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Het Italiaanse Tytus bracht onlangs hun tweede album getiteld Rain After Drought uit. Een zeer degelijk metal album met invloeden uit verschillende traditionele metal stijlen. Aangezien we daar graag meer over wilde weten zochten we contact met de band. We vonden bassist Markey Moon die onder andere een duidelijke politieke uitleg had over de cover van het album.

Door: Henk | Archiveer onder heavy / power metal

Hey Guys, I just heard your new album Rain After Drought and as with all promising acts we reach out to them, so they can tell our readers all about the band. When did you guys start and who is in the band?
Hello everybody! First of all, thanx to all you guys at Lords of Metal for your interest, it is important to us! We started Tytus in 2014 and at that time we basically were a new incarnation of Gonzales, the band we played in for the previous ten years. What happened was that we slightly moved away in composing new material from the mix of punk and rock and roll which Gonzales was about. For some reason we got back to what we liked as teenagers, but with a lot more experience and thus finally being actually able to play that stuff as it is intended to be. And it was real fun! So we thought the best thing to do would be saying goodbye to Gonzales and start a new adventure. After a while we lost our singer and drummer, so we recruited our friend drummer Frank Bardy, very active in town, and went from a five piece to the almighty four-piece combo, with Ilija Riffmeister taking care of main vocals and rhythm/lead guitars at the same time. I have always been a fan of him singing and I immediately thought he was doing a great job! The other two members are Mark Simon Hell on rhythm/lead guitars and me, Markey Moon, on bass and other noisy stuff.

This is not your first album, but the first for Fighter Records. What would you say is the biggest difference between Rises and Rain After Drought? How was the connection with Fighter established?
The main difference is the greater awareness and the more self-confidence in what we do. Rises was a transitional work, very instinctive and maybe a bit naive at times, for better or worse. It also must be said that we had to face a serious line-up change just before recording it, which meant that the songs took a while to reach their final shape. They changed over time according the tastes of a new member and the necessity to rearrange them to work good for a quartet, being originally intended for a five piece. With Rain After Drought we had a very clear vision of the sound we wanted to obtain and the territories we wanted to explore. On top of that we had a couple of years of playing together which brought us to perfect mutual understanding. We also had the possibility to compose in the studio, which really makes the difference. Also, Bardy fell in an almost never ending real of composing frenzy for a while, coming out with a lot of great ideas which built a solid basic structure for the whole record to work on together. With Fighter Records, almost unbelievably these days, things worked in the good old-fashioned way. We were looking for a label more into the scene, and we already had some demos that we sent them. Dave immediately believed in the band, and here we are now!

In my review I mention the fact that you must have listened to the big bands in the heavy genre. I hear so many difference influences in your music. What would you say are the main influences for Tytus?
As I said, we are now playing the music we were devoted to when we were kids. So, there was a lot of NWOBHM there, especially Iron Maiden and Judas Priest, immediately followed by early Metallica and Megadeth. These are obviously our main influences. But then there was black metal, and hardcore. And as years past by we all used (and use) to listen to a lot of different music, getting in times enlightened by this or that. Personal experience and tastes always converge in the music you do. Three of us played in a punk rock and roll band for years, so that attitude I think remains, somewhere. Bardy still plays in another NOFX oriented band and Mark is now regular member of 80s Italian hardcore legendary band EUs Arse. I personally love Pink Floyd and always try to put hints of psychedelia in the cauldron as well!

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The superb title track is divided in Part 1 and 2. Also these two tracks are somewhat different than the rest of the album. What made them different?
They were among the last songs to see the light, so I think they reflect the need to expand the horizons and explore new territories, because we do not want to sound too repetitive or get stuck in fixed formula. So, it was interesting and exciting to see where the different elements of our music could take us in that moment of our lives, and to where it could evolve keeping coherence with what has been done until then, without going as far as being forced to change name again.

The album was recorded at Track Terminal Studio. Is this your usual recording place and who was responsible for the massive production?
The name is again: Frank Bardy! Yes, our drummer runs the studio, which is very practical! He is also very good at that and, within the boundary of the craftsmanship he needs to apply, he has the ability (and the patience) to listen to suggestions, ideas and desires of the musicians he works with, and merge everything perfectly together. So yes, it is our usual music place and I hope it will be for a long time more.

The cover of the album was designed by Solo Macello who also worked for Mastodont and High on Fire amongst others. Can you tell us the idea behind the cover?
It represent the main idea behind Rain After Drought. As the title itself suggests, with this work we concentrate on water. On our absolute necessity for it to live. On the tragedy it is when you don[/I]t have access to it. On the greed which leads a few powerful lobbies to privatize it despite the sufferings of many. On the blind unawareness of too many people on this planet, who take the resources behind their way of living for granted and waste them without even thinking there is a cost behind and it[/I]s not just money. On the blind evil which leads some other powerful lobbies (sometimes the same as above) to destroy that fragile jewel called Earth for their sole profit, regardless of the fact that if they don[/I]t stop the whole humanity will face extinction. On governments of any colour anywhere that do not take clear position against this all or, even worse, take part in destruction. So basically, the cover artwork is a metaphor of all this. A tentacular capitalist stupid monster that rules the world leading straight towards an announced climate catastrophe that in the end will have the waters of the Earth destroy civilization submerging it. And that monster will rule on nothing in the end.

What are the plans for 2019? You already toured extensively in the southern and eastern part of Europe. Any chance we will be seeing you in the northern and western part of Europe also this year?
We are working 360 degrees to take our music everywhere in the planet. I don[/I]t feel like saying anything official now, but since the feedback we are having so far promoting the album is very good, stay tuned, keep supporting us and we will, haha!

Is it possible to make a living out of Tytus already or do you guys have regular jobs next to the band?
Unfortunately, not. But I would like to say, not yet, ha ha! Anyway, we all have jobs we like a lot! Mark founded his own brand, Jailbreak, and makes guitars. He sometimes also builds amps (like the ones he and Ilija ues with Tytus) and owns a lab in which he repairs any sort of music equipment. Me, Ilija and Frank we all work for an institution that takes care of migrants, refugees and asylum seekers. It is a very intense and rewarding job which often enters in and inspires our music.

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