scheduled with other projects and they just wrote me. I had one and they wrote me to make another, second show later. We finish this interview and I go to study and practice.

Alaridos: Of course! Yes, enjoy, enjoy and live your passion! I understand. Deneb, when you were 12, you had this love at first sight with the bass, but when did this sparkle, this shoot of the arrow come for metal in general? Without determining anything special, just in general.

Deneb: My dad has been a rocker for his entire life and he showed me, well, for the very first time it was the Beatles that he showed me. I love the Beatles above all. I'm a Beatlemaniac - one of those who don't allow anything about the Beatles ever. Then obviously my dad loved Rolling Stones a lot as well, so he passed this, too, to me. Then Deep Purple, he is a great fan of Deep Purple. He showed me their album "Burn", the choruses, the metal, or well, let's say a bit harder rock. When I went to high school, I was listening to Led Zeppelin, Deep Purple, The Beatles, Rolling Stones - well, at that time we still had CD's, right? We also had "Forty Licks", we had "The Early Days", all these albums we had at hand. I think, from that point on, as the years pass, you get to listen to heavier and heavier rock. Like eating rocks!

Alaridos: Exactly, of course!

Deneb: So, from this it comes that I'm a metalhead, I love metal a lot and other cool things as well, but I enjoy rock the most. I'm a rocker, but I love those with culture, too. I love the Norse bands, there are some very good ones, but I'm a born and bred metal fan.

Alaridos: Wonderful, I love this answer. Of course, the real taste is always in the diversity. How did this all started with Cygnus back then?

Deneb: Yes, it's an obligatory question. Basically we started it when we were 11-12 years old. I just started playing the bass and I had a classmate with whom we were up and down. He played the guitar and we started to have events, these mini-events in high school accompanying the music teacher, supporting him with other kids and we got together. Then we got to know people outside of our school. They had nothing to do with our shcool and we founded our first little school band. Well, it was more inter-school, there weren't other high schools there and we started to make music. We made it with that innocence which characterises these bands. Later we decided to make ourselves more professional because after each event we got very good feedback from people. They said we had talent for this and we should dedicate ourselves to make music. Then I started, we started to make ourselves more professional. He then entered the Universidad del Valle, a local university here, as an undergraduate in music and I entered the IPC, the Institutio Popular de Cultura and I started to study music. I got a degree, well, I don't know if it's a technical, a technologist. In fact I don't know and I don't talk about it, but I finished there my career. These were 4 years of studying music. So, yes, I'm not in contact with this institution. It's been 4 years there, but music is important and that things are flowing.

Alaridos: Of course! Experience above all, learning and all that you've put into it. You can put all that you learned into practice and you have a wide balance of experience. I think it's more important than a degree. With that you can eventually have some credits, but if there's no experience, then a degree doesn't serve anything.

Deneb: Absolutely! I know people who have a degree, but... no, honestly, nothing happens around them and it's sad. But who knows what their aspirations are and what is their life rhythm, what they want to do with all that they know. Everyone has their own things, but a degree is not needed to measure real success and making things with music. You have to make yourself professional, to learn it. It's an art, it's a science as well, and you must be professional with this, too.

Alaridos: I completely agree! We talked about The Beatles and The Rolling Stones, but what are those main musical influences that gave a shape to Cygnus's sound? Because listening to Cygnus we can't classify you as folk metal, because you have a very particular sound. Earlier I mentioned you, before this chat that when you're listening to the overture of this 5th album, it gives you the feeling of being in the meadow of Lord of the Rings or in Conan, running in search for the law of steel, etc. Which are these influences or how do they come directly to Cygnus's sound?

Deneb: There's indeed an influence from The Lord of the Rings, at least in my life. It's actually very very very important. I have Elvish tattoo here (shows his arm) and there are many things which I love. I'm a fan of Howard Shore, he's the composer of The Lord of the Rings's soundtrack and well, I'm a rocker, I've been a metalhead in my entire life, but we could name many bands that have an influence on me that resulted in the music we are making with Cygnus. Two of them are from your country, they are Spanish. One of them is Mägo de Oz, they undoubtedly had a great influence on a Latin-American level as well as on a level of many people - even if criticizing is very easy, it's that easy. Then do it yourself, right? The whole world is talking about Mägo de Oz, but some wants to have a company as solid as Mägo de Oz and their derivatives as e.g. Kabrönes. They are musicians and they make a great business with a lot of profit. I deeply love all that is Mägo de Oz as well as what they achieved worldwide, it's fascinating. The other is from Galicia, a band that's called Luar na Lubre. They aren't really known and they don't play rock music, it's pure Celtic folk. One of my favorite pastimes is drinking some wine in the afternoon listening to Luar na Lubre and watching the sunset. I love the folklore they make, the stories they tell, the melodies they play, the arpeggios the guitarist makes, they are perfect. It's a wonderful band and I love them. Then e.g. Rhapsody of Fire, they are from Italy, I love the way of their orchestration, I keep it in mind every time, i.e. their way of orchestrating. It seems to me that they reached a level of orchestration which is very  high and very complex in many things. Then we talked about Faun, from Germany and we talked about Omnia. For me Omnia has got a very original Celtic sound. I also like Wardruna a lot with Einar Selvik. He has got a past with extreme heavy metal but I like the folklore part. It seems to me that you need to put together a lot to be able to capture what you want to do and in a way that doesn't deviate from the style people expect from you, right?

Alaridos: Exactly.

Deneb: Searching for a more solid concept there's another band, Ensiferum from Finland, they are also excellent. I also love Winterson, they are from Finland as well. These are the bands that had a great impact on us out of the folk bands. There's also Dream Theater, we love them, the progressive, the mathematical, when I have to do some thinking, and for this they are armed with certain rhytmical disorders just to make them in order. This fusion is very interesting. Talking about what other tunes are part of it, I mentioned The Beatles, The Rolling Stones, Led Zeppelin, Deep Purple, Whitesnake, Michael Jackson, we've played them all. Then comes the classical music, like Howard Shore, Mozart, Beethoven and such, then more metal like Ensiferum and Dream Theater.

Alaridos: How great!

Deneb: Apologies for the long answer.

Alaridos: No, no, no! I love it, I love it all.

Deneb: Well, this is Cygnus!

Alaridos: I love it, because I understand not just these influences that affected Cygnus's sound, but I also understand how - apart from music - literature completes the creating of these artworks, these albums, these leaflets as well as these videoclips... Correct me, please, if I'm wrong!

Deneb: No, it's absolutely correct. It's true that I read a lot and when I'm writing a song, I investigate very well, because it's not our folklore, these are not our stories, we are on the other side of the planet. We don't have Celtic forests, we don't have Viking traditions, but we have access for information. And yes, we read a lot of history. Well, I myself personally read a lot, so we can make an adequate song about Thor that tells this particular legend, things are unfolding in the songs. I've read Tolkien, I'm an avid reader of The Lord of the Rings, The Silmarillion, The Children of Húrin and we can say that Tolkien's mythology is the key for e.g. in Sealed Fate, where I included words by Gandalf as well as a concept from The Children of Húrin. These are both mentioned in the song's general concept. So, yes, you need to be nourished very well, so when you write a song, the general artistic conception comes out rich, well and with foundations.

Alaridos: That is to say, it structures the album artwork for you as well. Do you yourselves carry it out or is it someone from the outside with whom you discuss it like "look, I want this idea, make a drawing about it"?

Deneb: This is a very good question. Let's see, as for the artwork... before this Viking concept was born, we already had 2 or 3 albums that had nothing to do with this Viking/Celtic theme. Then one day we made a Viking song... just one! We released it and it got great feedback, some people in Europe appreciated it. And they asked us where they could get more of this. So we said, let's make an EP with 4 Viking songs. We wrote them, we composed them, and then when we finished it and published it, the results were great. These people asked us where they can buy the album, so we said okay, we record an entire album. It was released with 9 songs, and we named it "Yggdrasil", because in Norse mythology Yggdrasil consists of 9 worlds and we had 9 songs. So we decided to give it the title "Yggdrasil", because it had 9 songs, just like Yggdrasil has 9 worlds. Then on the artwork we wanted a tree, the Yggdrasil. We started to experiment, then we came into contact with a local digital artist who is our great friend. We told him that we wanted this and this and this, we wanted a tree that has Cygnus cut in the middle of its trunk, where this little squirrel, Ratatøsk stays. Then the title "Yggdrasil" with colors and light. He then showed it to us and we said we would take it, we try not to be these very annoying customers. We tried and get him as well to do his own things and then the first artwork was born. Then came the 2nd album, Fire and Tales. The approach of it was like sitting under a tree and telling stories. We told him that it's precisely about fire and stories, fire and myths or legends. He said "very well, we'll have a girl in the middle, she'll have a book, fire comes out and all will be magical in the middle of a forest. We said, perfect, then we found a model, made the photos, the digital art and that's how the artwork of Fire and Tales was made. That's how it was going with the artworks. We always had an idea and he said "okay, we can do that, that and that to summarize the story". The third artwork is about a vision I had. We explained it to him and he depicted it. The 4th is Hél, Death and Glory has a lot to do with death. We had a photo session with a make-up... how is it called? Prothesis? Yes, prothesis, that's it. We painted Hél onto the model. The last one is a reindeer in a magical forest and he made a digital art. We always work with him, we love this tradition, but we'll see what comes for the next one.

Alaridos: How amazing! In this case, with this 5th album, this latest one, has there been some really challenging or great moments while recording it, which you would call "oh, yes, without this it wouldn't work" or "thanks to this challenging part now it is complete" or simply it was just a continuation of this, let's say, Norse mythology?

Deneb: This last album had some really serious challenges. Very very serious ones, I try to summarize you quickly. The overture "Uprisa" is not easy, and beside that it's the third album in a row that has an opening. Or maybe the fourth? Yes, it's the fourth, because the other was not made with full orchestration, just with a chamber orchestra. But even that way it was a lot of work. This was one of the first challenges, to motivate myself to do it, to determine if we make this album with the overture or shall we leave it as it is. Finally I took the risk and made it. Then there's another song called "Sealed Fate", that was a serious challenge. It contains a piece of a classical piano work "Piano Concerto No. 3" by Rachmaninoff. Rachmaninoff is a Russian composer. This piece is on the virtuoso level. It took a lot to record it, because I had to learn it, plus this piece is very complex and I had to make adjustments to it. We learned, or rather I learned that part which is playable, because from then onwards there are parts of it that are too complex, which only pianists with conservatory degree can play only. One of these I made is quite fast and complex, it doesn't compare to those that come afterwards. I'm a great fan of this work, and I said, all right, we go this far. We have a saying in Colombia that say "the monkey knows which pole he climbs" it means that a monkey always knows which tree to climb up but doesn't know how to climb up to the most difficult one. We made it until a certain point to evoke it. Then there's another song, it was a mini challenge. The song is called "The Perfect Blend", it's about feasting, drinking, being with friends. What made it a challenge is to write something different. We already have "Valhalla" that is also about drinking, then there's "Skål" which is also about drinking, also "Raise Your Horns", it's again about drinking, then "The Tavern of the Dwarves" which is similarly about drinking. This album also had to have a song that is about drinking. It's clear, but how to make it different from the others, not copying our earlier songs, nor other artists... These were mini challenges which need to be won one by one. Then there's a song "Hear the Call of the Gods" where the challenge was writing a very spiritual, very profound lyrics about the individual. It's a lot like a reflection, when one connects themself with the forest, with the gods, with being religious without passing beyond what it's not true, not real. It's more like an internal light. There was another challenge and I think it is one of the clearest challenges. It was making the song titled "The Legend of Thor". It's 23 minutes long. It's much longer than the normal, it's a journey, from the third part you go through different adventures, different moments of this adventure that we're telling. And since it's a 23-minute-long song, it's very complex, you have to put a lot of pieces together, e.g. I imagine this part this way, this part is softer, this one is more powerful, you sing this part, I sing that part, and we haven't done anything like that. This is one of those challenges we haven't had yet on the previous albums, that a song lasts for 23 minutes. It's very long, it consists of movements and let's say it is one of the challenges and one of the goals we made with this album.

Alaridos: My goodness! It came to my mind when Queen made Bohemian Rhapsody. It was 7 minutes long and they said it would not be released. Then all of a suddent it was! My goodness, now they would lose their minds for these 23 minutes!

Deneb: There are bands that have even longer songs, e.g. Dream Theater, they have a song that is 46 minutes long. These are works with movements, with sections and they are not going by the same pattern for 23 minutes or for 46 minutes, but these consist of variants and ideas and they are connected to each other into one whole piece. And yes, Queen, I love Queen and they made a 7-minute-long song with Bohemian Rhapsody at that time. It was a scandal and they didn't want to release it. We had luck, because our record label let us do the creative things the way we wanted, the way we felt it was right and let's say we're also neither at the time, nor at the stage of our career to say that "okay, let's make a 6-minute-long song or a 3-minute-long song because that's what this person expects from us". No, we simply let these things flow and if we want to make it that way, then we will make such a long song.

Alaridos: This is the real magic of Cygnus! That you flow and it flows to you and eventually we enjoy it. Deneb, how do you collaborate among each other in terms of composing or making creative decisions? Do you make it together? Or, let's say, the Muses bring you a rhythm which you record and send out? How do you organize yourselves?

Deneb: It's an excellent question. Let me see how to answer it... At first we start with the Muses. The truth is, I'm a lot like what the genius Pablo Picasso of your country said: "The inspiration already exists, it just has to meet you working". It's like we want to make a song about something, then everything starts there. Not seeing something, to see some phrase, some story, some concept, anything. I want to make a song about something, we can make a song. Regarding the composition, I think we monopolized it between me and the drummer, Ruxx. The other guys join us mostly for live gigs and they collaborate with us in certain things. E.g. I record some guitar solos, but guitar isn't my strength. When I can do it, I will and I will do it the best I can, but when we need to call a real born guitarist, then I call Andresito (Andrés F. Bernal - TWH), he is the solo guitarist. I say to him "I need you to record this and this solo for me, because you can play it, but I can't". Then he comes and BRRWEING (makes a gesture with his hand) and he has no problems with it. My solos are more melodic, more collected and more simple, but this is the shape of composing. Internally it's me who usually makes more songs or rather I'm the one who comes up with ideas like "let's do this, this and this". Every now and then Ruxx, the drummer brings two or three songs but they need to be put in shape. So we need to sit down and work and it's very interesting, because sometimes we record the music and such, sometimes we don't have the melody but we already have the lyrics. Then we say "it's ready" but it's merely recording the voice. When we are recording, the other one is at the mixing console to record and meanwhile keeps suggesting things, the other one of us says yes, that's how it goes, let's do it like that, blah blah blah... and that's how we compose, in progress. It's not like you bring a melody, you make an obligato and you record it. We don't record anything in advance and we improvise on what was recorded and that's how a new melody emerges. And if the one over there doesn't have the outro or exit, the other over here will have it and vice versa. And when you're out of ideas, the other one probably has the solution for the problem. These composing processes are wonderful and it's going very well with us. We composed 5 albums without problems despite I'm always very exhausted after the recordings of an album and now it will take time for me to recover from the wounds the battle of this album-making caused me and to be able to start the upcoming. So, more or less that's how the process of composition is like, I'm not sure if it was clear.

Alaridos: Perfect! The only thing left is, as you mentioned, to grab a hydromel. I think this is the magical beverage to heal and recuperate from anything.

Deneb: Yes, I firmly believe that the employees of a company should work a bit drunk. Not too much, so they can do their duties, but the truth is that a little beer in the middle of the afternoon or 2-3 shots of whisky helps you to unwind. You immediately have clearer ideas, and the hydromel has the same effect. It's true that sometimes we open a wine while we're recording or we drink some hydromel if we have some. If we haven't, then a bit of whisky and we keep recording.

Alaridos: Perfect! Actually big companies especiall those who work in marketing or public relations have this space for playing pool or canasta, they have their own space to deconnect, to unwind and for me it's an excellent idea.

Deneb: If you have futbolito, or I don't know how it's called in Spain...

Alaridos: It's futbolín. (foosball or table football - TWH)

Deneb: Yes, they have futbolín and air hockey, they have all these things. They make the brain work more efficiently. After all, what's important for the company is to be efficient, and that's what's important for us, too, to make beautiful songs... So, if that helps, bring me two!

Alaridos: Like, totally! Let's say that you're now taken to a stage. Close your eyes, and now you're in Valhalla. We're surrounded with valkyries, etc. etc. and you suddenly see an artist in the audience and you tell them "come here, grab the guitar, play with us!". Who is or who are those you say this?

Deneb: Including artists who are not with us anymore as well?

Alaridos: Of course!

Deneb: Well, one who is still alive is Sir Paul McCartney, obviously. Without a doubt I'd include John Lennon, of course, since I'm a Beatlemaniac. Then, let's cheat, George comes, too and since we're like that, let's call Ringo, he's alive. Then I'd love Jon Lord from Deep Purple. I would also love to play with Dream Theater or someone else who's more tangible is Frank, the guitarist of Mägo de Oz. I'd love to have him on one of my albums, and I'd play with him on a stage right there. For me that would be a dream come true. Then also with Carlitos from Mägo de Oz, with Andrea, their singer, it would be a dream. I grew up with this kind of music when I was a 12-13-year-old kid. I never think of anything other than them and they are legends forever.

Alaridos: Wonderful! It's a dream and when you dream, dream as much as you want! Exactly!

Deneb: Indeed, it costs nothing.

Alaridos: Absolutely not at all! I can attest it! When I started Alaridos in March 2021, nobody would have told me that I'd have you or other marvelous bands like Imperial Age, Wolf Under Ravens or you, obviously, Cygnus, or Anna Fiori and El Cuervo de Poe and many many others at the microphones of Alaridos. I'm more than happy for this! We continue dreaming and if they come to reality, then dreams come true!

Deneb: For me it was a huge surprise and I'm very happy that Frank from Mägo de Oz follows us on Instagram. Sometimes he even comments our posts! For us it's like a god, a living legend leaving a comment. Carlitos follows us, too, though he doesn't leave any comment. Frank does, he even reacts on our Instagram stories and it makes us like "AUGGHH dear gods, what's this?". It's like the fruit of our work and it's also our luck that he noticed in us! I don't remember anymore the date he started to follow us, but we almost threw a party, jumping for joy... well, these are things 13-year-old boys have, that your favorite artist starts to follow you. You get what I mean, right?

Alaridos: For sure! It's like - and I don't want anyone to offend me - it's like the day when Tarja Turunen gets at the microphones of Alarida. I think I'd surely need to drink something to calm down my nerves! Or Doro from Warlock, they are my two favorite singers.

Deneb: Sure! With a little whiskey or air hockey, to relax.

Alaridos: Absolutely. I'd be stuck to my pen saying "come on, come on, go, go, relax"... Well, you never know!

Deneb: You have to move forward. Frank wouldn't follow us if we hadn't started it all... and here we are.

Alaridos: Exactly! Talking about social media, the question rises: what is your perception as an artist concerning social media or the mainstream platforms for artists?

Deneb: Lately I've met a lot of inconveniences on social networks. The truth is, if it's about people trying to approach you, then it's a good tool. But I see that the engagement is basically every time worse and worse. Cygnus is a band that has 21 000 followers and when we make a post or anything, we have 60 likes, which is illogical. These numbers won't give you even 0,01%, it's clear. It's very low and it's not just, not fair, because you can't show yourself to your own followers. Or you post something and it doesn't appear on the screen for those who follow you and who want to see your work. It bothers me a lot, especially with Meta. For me it seems that they are very abusive. TikTok is a bit more free, it has much more content, a lot of garbage, a lot of humor and a lot of things to watch. But let's underline that it's a bit more complicated compared to Youtube, which is the main platform to show your work, your music with no pretensions, with no trends, without anything. Simply put, there's our complete works, anyone can watch it and listen to it. I came to understand that Youtube's monetization is let's say normal. It's not about getting impoverished, but it's not that bad either. Now there has been a scandal around Spotify, because they don't want to pay to certain artists that don't have more than 1000 listens/song. There's a rather heavy scandal with it. I don't have exact numbers, but I know that the majority of people pay I don't know how much monthly payment you pay e.g. in Spain to Spotify?...

Alaridos: I can confirm you, I have Spotify, but the thing is, I use it mostly to search for songs and to play original songs. Here it is, the monthly premium payment here is, 9,99 €.

Deneb: That's it. So you, as an artist receive 0,01 € for a listen. It's very low, but at least you get an Euro cent. It's very little, isn't it? You pay this monthly fee as a client, you pay 9,99 € and you can't even utilize the whole of it. I heard that earlier if someone didn't use up the whole 9,99 €, then Spotify divided it equally among the most listened bands and obviously they kept themselves a part. Now if you don't use it up, they keep it all for themselves, this is their new policy.

Alaridos: True!

Deneb: I don't receive the surplus which you, as a listener didn't use up.

Alaridos: Well, you don't...

Deneb: It's a bit like capitalism as a predator. It's worse and worse every time for the public, for the engagement, for listening and royalties. Every time it's getting worse, but what can we do? We fight, we keep going and the truth is, in Cygnus we are not thinking in matters of money. Instead we are thinking in matters of making people happy, ourselves as well as the people who listen to us.

Alaridos: Of course!

Deneb: They get the best of us and we always say that once the songs or the albums get out of this studio, they don't belong to us anymore, they belong to the person who is listening to them. For us it doesn't matter if it's you or someone else, for us it's important to go and play our music, to go to you and you watch us live you can see us playing these songs live, that's what we want to do. From now on the studio versions are for the audience.

Alaridos: Talking about gigs, apart from those you have now, do you have plans to come to Gran Canaria?

Deneb: We'd love to go anywhere happily. It would be a dream come true for us to travel and play our music and other music as well! If you wish we play whatever, no problem! Yet for us it costs a lot to go to Europe, because our currency is worth nothing compared to the euro. E.g. the minimum salary in Colombia is approx. 225 €.

Alaridos: I see.

Deneb: You can imagine that buying tickets and going to Spain to play a gig is impossible. The only thing we can do is to wait for an invitation, that someone would like to make business with us. I want to take them to Gran Canaria to see how much the band is worth. Here are the tickets, now let's make profit, let's do it. This is us, we're open to anything. For us money is not important, it has never meant any problem. Well, it is a problem, but it hasn't been an ambition for us, nor is it something we're searching for. We just want to make music, to make art, to play and entertain the people and if someone has a moment of spectacle watching us play, that's the most important, isn't it?

Alaridos: Finally, at the end of our chat I would like to ask you just quickly to say a message to our listeners and to the public in general. Whatever inspiration you have, whatever is on your heart. And I would also like you to say some tips from your wide experiences, to give some directions to the emerging bands who are about to start their career in the metal world, regardless of genre.

Deneb: To the listeners, don't let go of Devanna! In fact some of my followers were already listening to your radio and they said that you play great music. They were super attentive with all about this interview. I'm sure they will be very attentive about this interview as well as your radio program. Now it's an invitation, they can listen to our music and I know that Devanna will play it every now and then. Wonderful, wonderful! I'm also very attentive about your media outlets! Let's make now an analysis for the bands and for Devanna!

Alaridos: For sure!

Deneb: The directions I can give, the only thing I can say is to professionalize yourselves. You need to learn music in a very honest manner. What I would do in the first stage is to remove the distortions. Always work from the instrument with the most honest manner, with clear sounds, to understand the natural sound of the instrument. Then you can apply the distortion you want. But the foundations are like in football: at first lot of passes. You make a lot of passes, doing them well. This is my most important direction to give. Then I assume it's perseverence. It's vital, because you'll be told "no", "no" and "no", "it's not possible", no, they don't want to see us, no thank you, no, no, no and no, and then you must be really perseverant to hang in there. It's not like you go to a place where you're satisfied with the things you have achieved when you look back. We started with one album, then two, then three, four, five, we've released 5 albums in a row and looking back one can say it's a legacy that will remain, that can be left.

Alaridos: Amazing! 

Deneb: Perseverance and learing the foundations of music.

Alaridos: Of course! Now with your war cry, which I love, there's something I want to complete this interview with. I'd like you, Deneb, that before we finish this chat, take a step and pick a song you'd like for the ending of the interview.

Deneb: Well, I don't know... Maybe "Fenrir the Wolf".

Alaridos: I love that!

Deneb: To the listeners of Alaridos, here's "Fenrir the Wolf" from our latest work Revival.

Alaridos: Perfect! I want to thank Deneb for being with us and next time he is with us, it won't be an interview, it will be a chatting with us!

Deneb: I'm more than happy!

Alaridos: And make everyone sure that Devanna is just a bite away!