Sagas and Stories: "The proof of Valhalla" (Deneb, Bassist).

Get ready for a musical journey straight to the heart of Valhalla! Today, we're diving into the secrets of "The Proof of Valhalla," a song that fuses metal with Viking folk and a dash of musical magic. Join us as we chat with Deneb about the creation of this epic piece, its mysteries, and the behind-the-scenes stories. If you've ever wondered what an epic battle between guitars and Norse gods sounds like, this interview is for you!

1. "The Proof of Valhalla" combines metal with Viking folk elements and features a Phrygian scale. How did the idea to blend these styles come about? What key elements did you decide to incorporate to give it a unique touch?

   
   

Deneb: What an interesting question! It's actually quite complex to answer, hahahaha. In Nordic folk, certain scales predominate and create the right atmosphere, such as the natural minor scale, and variations like the Phrygian mode and primarily the Dorian mode. However, this Phrygian mode is more closely related to Nordic folk from a ritualistic perspective, evoking mantra-like sounds. It's true that the Phrygian mode can sound somewhat "Arabic," especially if an augmented second interval appears occasionally. But we were very careful not to let any instrument use it, until Andrés came in with the solo. We gave him the freedom to express himself naturally. We even allowed it to sound a bit "Arabic," since the Vikings traveled far and wide (Constantinople, North Africa, Russia, etc.), provoking and adopting a fusion of civilizations within their identity. So, the augmented seconds in Andrés’ solo are more than justified! Hahahahaha.

2. The song features time signature changes and complex rhythmic patterns. How did you work on the structure to manage these changes without losing cohesion? Were there any particular challenges in integrating these rhythms?

   
   

Deneb: Time signature changes are quite normal in the folklore of different civilizations. It's popular and commercial Western music that has removed the naturalness of these changes. So, it's not really a challenge; it flows naturally. Regarding the rhythmic patterns, there are very rich subdivisions that give the song a lot of movement, and that's where its magic lies.

3. Could you talk about the key rhythmic patterns in the song and how they contribute to its dynamic? How do they influence the atmosphere of "The Proof of Valhalla"?

   
   

Deneb: The song has a generally psychedelic atmosphere, like a psilocybin mushroom trance used in Nordic pagan rituals, giving the song a slow harmony with long, drawn-out sounds. It evokes and plays with that magical and spiritual connection beyond the basic physical one, which is generated in a sexual encounter between two people. However, we included subdivisions in the riff that are marvelous, very metal. In the chorus, for instance, you feel a pattern of four sixteenth notes at high speed in staccato, contrasting with the main slow vocal harmony and melody. Everything is in 5/4, and the ending is in 6/4, which adds an interesting level musically.

5. The song plays with the mathematics of music, using unusual cuts and patterns. How did you approach composing these complex sections, and what techniques did you use to maintain fluidity?

   
   

Deneb: Yes, there's a lot of music science applied to this song, a lot of math and numbers that offer different sensations without becoming too technical for the listener. For the listener, it should always feel very natural. There are accent shifts under the same harmony and time signature durations, but with a lot of variation, while the theme remains symmetrical at the top. We used cuts with a 3-beat difference, then a 4-beat difference, offering arrangements thought out by the musicians (requiring a lot of concentration) but felt by the listener (without having to concentrate at all). Techniques like augmentation, diminution in composition, accent shifts, amalgams, the power of the octave and unison, traditional Norwegian kulning, slides, and flexibility allow the numbers to prevent the structure from collapsing. It’s difficult to describe all of this.

6. The lyrics of the song incorporate erotic poetry and wordplay. What was the inspiration behind this lyrical approach? How did you decide to balance sensuality with poetry to maintain an elegant and poetic tone?

   
   

Deneb: I always read a lot and listen to a lot of music from other artists and authors. For some time now, I’ve been writing erotic poetry in my songs and always try to be very decent with the lyrics, especially on sexual themes.

7. Who wrote the lyrics for "The Proof of Valhalla," and what role did it play in the development of the song? Was there a particular muse or inspiration behind the lyrics?

   
   

Deneb: The lyrics are clearly inspired by a woman, but I’ll tell you the miracle, not the saint. Everything I write is based on something I’ve experienced, something I’ve read, stories from the past, things I see in TV series and movies. Also, erotic poetry must be handled with elegance; I don’t like vulgarity in these things. Sexuality is something very beautiful, and when two lovers fully surrender to each other, it transcends to another level. Authors like Roberto Carlos and Joan Manuel Serrat have shown how sex can be expressed elegantly in a song, and they are great influences for me.

8. The guitar solo in the song is a standout moment. Who composed it, and who plays it live? Were there any challenges in recording or performing this solo?

   
   

Deneb: This is a typical example of how we open the cage and let Andrés out to do his thing, then lock him back up again. We left a space of about 32 bars and told Andrés, "improvise a solo here." After several takes, we decided how it would be recorded, which scales would be used, and how it would develop. We decided that the solo would gradually build up, with long and emotional phrases at the beginning, increasing in complexity, leading into the interlude. Nowadays, Andrés is responsible for playing it live, and that will always be the case. The challenge was shaping it, developing its complexity, and finding the right type and amount of delay for this lead guitar.

9. How has the audience responded to "The Proof of Valhalla" during live performances? Any comments or reactions from the crowd that surprised you?

   
   

Deneb: We’ve only played it in front of an audience once. It’s not a song for everyone; I think the listener who fully understands this song has a very good ear, probably having listened to it at home and absorbed it completely. Those who don’t know it tend to admire the art, the atmospheres, the band’s precision, and the technical aspects. That’s why it was well received that one time.

10. In live performances, how do you manage the song's complexity without the support of the string octet? What adjustments or adaptations do you make to maintain the essence of the song?

    
    

Deneb: We perform the song as close as possible to the studio version. To do that, we use internal metronome (which we hear through our in-ears) and orchestral and choral backing tracks. This way, the essence is always present, and we all have to stay very focused and synchronized with the cuts and subdivisions.

11. What interesting details or curiosities about the song do you think fans might not know? Perhaps a funny anecdote from the studio or live performances?

    
    

Deneb: I don’t know; it depends on the person's cultural level. But in the interlude of the lyrics, when I say "die together," it’s a reference to the French expression "la petite mort," which is their colloquial term for orgasm. I played with this expression and the Viking concept of dying together in battle (even if it’s in bed). I think that’s the most intriguing aspect of this song that people don’t know; it’s a very rich concept.

12. How do you prepare emotionally, mentally, and physically to perform "The Proof of Valhalla" live? What do you try to convey with your performance, and how do you connect with the audience during the show?

    
    

Deneb: It’s a song that’s complex in many ways. For example, because of my vocal range, it’s always challenging to hit the notes I reach in the studio. I prefer not to have it early in the setlist so my voice is warmer, hahahaha. Also, while driving, I sing and simulate the subdivisions I need to do on the bass with an imaginary pick on the steering wheel so that my brain, voice, and hand are in sync. And live, I try to vary the rhythm of the vocal line from time to time to give it more movement and not be as rigid as in a studio production, where you need to provide a lot of solidity to the motif. Live, you can vary more.

13. Finally, if you had to describe "The Proof of Valhalla" in three words, what would they be and why?

    
    

Deneb: Science, Magic, and Elegance.