The Makai
Preparing to Storm Europe
2008-02-08
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The Makai brings a declaration from another place and time — a world where creatures triumphant and terrible regard human not as master, but as a delicacy. Heroes and monsters of legend lurk within the plastic CD case of The End of All You Know, The Makai’s 2007 album.
The band name came from a Japanese anime movie. It refers to a world ruled by demonic denizens. The Makai is “the place from where all the evil emanates in the world,” guitarist Ian Makau described. Stories from Greek, Norse, Arthurian and Inuit legends and mythologies are the basis of the band’s lyrics. “I like to tell stories,” says singer Brandon Squyres. “I like ancient stories.” Nobody cares about his diary or day-to-day life, Squyres said. The tales of myth and stories of legend are much more appealing to write about and listen to. Gotterdammerung, or the end of the world in Norse mythology, is his favorite. It is also the title of the first track on The End of All You Know.
“It involved every single thing coming and fighting and destroying each other,” Squyres said.
He recently obtained a book on African mythology. Since the release of the album, The Makai has written two news songs based on Russian folklore. The song “Sedna’s Tale,” about the Inuit goddess of the sea, is guitarist Zeke Rogers’ favorite on the album. According to legend, Sedna was cast into the sea by her own father, and that storms on the oceans are caused by her wrath.
The onslaught of The Makai is incomplete without the alchemy of its musical creations. It usually begins as riffs written by guitarists Rogers and Makau. After a “weeding out of riffs,” as drummer Jesse Shreibman put it, the songs evolve into their final versions.
The Makai has written some new songs that have slower tempos, Rogers said, but there will be portions with faster rhythms as well.
“Incredibly fast and evil!” bassist Jeff Worrel added.
Fast and evil sums up The Makai song “The Hound of Hades.” It opens with a rhythm like a gravedigger’s shovel, and growling like all the guardians of Hell.
While discussing song inspirations, the band members joked about a musical project that would represent the apex of their musical ability: “Jesus Christ the Viking.”
“We’re not religious,” Rogers said, responding to a question about religious beliefs.
“Shit, I’m a fuckin’ Jedi!” Worrel interjected. Sharp like talons, The Makai’s sense of humor is every bit as wild and wicked as the music.
Beginning in February, The Makai will be devouring audiences in the Netherlands, France, Germany and the Czech Republic. The invasion will begin in Utrecht of the Netherlands, February 27th as The Makai cuts its incisors on the land of medieval legend.
The metal scene in Europe seems to be comparable to the American scene, Rogers said. But there are many more all-ages venues in Europe, and the DIY scene focuses a lot more around squats. After the European tour, the Makai plans to release two split albums with Nux Vomica and Samothrace.
“We already have the songs written,” Rogers said.
The Makai has toured nationally and shared the stage with a horde of excellent bands. Dillinger Escape Plan, Goatwhore and Exhausted Prayer were some of the most impressive. The band has survived a variety of touring and onstage mishaps. Worrel’s bass once collided with Squyres’ head onstage at Libertatia, causing his forehead to squirt blood. He finished the show with a bandana tied around his head, then returned to his hometown of Chico, CA, to receive six stitches. Other incidents include chipped teeth during practice, ill-fated stage diving and gas leaks in Portland. The band suffered a severe setback when Shreibman got in a bicycle accident on Nord Avenue several months ago. He flew through the back window of a truck and sustained a serious gash in his forearm. Shreibman required both surgery and physical therapy to recover. During the interview he rolled up his sleeve with a morbid grin to reveal a jagged scar and a weird bump, like a testicle grafted onto his arm.
The Makai will live on, with Shreibman’s deformed arm as its pacemaker. Jarring and ferocious, its voice shall remind listeners of their own mortalities. It’s a celebration of monstrosity, a who’s who of the Damned. This is the age of the world’s destruction at the hands of mankind. The end of days is near… and The End of All You Know is here.
The band name came from a Japanese anime movie. It refers to a world ruled by demonic denizens. The Makai is “the place from where all the evil emanates in the world,” guitarist Ian Makau described. Stories from Greek, Norse, Arthurian and Inuit legends and mythologies are the basis of the band’s lyrics. “I like to tell stories,” says singer Brandon Squyres. “I like ancient stories.” Nobody cares about his diary or day-to-day life, Squyres said. The tales of myth and stories of legend are much more appealing to write about and listen to. Gotterdammerung, or the end of the world in Norse mythology, is his favorite. It is also the title of the first track on The End of All You Know.
“It involved every single thing coming and fighting and destroying each other,” Squyres said.
He recently obtained a book on African mythology. Since the release of the album, The Makai has written two news songs based on Russian folklore. The song “Sedna’s Tale,” about the Inuit goddess of the sea, is guitarist Zeke Rogers’ favorite on the album. According to legend, Sedna was cast into the sea by her own father, and that storms on the oceans are caused by her wrath.
The onslaught of The Makai is incomplete without the alchemy of its musical creations. It usually begins as riffs written by guitarists Rogers and Makau. After a “weeding out of riffs,” as drummer Jesse Shreibman put it, the songs evolve into their final versions.
The Makai has written some new songs that have slower tempos, Rogers said, but there will be portions with faster rhythms as well.
“Incredibly fast and evil!” bassist Jeff Worrel added.
Fast and evil sums up The Makai song “The Hound of Hades.” It opens with a rhythm like a gravedigger’s shovel, and growling like all the guardians of Hell.
While discussing song inspirations, the band members joked about a musical project that would represent the apex of their musical ability: “Jesus Christ the Viking.”
“We’re not religious,” Rogers said, responding to a question about religious beliefs.
“Shit, I’m a fuckin’ Jedi!” Worrel interjected. Sharp like talons, The Makai’s sense of humor is every bit as wild and wicked as the music.
Beginning in February, The Makai will be devouring audiences in the Netherlands, France, Germany and the Czech Republic. The invasion will begin in Utrecht of the Netherlands, February 27th as The Makai cuts its incisors on the land of medieval legend.
The metal scene in Europe seems to be comparable to the American scene, Rogers said. But there are many more all-ages venues in Europe, and the DIY scene focuses a lot more around squats. After the European tour, the Makai plans to release two split albums with Nux Vomica and Samothrace.
“We already have the songs written,” Rogers said.
The Makai has toured nationally and shared the stage with a horde of excellent bands. Dillinger Escape Plan, Goatwhore and Exhausted Prayer were some of the most impressive. The band has survived a variety of touring and onstage mishaps. Worrel’s bass once collided with Squyres’ head onstage at Libertatia, causing his forehead to squirt blood. He finished the show with a bandana tied around his head, then returned to his hometown of Chico, CA, to receive six stitches. Other incidents include chipped teeth during practice, ill-fated stage diving and gas leaks in Portland. The band suffered a severe setback when Shreibman got in a bicycle accident on Nord Avenue several months ago. He flew through the back window of a truck and sustained a serious gash in his forearm. Shreibman required both surgery and physical therapy to recover. During the interview he rolled up his sleeve with a morbid grin to reveal a jagged scar and a weird bump, like a testicle grafted onto his arm.
The Makai will live on, with Shreibman’s deformed arm as its pacemaker. Jarring and ferocious, its voice shall remind listeners of their own mortalities. It’s a celebration of monstrosity, a who’s who of the Damned. This is the age of the world’s destruction at the hands of mankind. The end of days is near… and The End of All You Know is here.
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