Info
- Band(s): Aerdryk
- Interview Date: October 28, 2024
- Author(s): Joeri Bruyninckx
One of my favorite Black Metal albums from the last couple of years must be the debut album by Wemmel, Belgium based Aerdryk, moniker of François Breulet. It’s his only album until now. ‘Met De Drietand Op Mijn Huid’ is a gritty and heavily bass-driven record, with a fascination for ancient Flemmish folklore and early Scandinavian Black Metal. And here’s a second new album on its way, called ‘Onzuiver’.
I only know one Aerdryk-release, which is ‘Met De Drietand Op Mijn Huid’. Is this your only release? Why is your debut release straight away a full album, and not, starting with a short one, a demo or EP?
I felt confident about the whole vibe around the album. It’s a niche, even in Black Metal, but that is what I wanted. And the tracklist sounded like an album to me from the start. It just made sense. If I’m not confident in my late 30’s, it would be quite a shame.
What I like about ‘Met De Drietand Op Mijn Huid’ is that it’s not really a riff-based Black Metal-album, but rather an atmosphere-based Black Metal album. Why did you make this choice?
The first album is, in my eyes, a bass and synth album with guitars around it. Still, the songs were written on guitar but it’s the bass and synth that give it a vibe. I have played bass far almost 25 years, but synths are quite new. I believe I started to have some interest for synthetizers while I was doing demos for the ‘Void’ album from Wolvennest. Synth is a pandora’s box, as you can literally do any sound with it. I love mellotrons and hammond sound and got deeper into it. While I can play guitar and be as serious/pro as possible about it, I have more pleasure with synths and vocals, because it’s still a learning process.
Another thing I like about the album is the ‘hoover’ sound, which sounds really like early 90s Black Metal. Why did you choose for this sound? Do you think this sounds gives the album an ‘old-school’ vibe?
I don’t like Black Metal when it’s overproduced. Matter of taste I guess, but it’s supposed to be at least a little nasty. Imagine ‘666’ from Katharsis with a good production. It’s supposed to be chaotic and disturbing. When it comes to Aerdryk, it was quite clear from the beginning that I would never go for a massive sound, but for a sound that you love or hate. I love the production and would not change anything on the first album. It’s a very honest album and I’ll be able to live with it until the end.
Is Aerdryk a solo project?
Yes and no. Yes because it’s my baby, my blood, my identity and my vision. No because Déhà is quite present on the next album (guest vocal on one song, some bass, some synths).. On stage, it will be a full band, including Hans from Oerheks, who always double check my lyrics, as French is my first language, not Dutch. I’m quite insecure about that aspect, even if I get better with the years. While I’m confident about the musicians, I’m a little concerned about my vocals as it will be my first time but I’m also dead excited about not having a guitar or bass with me. It will be a totally new experience and I feel I needed to put myself in a situation in which I could fail. Doing guitar or bass became totally natural, I’m getting more confident about vocals in studio, but being a frontman? I have no clue about the result. Epic win or epic fail, no in-between. Danger is good!
Why did you choose to work mainly on your own?
Just because I can and mainly because it offers me freedom and control. I love to not rely on other people. The whole process has been easy as I don’t rely on someone’s mood or agenda. Doing solo albums is also a way to enjoy again being in bands. I’m less frustrated if a bandmember is too slow or unavailable or not in the mood thanks to Aerdryk, The Radiant Light and a new project that will be revealed very soon. It also forced me to learn to scream, write lyrics. I’m starting to enjoy that part of the process more and more. All the guests on Aerdryk are present on the albums because I want it, not because I need it, which is a way more honest process, at least in my eyes.
Which music influenced you for Aerdryk?
I want this project to smell tradition with a little door opened to weird atmospheres: Burzum, Thorns, old Satyricon, Drudkh, old Dodheimsgard, Emperor. old Enslaved. That’s my DNA regarding Aerdryk, with the soul of my grandfather around it. Never heard him saying a bad word about anyone. He is still my good conscious and the reason why Aerdryk is in Dutch.
What does the name Aerdryk mean?
You can’t really translate the word. I discovered it in a poem by Hendrik Conscience, in which he describes his feelings while observing the fields. Aerdryk is my way of touching Flanders’ soul. There is still something very “local” in Flanders, which is hard to describe. As if, despite the centuries, the very core of the region is still alive and untouched. Which is good and bad I guess. Aerdryk is a mysterious word, you can divide it and find the meaning, but to me, the meaning will come from the music and the lyrics with the years. It is all about the folklore, my rejection of Christianism, injustice and the Devil. Not the one with cloven hooves, but the one synonym or rebellion, wisdom and creativity.
You’re from Wemmel. Is there a local metal or Black Metal scene?
No idea. I don’t know anyone in Wemmel, except my family. Which says a lot about Wemmel or about me. It’s just an ok place to live, where nothing happens.Well, we have Nicole and Hugo (Nicole is sadly dead), but that’s all. Google it and you’ll know what you need to know about Wemmel.
Are you linked to a Brussels metal scene?
Years ago, I said to Hans C., my brother in arms in LVTHN: ”Let’s create our own scene”. He now has Oerheks, Silver Knife, plays in Haxenzijrkel. I’m super proud of him. I followed him before knowing him (I LOVED “Destroying Something Beautiful” from Trancelike Void) and I talk to him every single day, even for a small message or horrible memes. Same goes for Déhà. That guy is the most talented and versatile writer I know. Déhà is also the “link” between Hans and me, as he mixed a lot of our music. When Hans did Oerheks, I just did Aerdryk as an answer and Déhà mixed both bands. So I’m not sure it’s a scene, but it’s our little circle. And you got people around it. Good, honest, reliable and disciplined people that I love. And then you have some links with other circles via common musicians, which is fantastic.
There is also the Thousand Lost Civilizations team who supported us a LOT through the years. They created something in Brussels, organized a lot of crazy good shows and are a solid input for quality shows in Brussels and above (they are co-organizing a show in Chile very soon, how crazy it is!), as they organized tours, as they did for one of my other bands Wolvennest in 2019.
All in all, I believe we can be proud of what we achieved with a DIY attitude and the support of an underground but quality label like Amor Fati. Everything has been made in a very organic way. We focus on the quality of the music and we let people decide, nothing more.
Are you working on new Aerdryk-material?
The sophomore album is mixed and mastered. A part of it will be performed at Unholy Congregation at the end of November in Oudenaerde . I’m dead excited about it. Déhà did 3 different mix until we finally had “the” sound. It’s a little more defined than the first one but still aggressive and trippy. I went deeper for the vocals, especially the screams. It’s still tradition versus unexpected weird sounds underneath the riffs.
What are you currently listening to?
Nothing, as I don’t have the time. New Wolvennest, Terrifiant and more are in motion. With a full time job, I just don’t have the time to be a part of a lot of bands and to listen to music. I do an exception here and there with some old Allman Brothers, as it quite purifies my mind, and I’m always curious to hear what my friends do. I also don’t want to be influenced by anything new, so I just don’t listen to it, except if Hans tells me I should. I’m not naturally skilled, so I try to be as creative as possible without too much interference. And I’ll be honest : you take the worst Black Sabbath era, it’s still more relevant than shitloads of new releases. Hail Tony Iommi!