I came across it in a book
and knew there and then it was the name for my band. This was at the
very inception, long before any ideas began to materialise. For me the
name Beltane can be broad in what it represents and I relate to it in
many differing ways. It signifies a time of beginnings and new life
but it is also a particular time when a community get together to reflect
and acknowledge such happenings. Elements of ancient cultural beliefs
and attitudes have a significant influence on my outlook but also includes
other cultures and religions.
2. You are the sole programmer
for the album and I am curious if you have
ever considered live instruments and stable band members?
I have kept things minimalist
as far as working with other musicians for the sake of simplicity in
order to retain a clear path in attempting to realise my musical vision
and direction. I will definitely be involving more musicians in future
recordings, as Beltane becomes more ambitious and enterprising, this
will automatically follow. Karina has been a permanent member for three
years now.
3. Why did you use so
many female vocalists for this record? How do you know
them all? Are they in other bands from Australia?
The CD was recorded over
four years and the three vocalists were the people who I worked with
during that time. Bonnie Radibratavic only became involved in Beltane
a few weeks before the final recording session to complete "The
Fire of Becoming". Sarah Manthey I met through involvement with
dance performance, Karina Eames I knew through gigs and the band she
was in at the time, called "Dark Descent", Bonnie I knew through
a friend.
4. How would you describe
your vocals and music to someone unfamiliar with
your band?
The vocals are lyric driven,
structurally somewhere in the vein of Joy Division/New Order or Love
& Rockets, the aim was use find singers who have a soft clean sound
with an element of feminine youthfulness and a child like quality. Karina
and Sarah are either more or less altos range, Bonnie is saprano. Musically
I like contrast, I try to get a balance between gentle/heavy, discordant/melodic,
disconcerting /relaxed etc. We draw from many different styles, this
comes about mainly through the use of a sampler, employing tribal rhythms,
classical strings, electro beats and arpeggios, and weird industrial
sounds. I like to create a dense, full sound by adding a lot of detail
and subtle layering.
5. What are some of your
music influences?
Delerium, Cocteau Twins,
Dead Can Dance/Lisa Gerrard, Lacrimosa, Natasha Atlas, Jaz Coleman.
6. How has Beltane helped
you grow as a person?
Using Beltane as a form of
artistic expression helps to identify and expand emotions, awareness,
and a sense of purpose and identity. A certain theme in a song may start
out as something vague, which then becomes very vivid and real, expanding
the core internal awareness it is connected to. It helps to define personal
values and reasoning through the flow of expressing ones thoughts and
feelings.
7. Do you have any other
projects besides this band?
I compose music for dance
theatre when the opportunities present themselves. Until a few months
ago I was a synth-player (sampling) in a rave/metal band "Prototype".
A long-standing friend and colleague was the driving force behind the
band but we decided to go our separate ways last September. Karina and
I work on stuff from time to time when we can arrange it. We completed
of her songs and released it on a compilation album. The song was under
her band name Tenebrae and the song was called "Burial of Betrayal".
We have been working to finish a couple others of hers then we will
go and record them.
8. How has living in Australia
influenced your music?
I'm sure it has, we are quite
detached from Europe. Music wise, most the music I listen to comes from
overseas.
9. Do you travel much?
Not lately, I've been overseas
a few times and quite extensively around Australia. I want to use music
as an excuse to travel; many of the ideas for video footage require
overseas locations.
10. What music scene's
would you say are doing well and are there any that
are completely over saturated?
From a musician's point of
view, because music has opened up so vastly and is something people
can do independently, the amount of music out there makes it extremely
competitive. Of course the mainstream excludes independent artists but
fortunately there is always support from underground and cult networks.
In Adelaide the band scene is inconsistent and only few bands can pull
big shows regardless of style. Punk and Metal of various flavours have
a faithful number of followers but it never gets beyond just enough
for a good night out unless a well known band is here on tour. The Gothic/Industrial
scene is very underground and localised.
11. Do you consider yourself
a very spiritual person?
If you consider God as something
that represents the higher self and ultimate potential of a human being,
like in the Buddhist or Hindu sense, the answer is yes. I'm atheist
by the way.
12. Do you think Beltane
is known much in America?
We do get distribution, community
radio airplay, and some media coverage through webzines like yours,
throughout America, but it is early days as far as it goes for, Beltane
do America!
13. Where would you like
to take this band?
The more established we become
the greater resources we will have to expand and explore our creative
aspirations. I want to integrate Beltane with other art mediums; video
is good for this. Making Beltane performances something theatrical is
a priority, with less focus on the musicians. I would like to be in
a position to collaborate with established artists in various fields
such as music, theatre, film and visual arts.
14. What are your thoughts
on black metal and vampirism?
Black Metal certainly has
it's place, I like the extreme and powerful aspect of it, and the energy
can reflect and express very efficiently the chaos and destruction within
the world. It can have a proud, masterful and warrior like stance, not
to mention some of the brilliant musicianship and production. I have
not explored Vampirism much.
15. Out of all the songs on the The fire of Becoming album, is there
one that
sums up the band best?
Our music is evolving and
whilst maintaining elemental aspects of the bands direction, the songs
vary depending on the period of which they were written. With that in
mind I say, no to your question. The song "The Enchanted Ocean"
is our most recent, and I feel that it went further in a new direction.
But that is not to say our style in general will go that way.
www.deliriummag.com
Grave Concerns Webzine
July 2000 - Interviewed
by Julie Johnson
Julie: What kind of stirring mood does Beltane have built within
the music?
Paul: The mood of each song in Beltane is reflective to the
particular song theme. In general the songs of Beltane are related
to the internal sphere of human endeavour, and portray key or core,
elements that can be related to on many different levels. The inspiration
is drawn from experiences and learning curves, which have affected and
evolved our lives. It is our way of expressing and communicating personal
beliefs and values. It is an inward journey with an objective to travel
as close to the heart of our emotional core as possible.
Julie: How is Beltane working on more exposure in Australia and
worldwide?
Paul: Rather than relying on record company marketing we are
currently independent and are increasingly working on establishing our
own marketing and distribution channels. We also have a company who
is helping us out nationally and internationally in areas of marketing,
and distribution. We are releasing a full-length CD in September and
our focus will largely be on international markets, this will involve
exporting our releases to distribution companies or ideally a suitable
licensing deal. In regards to promotion overseas we would be relying
on exposure through airplay, magazines, circulation of posters and handbills,
and hopefully TV video shows. In Australia our music is distributed
to selected record shops in all capital cities, and many major towns.
It is easier to promote ourselves nationally as we can go places in
person and have the live performance aspect.
Julie: In what was have you worked with the great Jyrki Witch of
the Two Witches?
Paul: Karina communicates with him via the Internet and he has
been particularly supportive in helping promote us in Finland. Angel
of May will be on a compilation released through Actcom records a company
Jyrki works for. He is also going to rework a song Karina wrote called
"Burial of Betrayal", of which she and I recorded for a project of hers
called "Tenebrae", which was released on a Melbourne compilation.
Julie: What type of atmosphere do you feel Dionysian Blood has brought
to the Gothic ethereal scene?
Paul: We haven't had enough feedback to comment on how people
respond or appreciate "Dionysian Blood" within the Gothic ethereal scene,
but I can imagine the theme and intention within the song is something
many people could relate to. In Greek philosophy Dionysus and Apollo
are two opposing gods, Dionysus the god of joy, inspiration, and spontaneity,
and Apollo, rationality, reason and contemplation. Dionysian Blood relates
to being intensely inspired and moved by something to the degree where
one has the power free themselves into the moment and share in the feeling
generated by the source of inspiration.
The song is indicative of tribal and ritual value towards 'song and
dance', with an emphasis on the manifestation of primal and intuitive
drives.
Julie: Do you feel comfortable in the Gothic genre, if not, why
is that?
Paul: In establishing a sense of unity and identity within a
subculture, as a result will be inevitably categorised. We feel more
comfortable in the Gothic genre than any other at present.
Julie: How is Beltane's music on a different level then other bands
in the same category?
Paul: I hope our music is unique enough to stand it's own ground
and therefore cannot be identified directly with any specific band.
Julie: Why can we see such intensity in your music, especially in
the
Carefully constructed lyrics?
Paul: Firstly, it is our intention to make the songs infinite
and limitless in regard to the level and depth of which one may relate
to them. That is why, as I have already mentioned, our music is based
on key themes relevant to areas of emotional disposition and attitudes
of awareness within a person. …Secondly, to do our best in expressing
this through the 'art of music', we try to look at every aspect in as
much detail as possible, in order to utilise and refine our resources,
to the extent that we are satisfied with the end representation of our
initial intentions.
Julie: How are you a driving force of Beltane? In what ways do we
see this in the music?
Paul: I see myself as the director or overseer, everyone involved
has the opportunity to contribute their personal expression and creative
energy, of which they think appropriate. Is up to me to contain, structure
and focus it towards the overall vision.
Julie: Why is sequencing an important element with Beltane?
Paul: It is an important element because in combination with
a sampler it allows ultimate freedom in regard to resources. It also
provides an efficient way to have holistic control in song writing.
We like our songs to be rich and dense texturally and provided the human
element is not overshadowed, we like the end sound that can be achieved
through synthesis and rhythm programming. Some sequenced material are
loops of performed instruments, of which are further manipulated through
electronic processors.
Julie: How can we see the band trying to experiment more with theatre
and Modern Dance in your live shows in the future?
Paul: We have many ideas in how we could set up aesthetic atmospheres
in live performance unfortunately the resources we would require are
beyond our current means. Theatre related performance such as modern
dance also requires certain venue conditions such as stage, lighting
and dressing room facilities. Things can be scaled down and we certainly
plan to make our shows interesting but at present we only lightly touch
on the theatrical side. As we become more creative in video production
the visual portrayal of our music on the live front will also evolve.
Julie: Where have you placed importance on shaping your music into
the scene
Paul: In light of communication it is good to be aware of how
different bands project themselves and the impact the music has within
the community. There are certain bands we have a lot in common of with
in regard to attitude and values, of which we can voice and contribute
our slant and perspective on.
Julie: Why did you choose your name from the pre-Christian fire
festival that celebrates the coming of summer?
Paul: Everything the band expresses and stands for can somehow
be related to the name. For us the significance of the name seems to
become greater the more the band evolves.
Julie: How did you celebrate this year's Fire Festival on April
30, 2000?
Paul: A friend of mine had a drink for me at the Beltane festival
in Scotland. Due to the hemisphere polarity we celebrated Beltane on
Samhain (All Hallows Eve) last October, we performed in an ampitheatre
set within a beautiful garden. It was quite a festive little gathering
with people quoting poetry along with various impromptu performances
and ceremonies. It is where the footage for our "Angel of May" video
clip came from.
Julie: Why are Cocteau Twins, Dead Can Dance, and Joy Division weigh
heavily on your main influential drive?
Paul: Personally there have been a few bands in particular that
at a certain period in my life have substantially changed and evolved
my outlook and appreciation of music in general. For me Joy Division
had an introspective aspect, which affected me more deeply and emotionally
than any other band (excluding "Killing Joke" of which I was equally
affected by) at that time. "Cocteau Twins" were in their day the closest
example of my interpretation of musical heaven. And "Dead Can Dance",
had a certain earthiness and mystery, music in touch with a lineage
of the ages.
Julie: Why is the song called Kinship special to you?
Paul: The line "find what is special to me", refers to living
your dreams and retaining the strength and will to remain true to them.
Julie: What gives "Angel of May" strength and beauty? I really like
heaviness and great bass in this song.
Paul: This song can be viewed from a fictional almost fairytale
perspective, where the title "The Angel of May", could well be substituted
for "The Queen of May" or "Princess of May". When I was writing the
lyrics, the concept that certain ancient cultures sacrificed virgin
women to their Gods, perhaps believing that this was the greatest gift
and representation of life their community had to offer. The other main
aspect of the song relates to the romanticised premise that this woman
is regarded to be a queen or princess because her emotional richness
and sensitivity shines brighter than any other person in her society.
She represents ultimate inner emotional strength and female power.
Julie: "Spell of Harmony" has great synthwork, what did you figure
this would work well in this song?
Paul: This song is about tapping further into ones unconscious
self. The main synths represent the vastness and power and the chorus
and piano represent harnessing and having a certain level of creative
control within the vastness. This is the 'spell of harmony'. Another
way I see it is in an everyday sense wherefore one exists emotionally
or physically in a volatile and chaotic environment but somehow sustain
a microcosm of harmony. It is as if a storm is going on but within it
a small pocket of air remains motionless and unaffected.
Julie: In the Shadow of the Night, slowly builds into an explosive
burst hard bass beats and strong programming. Where dos this burst come
from in your song?
Paul: First, I would like to clarify what I mean by 'night'.
In my lyrics the word night is virtually always used to symbolise subconscious
or unconscious inner reality. Conversely 'day', represents conscious
and external reality. The same applies for the words 'light' or 'dark'.
In this version of the song, the building few minutes is the transition
and manifestation from every day reality to 'night' a magical, imaginative
reality. The rush of energy introduced into the song reflects is the
release of an inner power combined with angst of pent up emotions from
the pressures of the 'day', reality.
Julie: Your songs, have a certain tribal dancey feel, do you think
this is your trademark sound like in Dionysian Blood?
Paul: We like to combine eastern sounding rhythms but many of
our songs do not have this aspect.
Julie: What kind of video work will we see in the next coming months
like the version of Dionysian Blood?
Paul: We aim to become more deeply involved in the creation
of video, we have strong ideas of how our songs can be portrayed visually
unfortunately our budget constrains cannot accommodate them at present.
We have applied for some arts council grants and plan to cut costs by
editing the footage myself, of which allows further creative control
within the band. We plan to extend our interests with experimental and
movement theatre as well as other art mediums.
Julie: What are you currently working on now and what can we expect
in the months to come?
Paul: We will have a full-length album out in September, and
will be touring nationally to promote it. I guess we will also have
to shoot another video to coincide with the CD.
Thanks- Julie Johnson
Back to top
State Of Sound (SA Based Bands)
Beltane / 13/1/00
Rip It Up Magazine (Adelaide)
by Penni Pappas
"It's melodic atmospheric, electronic music. Paul
Handley says by way of explanation of his two-piece Adelaide
band, Beltane. With other band member Karina Eames, Paul continues to
pour out sounds of synths and electronica-magnifica whilst Karina compliments
the duo with her ethereal, light vocals. Eerie, moody and all the times
quite captivating, Beltane might be just the relief that the thinking
Adelaidians have been waiting for!
The creation of Beltane is due to the demise of Paul’s
prior band The Bacchae.
"When I split up from my other band, where I was
the drummer, I bought a workstation synthesiser and just started working
on things from there. It’s something that grew over the years,
yet still remains specific in what I’m trying to do. I’ve
got quite a select but diverse interest in music. This isn’t something
that’s been done recently. I could purposely make it a bit dancier
and accessible but that would take some of the emotional intensity away"
With elements of darkness and mood in their music, Beltane
often find they are boxed with the gothics, but don’t sit comfortably
in that genre. Their music is not just about combining sounds but emotions
and feelings making it highly intense and passionate… quite a unique
sound for SA.
"I find it difficult to find appropriate bands to
play with. We’re not really a high energy, Friday night blow the
cobwebs out of the place band and we’re not a fully acoustic band.
We’re a bit more grounded than that. I like the idea of playing
in more intimate places with a few tables and chairs, where people can
sit down and let the music soak in rather than have the attention at
the forefront. I’d like to have some sort of aesthetic visual appeal,
which isn’t just about the musicians on stage, maybe adding a theatrical
side. We have experimented with a few things. We’ve had a few introductions
and interludes with just two or three modern dancers. Again, that’s
all a matter of establishment within your own resources. If you’ve
got a bit more money, you can put more time and energy into the setting,
lights and getting others involved to project this visual aspect".
The intensity of Beltane’s music is predominantly
found within their highly emotive lyrics, care of Paul.
"My lyrics are based on my own experience. They’re
not trying to convey what those experiences are but they’re using
different things I’ve found fulfilling within myself to put into
a song. Most of the time I just try and use key themes that you can
relate to in a lot of different ways. It is specific but, in
a very general way, you can relate to it on a lot of different levels."
Musically?
"Cocteau Twins and the stirring mood they create
is a definite style that inspires me; also a lot of other bands like
Dead Can Dance and more heavy bands like Joy Division and Killing Joke.
At the same time, I like a lot of classical sounding instruments and
the symphonic aspects, so those are influences too. With keyboards and
samplers, you can create string sounds and get more orchestral that
way."
There is always the big debate with local bands about
the current state of play with exposure in this town of ours. Beltane
are currently in the process of extending their exposure both nationally
and internationally, but all the time recognising that Adelaide is quite
an easy base for all musicians alike.
"There’re only so many places you can play in
Adelaide in a given time period. There are only so many shows we really
want to do in Adelaide. If we wanted to make it big on the live
scene we would probably play covers or something… just to get a
wage (laughs)."
I would really love to see what covers Paul would choose!
Beltane Launch their new CD, Dionysian Blood,
at The Royal Hotel on Fri Jan 14 supported by Toaster
and Crustin Bozo.
PAUL HANDLEY IS SOMETHING OF a veteran
in the local music scene having been hanging about in Adelaide bands
for the past decade, including early 'nineties Goths The Bacchae and,
more recently, the Aaron Hewson-led Prototype. These days, however,
he's the driving force behind Beltane, whose debut CDEP 'Dionysian Blood'
is being launched this month. It's the first release for the band, although
they received some very positive reviews for their 'Schones an Sich'
CD demo. "That was more of a promotional tool, burnt onto CDR with
a photocopied cover on good looking paper, explains Handley. "I
guess at the time if we’d had the funds we would have financed
a small 500-copy run or something, but since then the band has progressed
and has had time to think about how exactly we want to market are selves.
We feel it would be better to release a five track single first, as
almost a promotional tool to get something going before we do a full
length CD."
Given the heavily sequenced nature
of Beltane's music one might be forgiven for thinking 'Dionysian Blood'
is a bedroom affair, but Paul is quick to correct me: "No, quite
the opposite. It was done at Tony Nesci's studio. I'm of the opinion
that if you've got a song and you feel strongly enough about it there’s
no point cutting corners in production, because once you've
got it down you’re sort of limited, you can't take it any further.
I don't want to record something and have to go back in the studio and
do it again because I wasn’t happy with it; I'd rather get it done
properly where I feel comfortable with it so I can move on to other
stuff."
Handley is very much the prime mover
of the band, being the songwriter, main musician choreographer (more
of which later) and manager. "I see it almost like, if someone’s
doing a play, you've got a director. He might be acting in it himself
and he's got people doing different roles, and if they come up with
something that surpasses what you originally intended, you go with it,
but you just try and keep the overall vision together. Quite often in
bands that's a bit of a problem because people have different interests
in certain things. At the moment there’s only two of us anyway
so that’s a lot easier. Karina Eames, (vocalist and other half
of the band since the departure of second vocalist Sarah Manthey) and
I have a good understanding of where we're coming from. She comes up
with a lot of ideas I'd never thought of so we're still developing the
initial concepts together."
Despite the necessity to concentrate
on Beltane in recent times, Handley is quick to reassure that his commitment
to Prototype is not in doubt: "we've been a bit quiet over the
last couple of months because we're writing a whole lot of new songs
and when do play next we might have a completely different set."
"Dionysian Blood’ also
contains a CD ROM component - a dance piece inspired by the title track
which Handley choreographed and performed in. "I've had an interest
in experimental theatre and involved in various things at university."
he' explains. "At the moment when we play it's more or less just
a live band, but in the future when we have more resources and more
finances I can see it heading more to tying in with experimental theatre
and modern dance. It'd be nice if the band could have a bit of a double-edged
sword that way, possibly cross over to a different sort of market, trying
to step out of the hyped up rock and roll side of things."
It's clear that Paul has an all-encompassing
vision for the band. "There are certain records that seem to have
an element of perfection where the cover, the lyrics, the music and
everything seems to fit into one unique entity. Sometimes I get annoyed
where I hear lines in songs that might rhyme nicely but not be quite
right and it can lose you. I think from a lyric point of view
you should place just as much importance of how that's shaped as how
you shape the music.
Andrew P Street
Beltane perform at the Royal
Hotel on Friday
January 14
- *
Procession Fanzine (Adelaide) 10/3/98
Paul Handley (Prototype, and formerly The
Bacchae) and Karina Eames (Tenebrae, and, once upon a time, Dark
Descent) have begun playing live around Adelaide as Beltane. Here
is what Paul had to say about his new project...
Procession: When did Beltane start and how have things changed
since then?
Handley: The idea and name was born on New Year's Eve of '93.
On that night I decided that I would start a band heavily driven by
synths and electronics, using female vocals. This period was a turning
point for me musically; pior to this I was fully committed to playing
in and promoting The Bacchae, which split up just before Christmas that
year, rather unexpectedly The first step towards Beltane was to buy
a 'workstation' synth and learn how to create music electronically.
Prior to this my main musical skill was playing drums, and only had
experience in writing music working with other band members (ie. come
up with basic riffs, structure, lyrics and beat). The initial gestation
period for Beltane was slow because I was not focussing on music as
intensely as I was previously. In 95 I started working with Sarah Manthey.
Sarah left in Jan 97 after the recording of four songs. I began working
with Karina
Eames in October '97. Things have changed through evolvement; the primal
ideas and vision has not changed, but things are becoming more defined
and developed.
Procession: How would you descrio'e your sound?
Handley: From a sound point of view, when employing the use
of a sampler there are no limitations to what sounds I can use, and
I make it a priority to have an extensive sound library. Whilst selecting
sounds there are no scruples involved in deciding what I am going to
use. Most of the time I can't remember where the sound initially came
from anyway - most of the sounds I use are samples of other synthesizers
or musical instruments. The sampler I use can process sounds with the
use of envelopes, filters, effects, etc. Sound-wise Beltane is diverse;
the challenge is moulding an eclectic array of sounds and musical styles
to fit within the mood of my initial intentions.
Procession: From where do you draw you influences from musically
and lyrically?
Handley: Musically, Cocteau Twins were a prime inspiration,
although this has little to do with the sryle of Beltane, it was more
the general heavenly mood and atmosphere they created. All the bands
I have an interest in have influenced me in some way. I have a selective
but diverse taste in music, mostly English and European musicians. Some
of the bands that have inspired Beltane are Killing Joke/Jaz Coleman,
Frontline Assembly (and associated projects), Dead Can Dance, and Natasha
Atlas. Noticing how Dead Can Dance and Natasha Atlas combine world instruments
has contributed to a tribal aspect of Beltane, and an interest in classical
music has had an influence also. The primary focal point of Beltane
is to create a personal awareness of aesthetic appreciation. ‘A
search for personal creation and appreciation of beauty within art'.
The lyrical themes and intention behind the music attempts to express
and increase personal development in this area. It is related to individual
experience. I draw inspiration from certain writers, choreographers,
yoga gurus, philosophers, theatre & film directors, landscape artists,
architects… the list goes on.
Procession: what are your future plans in termis of recording?
Handley: I want to record twelve songs by June so I can release
an album of ten new songs, allowing for two out-takes. In November '97
Karina and I recorded one new songs, "Spell of Harmony (Within
Chaos)", at home using an Adat 8 track. Because a large part
of the music is electronic it is possible to get good recording results
with minimal equipment. We will be recording four more new songs in
this manner in a few weeks time. Beltane will only be releasing material
that has been professionally recorded and the home recordings are considered
a pre production exercise
Procession: In view of your environment and your choice in
musical style, how would you rate your chances for commercial success?
How important is this to you?
Handley: It can be hard to predict. I feel the music
is commercially viable. It would be good to have the strength of commercial
success provided it doesn't affect the band's primary intentions.
Procession: Any comments?
Handley: "The existence of the world can only be justified
as an aesthetic phenomenon, for all life is based on semblance, art'
depiction, points of view and the necessity of perspective’s and
error". Nietzsche.
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