Canadian Gothic Doom Metal outfit Dead Fields of Woolwich, known for their brooding atmospheres and intricate dynamics, last delivered a single in 2024 that confirmed their reputation for immersive heavy music. To explore where they’re headed next, here are some questions for the band.
What inspired your 2024 single, and how did its writing and recording differ from previous material?
“The inspiration for that single (Hideous Heart) came from the Edgar Allen Poe story The Telltale Heart, at least in title. The meaning of the song definitely morphed as lyrics were being written though. Even after it was released with the video I still found new meaning in it that I didn’t necessarily intend to but it all made sense in the end, at least to me. It was written at the tail end of our self-titled debut but never made it to onto the album, which worked out because it definitely had a different direction and sound which is much more evident in our newer songs. That really was the start of the direction we’ve been going these days.“
Are you currently working on any new songs or a fulllength release, and can you share where you are in that process?
“I’m actually all done with the new full length which we decided to call Monarch Of The Grave. We just put out a new single and video for the song Cult Of The Cemetery Light. It’s 8 songs of Doom & Gloom but it takes a whole new direction from the last album. It should be out sometime in July, I haven’t set a concrete date for that yet though. We’re more so in single mode right now just trying to promote that and get people into the new songs. There is something brand new in the works but I’m just demoing it and still crafting it. It’s going to be heavy though.“
How has your songwriting approach evolved since the last release, do you begin with riffs, textures, or lyrical themes?
“It most definitely has changed over the past few years. In the past I would just have riffs and I try to put them together as cohesively as possible. These days the song writing is a lot of precise. I tend to write my choruses first then do some lyrics for it and build around that. When you listen to any of the past 2 singles you’ll hear the chorus as the focal point. After all the music is done I’ll go back to the chorus and find my lyrical theme and fill the rest of the lyrics out from there.“
Which artists or records have been guiding your sound and vision in the studio lately?
“As much as I try to not have outside influence I’m sure some has leaked in. There’s always going to be moments in songs that remind you of a certain song or band. For me it’s always been Type O negative or Paradise lost but I don’t think they
show up all that much on this album. One band that did influence this album though is End Of Green from Germany. I’d say they’re responsible for some of the more catchy depressing rock parts, so we can blame them for that.“
Can you describe any memorable moments or happy accidents from your recent sessions?
“I have a happy accident story for sure though I wouldn’t necessarily call it an accident, more like me just being oblivious. So my pedal board set up is pretty basic, just an overdrive, chorus and delay. Since I’ve started jamming with a full band I
haven’t been able to find a delay pedal that I actually liked or gave me the sound I wanted. I was screwing with my amp a while back and noticed it actually had an effect knob built in so I decided to try it out and it was the perfect delay sound I wanted this whole time, keep in mind I’ve had this head for a few years and only now did I notice this magic knob. It really brought out the sound I wanted for live shows though.“
How do you balance the heavier, atmospheric side of your music with moments of Melodic or Progressive exploration?
“For me it’s really all about dynamics within the music. A heavy part will hit so much harder when it’s placed after something light and dreamy. It’s like building tension then having a powerful release, it’s going to seem that much powerful. Those atmospheric parts play an important role as well. It’s good to let the music breath a bit before you take that riff and bring it to the clouds before having it come crashing down.”
What lyrical ideas or concepts are you most excited to develop on upcoming tracks?
“With this upcoming album I wrote a lot about fictional concepts I came up with which was great because I could write about almost anything, it really didn’t have much to do with me personally but going forward I’d really like to return to the more introspective aspect. While it may not always be as creatively liberating it definitely is more honest and raw giving it much more emotional depth.”
Do you have plans to bring new material to the stage soon, and how will you translate those textures live?
“Some of the newer material has already made its way into the set list and have become fan favorites. We’ve been exploring the use of backtracks lately to really give the live show the studio or album sound. Even if it’s just a little guitar harmony and keyboard here and there. It definitely brings a better and fuller sound to the whole show. Something else we’ve been experimenting with is stage ambience and sound. We don’t want any dead air so we play soundscapes before and after we play as well as in between songs.“
How has the fan and critical response to your 2024 single influenced your next steps?
“The general reception we got really helped show us what was connecting with people as far as riffs, melodies and dynamics. It’s about what about got people to really tune in to what we were doing and how those type of things can be used in the song writing in the future.”
Beyond writing and recording, what are your priorities for Dead Fields of Woolwich in the coming year, tours, collaborations, visual projects?
“I won’t rule out anything at this point in regards to touring, nothing is in motion at the moment but if an opportunity came up I would be sure to jump on it. Playing more live shows is definitely on the to-do list for this year even if it’s only a few dates. I would honestly prefer fewer shows and have those select ones we do play be a special moment over quantity. As far as collaborations go I was lucky enough to get Bryan Belleau from Woods Of Ypres to play a solo on the new album and I’m incredibly thankful for that and all the work he’s done personally.”
I thank the band for the interview, wishing them the best for the continuation of their artisti career.