1.) To kick things off, tell our audience a bit about the origin story of Impure Wilhelmina?
Michael (vocals, guitar): I started this band in 1996 with my brother on drums and two
friends (who were brothers themselves) on second guitar and bass. We played our first
shows in Geneva and the surrounding area, made our first recordings, and then, one
thing leading to another, we released our first album, “Afraid” (1999). Our style then
evolved, leading to the albums “I Can’t Believe I Was Born in July” (2003) and “L’amour,
la mort, l’enfance perdue” (2005), which opened the door to an international audience.
We continued to evolve with our subsequent albums, in which clean vocals took center
stage. A long history (30 years!) of passion and creativity, with ups and downs, lineup
changes, encounters, doubts, and, throughout it all, this dark and melancholic music,
which, we’ve been told, is instantly recognizable, despite its evolution and
transformations—the latest of which is featured on our new album, “Le sanglot.”
2.) Who took the lead on the lyrics for the song “Train mort” and what was the spark that
brought that track to life?
I wrote the lyrics for this song, as well as the music. I had this first, fairly simple riff, and
one day, when I woke up from a nap, I came up with the lyrics “Laids les corps, laids les
cœurs, entrée en quai du train mort” (Ugly bodies, ugly hearts, stepping onto the platform
of the dead train) which fit perfectly with that riff. It’s a classic example of inspiration
seeming to come out of nowhere, following an incomprehensible process.
Starting from that idea, I added parts and lyrics to create a more or less finished track.
We played it in rehearsal and liked its fairly simple, mechanical feel, but we felt
something was missing. So we had the idea to contact Mütterlein, whom we’ve known
since her time with the french band Overmars. She added her vocals, some guitars, and
some ambient sounds, resulting in the track as it is today.
3.)If you had to describe the sound of Impure Wilhelmina to someone who hasn’t heard
you yet, what would you say?
It’s always been difficult for us to describe our music, and we’ve never been fully
satisfied with the descriptions and categorizations we’ve read or heard here and there. If
we had to be extremely concise, perhaps “dark rock” would be the best way to put it.
To elaborate a bit, let’s say we write songs in a style that blends rock and metal, with a
gothic edge that sometimes leans toward alternative, progressive, or doom; but we’re
already getting lost in the details…
Something dark, melancholic, passionate, and cathartic.
4.)How has the songwriting evolved for Le Sanglot? What does that process look like for
you lately?
As usual, and as I’ve already explained regarding “Train mort,” I’m the band’s main
songwriter. I pick up my guitar, string together ideas and riffs one after another, and with
a little luck, that forms the skeleton of a song. Sometimes the lyrics come to me right
then and there; other times it takes a little more work. I record demos, play them for the
other band members, and if they like them, we play through the whole thing and make
changes until everyone is happy.
Specifically regarding “Le sanglot,” there were two new developments.
First, of course, the French lyrics. It was a decision we made very early on in the
process, following the recording of our cover of Serge Gainsbourg’s “La javanaise,”
which appeared on our EP “Dead Decades” (2023). Our first attempts at writing lyrics in
French quickly convinced us to keep going down this path, and that’s just fine!
Second, Edouard joined us on second guitar, bringing a wealth of arrangements,
expertise, creativity, and a fresh perspective.
5.)What are some of the recurring themes or messages you find yourself exploring in
your lyrics?
Among other things, a rejection of the modern world, cities, and crowds; a loss of
meaning and a loss of bearings; escape; despair; seeking refuge in nature; anger; and
violence that must be restrained.
6.)The cover art for Le Sanglot is striking, who was the creative mind behind that vision?
The two members of Giganto.ch. When we started discussing the album cover with
them, we drew inspiration from the works of late 19th-century Symbolism and
Naturalism. We wanted to capture that aesthetic, its mystery, and its melancholy.
But we didn’t necessarily expect them to come up with such a colorful design. Perhaps
we’re too used to the generally dark album covers in the metal scene. However, we see
a sense of coherence here: these colors reflect the great versatility of our music. And
despite all these colors, there’s a sense of unity in this cover, perhaps thanks to the
repetition of the same face. We hope that this sense of unity is also reflected in the
music.
7.)Do you find your energy translates better in an intimate club venue or a massive
festival setting? Also, which show stands out as your all-time favorite?
We really love small clubs. It’s true that metal, with its raw power, is a genre perfectly
suited to big festivals and large stages. But there’s something quite intimate about
Impure Wilhelmina—in our approach, our lyrics, and the emotions we convey. In fact (to
come back to a previous question), a good way to describe our music might be “intimate
metal.”
As for my favorite concert, that’s a tough question. When I think about it, several come
to mind: Antwerp (2016), Montpellier (2018), Budapest (2018), Madrid (2019), Paris
(2022). I don’t know exactly why I remember those ones. Maybe during those concerts,
I managed to let go of the stress, the sound was good, there were no technical issues,
the audience was receptive, and I was really able to enjoy and be fully present in the
moment.
I also think back to a concert in Geneva (2007), where we played in the street during a
demonstration in support of a squat. It was a pretty wild concert.
And also all the times we played in Vienna, where I have family ties and childhood
memories.
8.)Which artists inspired you to pick up an instrument and play?
The heroes of my youth, such as Paradise Lost, Crowbar, Nine Inch Nails, My Dying
Bride, Neurosis, and the all-time classics—Slayer, Metallica, Iron Maiden, Black
Sabbath…
9.)If you could sit down and collaborate with any artist or band right now, who would be
at the top of your list?
I don’t have any specific ideas, but I’d be interested in writing a song for a duet. Of
course, there’s Mütterlein’s voice on “Train mort,” but I might envision something more
like a dialogue, with voices responding to one another. If we ever have the right song, I
have no doubt we’ll find the right performer to bring it to life.
10.)What’s the current pulse of the metal your scene from your perspective?
I admit that I listen to very few current bands. What strikes me most is that image has
become too important. I’m well aware that this has always been the case. Kiss, Iron
Maiden (Eddie, Derek Riggs’ album covers, etc.), punk, hair metal, and its antithesis,
grunge—where, whatever people say, the musicians were also pretty stylish—black
metal, and so on.
These days, there are so many bands wearing masks and costumes… it sometimes
gets a little ridiculous, and I have absolutely no desire to do the same. To be a bit
sarcastic and cynical, let’s just say that back then, a band’s image accounted for 90% of
what they were, whereas today it’s 99%. The music? It sometimes seems to take a back
seat.
But of course, in this age of social media, we have to deal with it. We’re forced to
cultivate our image, even if we try to come across as a bit “down-to-earth,” which I
believe reflects the emotions and sincerity we want to convey.
11.)Are there any endorsements or gear brands you’re currently working with that you’d
like to shout out?
Edouard (guitar) : I’d like to give a shout out to ESP Guitars. Their guitars are simply the
best for rock/metal and their Swiss distributors at Imad AG have been extremely
supportive with me! I play their guitars in my thrash band called “Algebra” and hope to
find the right model soon to represent the brand with Impure Wilhelmina.
12.What does the tour calendar look like? Any big shows or festivals we should be
marking down?
So far the following dates are confirmed :
May 29th at Ned Club, Montreux, Switzerland with Abraham and Shrooms Circle
June 6th at Usine PTR, Geneva, Switzerland with Nostromo and Mütterlein
June 15th at Bad Bonn, Düdingen, Switzerland supporting Kylesa
October 3rd at Festival Les Lunatiques, Rennes, France
October 9th at Case à Choc, Neuchâtel, Switzerland with Rorcal
June 6 in Geneva will be the occasion to launch “Le sanglot” and celebrate our 30th
anniversary!
And we’re working on putting together a European tour—it’s all coming together. So we
have quite a few things to announce and coming up.
13.)Where’s the best place for fans to keep up with you and dive into your community
online?
You can follow us on all major social media and digital streaming platforms.
Bandcamp: https://impurewilhelmina.bandcamp.com/
Facebook: https://www.facebook.com/impurewilhelmina/
Instagram: https://www.instagram.com/impurewilhelmina/
Apple Music: https://music.apple.com/artist/impure-wilhelmina/299336044
Spotify: https://open.spotify.com/artist/29luUtCyre5DdAujrV8Pob
Tidal: https://tidal.com/artist/4178564
Deezer: https://www.deezer.com/artist/1309118
Record Label – Season of Mist
