Lycanthropic Transformation

Although 13 years have passed since their debut album, Myriad, dropped, there's been no shortage of activity within the Lycanthia camp. Since that record's release, they've changed vocalists four times, had five different drummers, five guitarists and assorted other members arrive and depart. The release of 2006's Within the Walls EP was followed by several further lineup shifts. However, such events have clearly not obstructed their creativity, as follow-up LP, Oligarchy, showcases a heavier, darker and (gulp) more mature band.

When Drum asks bassist/vocalist and founder Lee Tassaker whether he feels personnel changes have halted the Sydney outfit's momentum, he isn't fazed. “No, not at all,” he quickly responds. “It's always been my thing. You look at the duration of how long the band's been around; it's not something that pays the rent. But in that amount of time, people are going to come and go, it's only natural.” Thus, he's not citing regular movement within the ranks for the unusually lengthy period between records. “No, it hasn't changed anything; it's always been my ideas and I've always done what I've wanted to do. It's never been one of those things where we just churn out CD after CD, it's more about being something that we enjoy and we do it whenever we do it. I guess that's probably more the reason for it. It's simply just for ourselves and we take it as it goes. We still enjoy doing it, so we just go with it.”

Oligarchy was mastered by Jens Bogren (Opeth, Katatonia, Paradise Lost) at Sweden's Fascination Street Studios. This was a conscious move on the band's part — and a fitting one, considering their sizeable debt to so many similarly melancholy acts who have recorded there. The bassist says that while Bogren's experience helped, their quantum leap forward as musicians in the decade-plus between albums was a major factor. “Yeah, we've definitely come a long way since then,” Tassaker laughs. “It's a lot more progressive. It feels almost childish in a way when I listen to the old stuff. Those (early musical) foundations still exist, but a lot of other stuff has come up over the years that has inspired us. The whole style of music's changed; there's kinda like a whole movement of it basically. Lots of different ideas have come into play and then people have borrowed them, and it's created a richer sound.

“We put a lot of money into it, so we have to take breaks where we can. We've all got day jobs and (then the band) save up more to move to the next stage. I would say it (the album) took about a year. We collaborate; everyone brings something to the table. I have certain ideas of directions that I want it to go to, so people wouldn't decide to bring certain styles or certain directions to it, 'cause we already know it wouldn't work, it's not part of our concept. But everyone's definitely welcome to be part of our writing and they do that.”

Aside from self-releasing their new disc locally and officially launching it this weekend, the band are also fielding offers from several overseas labels and tentatively planning some foreign jaunts, where perhaps their gloom-laden fare will be best received. Misery loves company, after all. “I guess that's the next step, to start getting over there and playing shows. We're definitely looking at doing something like that, organising some little tours and stuff. But once again, it'll probably have to come out of our own pockets. Quite a few people have said we should get over there. There are more opportunities, more fans and a better fanbase for this style of music.”