Retrouvez la version originale en anglais de l'interview de Mitch Harris pour le projet MENACE.

Hello! Classical question to begin : why the project is named ‘MENACE’?
Hi!!! The name Menace is used in the context about confronting your own weaknesses and overcoming obstacles. There are many things that are a Menace in life, and it's a strategy, a way of self realization and changing the outcome when left standing at the cross roads. Menace is an open platform, a way of dealing with and accepting tragedy, survival and pushing forward, no matter how dark or light the moments of clarity and self discovery are.

You define MENACE’s music as A.I. (for Audio Installationism). What’s hidden behind that word ?
A.I. is a concept where the music lays the foundation and creates the atmosphere. The poetry tells a descriptive narrative storyboard, and it's used as a meeting ground. A.I. is a vehicle for which combining different art forms to tell a unique standpoint of a story with a heartfelt message. It's a way of verbal and non verbal communication, creating a mood and a feeling that stretches far deeper than words ever could. It's a way of using music to combine likeminded souls for a purpose of change, and supporting and reinforcing concepts that are the focal point of each particular piece. I see each song as an unfinished picture, waiting to be added to, enhanced in a way that will communicate on different levels of human emotion and understanding, a kind of universal language that is stimulating to all of the senses and also thought provoking.

Since when do you work on the MENACE project ? How did you write the songs ? Did you write them alone, if no what was the contribution of the other musicians ?
Yes, I wrote them alone, mostly the outcome of a series of late night exhibitions. I find that the need to create aspires in complete isolation. I've spent a lot of time alone, and I've found a way of confronting many feelings and moods. For me, it was more like therapy, and a way of meditation. Being at peace, knowing that I'm trying to make a difference, however small or large, it was a light at the end of a dark tunnel. I can be romantic, but without a vent for affection or frustration, it became a tool for me, like a public diary. The songs have built up sonce 1997, and I've linked different timeframes of my experimental soundtrack phases that I discovered a way of linking all of my interests into one concept. The other members all added and built on the strongest of ideas and all added their signature to enhance the basic foundation of what was already presentable. I'm very happy with the outcome, and I feel an uplifting sense of connection with all of the members, on the highest possible levels of communication and interaction, making the most of spontaneous frequencies and statements.

Did some music bands influenced you in particular to write MENACE’s music ?
It's difficult to pinpoint, because the scope of music that I prefer is from a wide spectrum. I'd have to say, it all started as a child, my own discovery of rock music history, starting from The Beatles, Pink Floyd, The Doors, and gradually heavier and more progressive music. I also find the radio quite inspirational. Electronic drum and bass stuff turning into pop. I like the singing aspect of all forms of music, and I especially admire minimal and well structured ideas. Bjork is a fine example of a true artist. That was inspiring to me, how she commits herself to every aspect of her work, and how she communicates in ways beyond music. Concept and depth means everything to me, and the message, and feeling we're left with to represent a time and place. I wanted to combine everything, and expand on the soundscapes, and use the vocals as a more descriptive tool. Not so concerned about the limitations of the technique in i's rawest form. My primary concern was recreating the atmosphere and purpose of the song in a way that connects more emotion to the vocal lines.

How was the recording of ‘Impact Velocity’ ? Did all the musicians record together, or did each musician recording his own parts by his side ?
I built the foundation for all of the songs at home, and with Russ Russell. Then, once the vocals were done, I shared the files of all the songs that I felt could link together to form a consistent album that changes as it approaches the end. Everyone added their own signature to the songs, and learned them by ear, and also added lots of spontaneity. There was a lot of discipline involved not to over play and clash and distract from the general feel of the song. Russ was the mastermind who put all of the tracks together. It really was like one giant puzzle without a blue print that was coming together like different stages of a a painting, waiting for colours to dry before adding or taking something away.

You did all the vocal parts on ‘Impact Velocity’. How did you work your voice to reach this result ?
Yes. I did all of the vocals. I had planned on having a few more guests, but then it all became very personal to me. It was only my daughter Sequoia that appears on I Live With Your Ghost, and it's because she felt a strong connection to the lyrics and music. I guess it's strange how it all happened. I basically had at least 100 pages of lyrics and verses, and poetry that had much in common, titles, subjects etc. Then I would circle all of my favourite lines, and then just sing everything on the song, 3 or 4 times, until I ran out of lyrics. I would take a break, and listen, and chose my favourite parts, and then fine tune the lyrics and melody, and at times different harmonies. It was mostly trial and error, and eventually finding a comfortable medium between what actually works for the part of the music, and how to build, climax and emphasize on the true emotion of each aspect of what turned into descript compositions. I tried not to be anal about stuff. Does it build? Does it tell a story? Will people like it? Hmmm, that's not something I ever really thought about really. I knew it would be a surprise for people, and hard to digest for others, but it was the one and ONLY thing that made me feel better at one of the lowest points in my life. I feel that it's more important to establish an identity and style before being trained to learn scales and interrupt the flow. It's more important if people identify with the approach and i's intent. I considered screaming much more, but at times it felt forced, and intrusive, or inappropriate to the atmosphere. I intended on using that as a dynamic, but at times it didn't feel natural, so I chose another voice. I suppose it was all a massive learning process, and finding what I felt comfortable in presenting as the story parts of the installations.

What are the stories telling by ‘Impact Velocity’s songs ? Apparently they are based on your own experiences, can you tell us more about that ?
Well, there's an underlying theme and connection between most songs. It's basically about rebuilding, about letting go, or not giving up, confronting sorrow, and making the most of lonliness. When your personal world is deteriorating around you and all is beyond your control. One can see the infrastructure failing, but powerless, neglected, trapped and unnurtured. No logical way forward until we disconnect from all aspects of pain and distraction. It can be our fuel, and take us to different plains of understanding. It highlights the interaction or lack of interaction between individuals, those who all essentially want the same thing, and the same outcome, but are just lost. To The Marrow is about a tragedy that took place as I finished the guitar tracks. There was a girl who was hit by a car in front of my house. It was a desperate and life-changing situation. I connected with the girl as I tried to stimulate her as we waited for the ambulance. It was a very disturbing experience for everyone involved, and it left an imprint in my mind heart and soul. The outcome was so sad, and I relived it many times, so I decided that the song would be for her. I did not care if one person ever liked it, it was only for her, and our experience together. It's about taking precious life for granted, and how strangers join together to help and assist in others pain.

Essentially, it's about coexisting, exposed against the elements, based on push and pull & give and take theories, recycling the upset balance of collective consciousness. The affect that plus and minus has on each other and the sheer force of opposites meeting with a spark of life, causing potential, and rebuilding on stumbling blocks. Learning from mistakes and exploring the outcome of each lesson learned, viscous cycles like seasonal distance between the lost and the soul searching experience called life. It's a contribution to the greater scheme based on organic friction and the degeneration of mass and reproduction, existing on the fulcrum of a void. Creating a virtual and physical environment where emotions and soundscapes are the only common link with the audience. The resonance of tone generation a science and philosophy applied with an eventual outcome of facing reality and reconnecting with cosmic roots. Interstellar, sub sonic distress calls produce an amalgamation of physics and the unknown variable. It's about taking risks and overcoming humiliation, and heartbreak, recognizing the pull that the universe has on all of us and highlighting and reemphasizing the point in life that each soul is unique and has crested distance between point and purpose. A self produced passion. Romancing on the avant gard and extracting formulas based on questionable science. Cocooned Metamorphosis shed new skin and something is reborn in the process. How it all started, maybe a bang, expanding the vastness of dark matter, and spiralling into infinity until it eventually loses steam and closes in on itself. It's all incorporated into how it relates to mundane life and routine thought patterns with ever changing moods. It's written from the listeners point of view, and makes it possible for one to become part of the stories/ How happiness is experienced in small doses and should be harnessed to stabilise our vision of the perfect world, living for the very moment, and carry on from where we left off, pick up the pieces and create new futures with long term goals and visions that take lifetimes and generations to carry out.

All the songs on ‘Impact Velocity’ are very distinct, but they are mostly based on a simple formula, verse/chorus. Was it your intention to create ‘simple’ songs but with a rich musical universe ?
Do you have shaped any song (especially with the keyboards and electronics) in order to create particular and distinct ambiences for each song ? Was the songs written to fit with the lyrics ?
I suppose that I prefer songs with repetition, and formulas based on some Beatles formats. Obviously, it can become predictable at times, so I try somehow to make each song have their special point and purpose. The atmosphere was added to reinforce what was already there, and because the riff parts were more drawn out, there was space for vocals and strings and sci fi sounds to add to the cocktail, and bring emotion to the forefront, by reinforcing root notes, or harmonizing between vocals and guitar. I agree that each track is different in approach, and actually quite varied. My goal was to somehow use the vocals to link it all, and make it feel natural, and not out of place. There are many unknown universes, undiscovered territory, and this is what I was on the search for… something that compliments, and adds brightness and shadows to the once dark horizon. Hehe.

MENACE’s musicians are identified with pseudonyms, beside you got two pseudonyms, as guitarist/keyboardist and as singer. Why ? Do they have any particular meaning ?
Yes, maybe it's a point worth mentioning that I had written the concept for a film, and I've been working on this for 10 years. I've combined some of the key characters into the concept of Menace. At film school, I was given confidence to pursue this venture, since my teachers all saw potential in it, so it's become one of my life time goals. Each character has a specific meaning, and plays a part in the concept. Synergus represents the present self, and Cygnus representing the future self. The film is about different levels of consciousness, time and space, place in the universe, point in life higher levels of communication. There are disruptions, distractions and opposing forces, and it all intertwines in great detail with each member. I know it must sound ridiculous, but one can only dream… lol.

What represents the covert art of ‘Impact Velocity’ ? In some promo pics you appeared with the same mask than the character on the cover… along with the pseudonyms and the lyrics, can we say that ‘Impact Velocity’ is a kind of concept-album ?
Yes, it's theatrical in approached, setting out with the best intentions… To make the best of something bad, to make the most of something sad… It was difficult to imagine the artwork, and we were so fortunate to have Adrien from Season Of Mist pay close attention to mood, content and detail. We felt that the best way to present the feeling of the band was through custom pieces that would enhance the message of the present state of society, the influence of humanity and technology in the hands of a child, vulnerable and explicit. A way of telling a creative adventure that will at least provoke some kind of feeling, like, or dislike, to me, the mask is a way to present initiative and provoke thought, opening gateways to the mystere by exploring the infinite and extraordinary territories of the Mask. The genius of mankind has incorporated the mask to celebrate the gods and nature, Mourn the dead, glorify the living, laugh, provoke awe or admiration, educate, celebrate Love, sombre, solemnise meetings, mock, recite poetry, seeking cures for their own needs? All this has been done by calling on the Mask. In theatre, the Mask is a sculpture as much as it is a character. One does not wear a Mask thoughtlessly but with lightness and precision. Wearing a Mask involves bringing into play one's own humanity. We venture to project and tell a story with depth through restoring the Mask's importance and relevance at the heart of life, while participating in the understanding of the world's cultures, past, present and future through the Mask.

You work in with the ukrainian sans artist Ksenia Simonova for two videoclips. How did you discovered her work, and how did you manage to convince her to work in with MENACE ?
It was a coincidence that I came across Kseniya's work. I was really taken by her passion for art and humanity and her life story was inspiring and had much in line with my own experiences. I contacted her regarding a video for To The Marrow to try to help her do something positive also with the Childrens Cancer Charity. She also offered to do a video for Painted Rust. She but so much energy and love into her creations, and I really just can't believe that we are so fortunate to have such a creative individual working towards the same goals. It's been such an interesting experience communicating with her, and explaining the in depth meanings behind each line, leaving her full creative control to tell her side of the story. She offered to perform one live show with Menace, so hopefully we will create something very special for when it eventually takes place.

Max Cavalera and Brann Dailor were involved in MENACE but they have to relinquish because of lack of time. What would have been their role in MENACE’s music ?
Brann recorded 2 songs on drums, and had no time. It's understandable because there was a lot involved, and it was a huge commitment. Max and I sent songs to each other 6 years ago, and we couldn't seem to coordinate everything with our schedules. The entire concept of the band changed once I decided that I would attempt to do all of the vocals. It was all suddenly so personal to me, that I just had to find a way forward. It was a total blessing that Derek Roddy played on the songs. It really added the scope and dimension that the band so definitely needed. He did a great job, and I really couldn't or wouldn't want to picture Menace in any other way.

Some of our readers remembered ‘B.I.B.L.E.’, MEATHOOK SEED’s second album, by listening to ‘Impact Velocity’s first extracts. Can we say that somewhere, MENACE is the continuity of MEATHOOK SEED, or it’s something completely new and different ?
By the way, what memories do you keep from the MEATHOOK SEED era ?
I have very fond memories of all of the Meathook Seed songs and days. I was an uplifting experience for me to push the boundaries, however… Years pass, and each individual develops and has different needs and moods and ways of expressing them, or dwelling in them. Of course, everything that I do is a logical extension of something previous however drastic or miniscule. Yes, that feeling is present in Menace, but it was something I was totally sure that I wanted to do. I wanted a name, not connected with any expectations, or limitations to any form of expression that might arise. Many times, I wrote the lyrics, but they were presented by someone else due to my own lack of skill or confidence. This time, it was about learning, and planting seeds that would eventually grow into their own personal space where ideas can flow freely and naturally. I'm glad that you noticed a MHS connection, because yes, it's all essentially part of the same vision, but this is expanding on things that would merit a new name and one that tells its own story, and serves its own purpose, and something that we can perform live, with every aspect of interaction that we can create in a specific environment.

Is MENACE going to do some live shows ? If yes will it be with ‘Impact Velocity’s line-up ?
Yes, we are planning rehearsals soon, and we should be ready to present the live side once all of the pieces are in place. I'm sure that we will do everything in our power to perform with the full Impact Velocity Line up, and there will be other aspects and participants involved.

Will there be another MENACE record, sooner or later ? With or without the same musicians ?
I always take things one step at a time, one day at a time, like any marriage. It's impossible to see where this all leads, but for now, I still have much to do until I feel the presentation is complete for this album. There are 70 pages of lyrics and at least 16 other songs that didn't make the album for various reasons. Some were too far removed, and others, simply not the right time or place. I have a clear picture in my head of where the next album begins and ends, and I will start on that within this year, but for me it will be fun to expand on each existing aspect of how we laid the foundation for the limitations of your first album, lol.

Most of our readers are impatient to hear the next NAPALM DEATH record. Is he already written, is the band envisaging to enter in studio soon ?
I'm really excited about the new Napalm recording. We've already recorded 10 new songs, and I'm really happy with the results! Now that I have Menace, and outlet for a different kind of emotion, I've assumed a different role in ND. One that focuses on intensity and the kind of dynamics that we've grown accustomed to in the growth process of Napalm.

With NAPALM DEATH you participated to the first edition of the ROCK YOUR BRAIN FEST in October in France. The show was a bit perturb by slammers, which made you failed the beginning of ‘On the Brink of Extinction’...
What are your feelings about the slammers on stage, especially for a Death/Grind band like NAPALM DEATH ?
Crowd participation is an integral part of the performance. Watching others react freely,and release their own frustrations. The one thing that some people fail to realize is that the band also has to play. It can easily cause a disturbance to the songs, both for the band and the audience. Alcohol is usually a major factor, someone completely oblivious to their surroundings. It's one of those things we have to deal with on a daily basis, with lots of adrenalin in our system. Anything can happen, and sometimes it makes it exciting, and also comical…

I think that some guitar riffs on 'Impact Velocity', especially in the second part of the album, got a strong NAPALM DEATH influence. So, as we say in French, can you say "chassez le naturel, il revient au galop" (when what is natural is driven off, it returns at a gallop) ?
There are lots of things on the album that have a darker nature, and a more intense, isolated and self indulgient approach. Especially the guitar and drum approach. The vocals are what make it logical to the first half of the record, and it also helps build the album, taking certain kinds of energy to a philosophical level. It's also intense, and extreme in it's own way, and I think the clean vocals help compliment the intended messages and atmosphere of the songs, expanding on what's already established and becomes a different kind of driving force… It allows many different directions for future exploration if that's how the mood develops…

Thank you for answering my questions. I let you the final word, if you have something else to add, it’s here.
Thanks for keeping an open mind, and hopefully you discover something special in the Menace recordings. It's something that I will develop over the next decade. Thanks for your time and interest, and hopefully we all eventually reach maturity to the most possible extent, and share our experiences as one collective movement…