STYGIAN CROWN

Doom metal and death metal have been hand in hand for a long time now. They are natural allies, you might say. Celebrating that alliance is STYGIAN CROWN and this gloomy band is putting in a strong claim to the death-doom throne. 

Although that name is relatively new, the members of the band have long histories in the metal scene, with prior memberships in the likes of MORGION (who go all the way back to the early 90’s) and GRAVEHILL. Their sound is both doleful and relentless, capable of cruising forth like a battering ram or trudging along in mournful grief. Their latest album “Funeral For A King” is heavier than a battleship full of sumo wrestlers yet retaining a certain elegance as well.

Naturally I had to speak with them. I was fortunate enough to speak to vocalist Melissa Pinion and drummer Rhett “Thorgrim” Davis about the rise of the CROWN...

WORMWOOD CHRONICLES: Greetings and hails to STYGIAN CROWN. “Funeral For A King” is now upon us...the press sheet mentions that much extra time and attention was spent on this album. Was the process more intense and difficult than you anticipated?

MELISSA PINION: It was a positive experience for all of us because we learned a lot more about each other’s creative processes, and this will help us in the long run. In the first album, we were still figuring out the best ways to collaborate with each other.

WC: In every way, the album seems more epic than what we have heard before. Was this something that just happened naturally or was it a very deliberate move on your part?

MP:  Our goal from the beginning was to make this album even more massive sounding than the last one, and that meant taking some approaches we hadn’t previously such as bringing in violins, choirs and other instrumentation.

RHETT DAVIS - I really wanted to avoid writing anything long winded. Which, some songs on the debut are. Not that it's a bad approach, but this being our sophomore outing, our goal was to be direct. Epic can still be epic without spending 14 minutes doing so. After the final product had been completed, I am recognizing that being direct did make this record more “Heavy Metal” instead of all “Doom”. All I can really comment on is I think this output was where we are at this time and place. This album in my opinion has peaks and valleys! It takes you on a journey, a carefully laden path. 

WC: I was amazed to read that this album was tracked at five different studios. Usually too many cooks spoil the broth, but the album sounded remarkably cohesive. What was the story behind so many different locations being used to get the sound right?

MP:  We are fortunate to have access to professional equipment and talented engineers in multiple locations. Recording in multiple studios was primarily a matter of cost-savings and convenience, and fortunately, the creative synergy remained primarily within the band.

RD:  Technology today allows for some of us to have our own home studios. Not me, however. I've been tracking Drums with Trench/John Haddad for nearing 2 decades. It is definitely easier to track leisurely versus watching the clock.

WC: Was the songwriting also collaborative between all members? Did the songs undergo a lot of mutation and editing or were they pretty much intact from the start?

MP:  Some songs flowed from inception to completion very quickly and naturally, while others took multiple revisions to complete. “The Bargain,” for example, was woodshedded over a period of many months, with multiple changes over time to get it just right. “Where the Candle Always Burns” was probably completed in one or two rehearsals.

RD:  We did have some songs we put aside or partially completed also. That just didn't cut it. We had to sift through all ideas and choose the best ones towards the end. I have yet to be a part of a writing process that was perfectly planned or executed, especially when it's democratic, instead of a one writer, one vision scenario.

WC: The album seems to capture the influences of many bands, which gives the songs each a unique feel. “Bushido” has a kind of lumbering BOLT THROWER type of doom, “Scourge of Seven Hills” reminds me of English doom like MY DYING BRIDE and “Where The Candle Always Burns” is very CANDLEMASS in approach. How important was it to give each song its own flavor?

MP:  We are very mindful about making every song unique, while remaining cohesive in terms of style and sound. Listeners will hear all sorts of influences in each song, and these are reflective of all bands we consider our heroes.

WC: I’ve always loved lyrics that tell a story and there are some great ones here. Are the lyrics inspired by pre-existing history and mythology or did you create your own fantasy world to play around in?

MP:  All of the songs are based on mythology, history and literature. “Bushido” is based on a World War II holdout named Hiroo Onoda who remained in the jungles of the Philippines for 29 years. “The Bargain” is a song about the famous Johann von Goethe and Christopher Marlowe versions of “Faust.” And “Strait of Messina” tells the story of two monsters from Greek mythology named Scylla and Charybdis and their terror in Homer’s Odyssey.

RD - I wrote lots of lyrics in every band I've done. I do believe I have a talent for it. But I admit, Melissa has some of the best words I've read, let alone been a part of. Highest of praise! 

WC: The cover art by Kris Verwimp fits the music like a glove. What was the story behind this masterpiece?

RD: I discussed ideas back and forth with Kris. Originally he had an approach more akin to Conan the Barbarian. Which, our name does derive from that world. But with the wide scope of lyrical themes from Melissa, it just didn't feel appropriate. I had been home rehearsing, at the time I was playing some RAINBOW tracks. I came up with the name FUNERAL FOR A KING then, it was oddly serendipitous. It had an air of RAINBOW to it, plus keeping in mind Kris's ideas he pitched, it gelled. Providing this title he and I met at a comfortable compromise. The procession with this olden Cathedral. His incredible flourishes throughout. Kris also had tracks I'd given him to influence and I agree with you, it is quite fitting!

WC: How much has Melissa Pinion grown between the debut and “Funeral For A King”? She has a unique style for a female vocalist, lower in tone than many others.

MP:  I spent a good portion of the pandemic expanding my vocal range, dynamics and endurance through the coaching of Eli Prinsen of THE SACRIFIED Yes, I have a different vocal tone than most female metal singers, but I think many people consider that a good thing.

WC: The piano ballad “Blood Red Eyes” is a departure for sure. What was the inspiration for this song and was there any debate about including such a tune?

MP:  I wrote this song, intending it to be performed by the full band. After much time in the studio trying to make it work in this way, the band as a whole decided to take a different approach, and create something in the vein of “Sear Me” by MY DYING BRIDE. The band fully supported this decision.

WC: Is there any one song in particular on the album that you’re more proud of than the rest?

MP: - “Scourge of the Seven Hills” is a proud moment for me, as well as “The Bargain” because both show more diversity and range in my vocals over the debut album.

RD - “Strait of Messina”, I spent more time than usual on that particular song, I was pretty meticulous on my ideas in retrospect! I should also give massive props to our bassist Eric Bryan for really being the Steve Harris to my Nicko in that tune as well!!!

WC:  How do you handle keyboards in a live situation? Does Melissa play them live or do you use a backing track? Would you ever consider adding a keyboardist to the band?

MP:  We do not perform keyboards live. We have discussed and even tried using keyboardists. It’s not something that has been completely ruled out for the future.

RD:  Love to have a live synth player, it's just one of the most difficult positions to fill!

WC: What’s the live situation like for STYGIAN CROWN? Will you be touring behind the new album?

MP:  We are currently booked for “Up the Hammers” in Greece and “Hell’s Heroes” in Houston, Texas, both in March 2024. We have also started to discuss some mini tours with other bands.

WC:  What’s the most memorable gig you’ve played so far?

MP:  Hammer of Doom 2022 will always be my highlight because it was the band’s first performance in Europe and my first time performing in front of so many appreciative metalheads.

RD: I'd also say Hammer of Doom, but giving it some thought, I'd say our Chicago gig with LEGIONS OF METAL. It wasn't our first gig, but in a lot of ways it felt like our first real meaningful one. Must give praise to Bob Byrne, all hail Bob!!! (Bob, the terror of every Chicago pizza joint...Dr.M) 

WC: If you could have dinner with any 3 people from history, who would they be?

MP:- I wouldn’t mind seeing a collab with Dio, Lemmy, Randy Rhoads and Neil Peart (sorry I know that’s not three). I’ll host the dinner if it seals the deal.

WC: Has STYGIAN CROWN ever had a “Spinal Tap” moment where things went haywire that you could share with us?

MP: We keep a close eye on Rhett just in case. Kidding.

RD:- Actually our last German gig in Hamburg, Hell Over Hamburg. The monitors cut out in the intro song (we opened with “WAR” from BOLT THROWER) and I rather ungraciously cut it mid song. In retrospect we handled it pretty well, but to us it was a catastrophe. Then in the next song, our bassist Eric, had a strap lock malfunction and he kinda sat on the drum riser playing till he could fix it. Also in retrospect he handled it like a champ.

WC:  Any last words or messages?

MP:  We appreciate all the support our label and the fans have shown to us over the years. We cannot wait to show everyone our new songs!

RD: -Thank you so much for giving us your time and attention, it means a lot!!! I will leave you all with some of the best advice I've been given. “Never… Fry… Bacon… Naked!” (Words to live by.-Dr. M)

STYGIAN CROWN