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UADA


UADA "From Dusk To Dawn" 

By Lord Randall

UADA has been peddling their brand of melodic, death-fueled blackness for a few years now, and Cult Of A Dying Sun represents the quartet at their most fully-realized yet. Neither embracing nor denying their influences, the band’s newest Eisenwald Records release finds Jake Superchi and his cohorts reaching for horizons previously unseen. Lord Randall recently sat down with the founding vocalist/guitarist to discuss…



Wormwood Chronicles: Most who haven’t visited Oregon have this image of (aside from Portland, I mean) this commune full of SJWs, liberal ideologies and old growth forests. How wrong/right are these assumptions, and what do you think has contributed to the arts scene being so vibrant in the Northwest?

JAKE SUPERCHI: It is true that the Pacific Northwest is known for their liberal ideologies & forward thinkers and being a very popular place for the arts. For me, art is my liberation. It's a deeper connection through mind, body & soul. Music, especially Black Metal has always been something more about spirit and the power behind it. Seclusion for me is imminent for the process. In that process, through self & art we are able to unlock the gateways within ourselves, that allow us to unlock the ones before us. Manifestation, if you will.

WC: That being said, do you think Uada would have taken shape/become what it is today if you were in another geographic area?

JS: I have only lived in a few places, here in Southwestern Washington and my original home in the woods of Massachusetts about an hour west of Salem. I can't imagine living somewhere not as equally eerie as New England or as majestic as the Pacific Northwest. There is no doubt it would probably affect the music in some way shape or form. 

WC: Sometimes lineup changes are negligible when it comes to the sound of a band, but with the entire rhythm section being replaced between albums, there’s bound to have been a noticeable shift. What has the new blood brought to the band, and how did the member changes affect the writing of the new album, if at all?

JS: 95% of "Devoid Of Light" was written by James and myself, "Cult Of A Dying Sun" was no different. It is a very guitar & riff driven band so our writing hasn't changed in any sense yet. For the first time, it feels like we have four like-minded individuals that are here for the right reasons & understand the philosophy behind the art. 

WC: I sensed a bit of Nietzsche in places on "Devoid Of Light", primarily in the title track. When you consider that he started being published before his 30th birthday, and did most of his more known writing within a 10-year period, you can see his philosophy morphing as his physical and mental health collapsed. Do you think his mental faculties were simply worn out, strained to breaking? 
Also, do you think we seem to be in an age of few (if any) forward thinkers, people willing and able to usher in a new era of thought? We haven’t even wrapped our heads around Christ yet…

JS: That is a great question. A new era of thought is probably far past due, but it has to naturally take its course. If a new prophet was to rise into great heights, would anyone even listen? It would take a true miracle, and I don't mean that in a religious sense. But taking advantage of people I guess is much easier than truly helping them. I never understood the urge to have control over someone else but I assume it's for those that do not have control over their own selves. 

WC: I found "Devoid Of Light" solid "enough", but it kind of got swallowed up in memory, to be honest. I think you've definitely taken a step forward in what you're doing on the new one, more expounding on the parts I was hoping you would. There's a Lot of melody in COADS, but you're not missing any of the ferocity. Was there anything you knew you wanted to avoid going into writing what would become COADS, anything you were intending to focus on?

JS:   No, we don't set limitations or boundaries for ourselves. Art has to be organic and free. If it's restrained or coerced then it can never fully be real. There was no time between albums. As soon as we finished writing Devoid, we immediately went into recording mode & were writing Cult… simultaneously. The writing process for [the new album] was finished before the debut was even released. It was a natural continuation. 

WC: I could be wrong, but did you use the same artist as on the debut? How much freedom do you give when it comes to the appearance of the album art when it comes to the artist? Basic ideas, themes, or do you go in with a detailed image in your head?I ask, because it seems as if there's a story being told there.

JS: Yes, we continued with Kris Verwimp. Kris is one of my favorite artists and I've been very fortunate to work with him. Being able to draw or paint was something I was never good at or had time to craft, something I always wished I could do. Everything here is combined and apart of each other. Music, lyrics, visuals ect... So it is no different with the album cover. It has to be a representation of all.

As mentioned everything is based off our philosophy & where we are in our progression. So what you are seeing here with the 2nd album cover is the 2nd installment to a trilogy. Our first album was all based on transition. Moving forward from that album we focused on reflection, which is the basis for "Cult Of A Dying Sun". With the album being about reflection, it was only natural to have the album cover be created as a sequel. As we go forward our story also travels in reverse and with the third installment we will see another sequel. An ambigram. I won't give too much away though, it's better to let the everyone have their own experience & interpretation. More will reveal itself in time.   

WC: One element of UADA is that you, at least this year, will have a strong live presence, tours in Europe (happening when this goes to print), and a Western US tour later in the summer. Do you think UADA could exist as a purely studio-driven entity? 

JS: UADA can exist in any way shape or form that it chooses. Going back to the powers of manifestation we believe that we can achieve anything through our own desire & will. Last year we had seven tours over sixteen different countries, member changes & recorded a full-length album. If we were not working as hard as we did on the road, we would be working in every other way and staying just as productive. With the way the internet is today it seems very easy for studio bands to be relevant with how easy it is to access music. In the old days is was not this way. Everything was done through tape trading, magazine ads & posting flyers in every local shop you could find. There was a lot more work involved than just posting an mp3 on a site or a video to YouTube. The internet is a great tool for musicians if they're using that tool for the right reasons. So yes, it would probably be a very easy and relaxed route in comparison. But is that they way we want to exist? No. We have too much hunger to nourish.

WC: How involved were you in the booking of your current European and upcoming US tours, and what would you say the most difficult/rewarding part of tours of this scale will be? 

JS: On these two tours I was fortunate enough to sit back & let others take the booking reigns. Other than Europe & our last US tour in September 2017 I have booked all of our expeditions & have been working on a few for later this year. While I will always be somewhat involved in the process it seems to be a healthy decision to outsource for the booking side of things. As I mentioned earlier our processors (brains) need to be shut down...and often I don't have such good luck. So to have this off my plate is a great thing and will help us naturally progress more.The only thing that I think we classify as "difficult" is the physical endurance we put our bodies through. It is a mindset that we push ourselves to our limits & beyond. In that also comes great reward and true strength.