Photo by @ilonagerasymova
Further asserting their rank as one metalcore's progressive, innovative practitioners, Sweden exports Imminence continue to prove the artistic breadth is far greater than any one category could define.
Debuting arguably the band's most complete version of themselves earlier this year, The Black, the presentation asserted Scandinavian heft with classical composition, resulting in a final product that pushes the envelope in a way that positions heavy music as a transcendent.
The band's especially methodical approach on their fourth full length album embraced grandiose compositions and expansive thematic concepts. Combined with an obvious classical influence which worked to counter the band's metallic onslaught, the overall presentation was anchored by powerful dynamics throughout, which underscored the enormity of the effort.
Further betting on themselves, Imminence opted out the traditional record label model and self-released The Black. Creating a working environment of true autonomy, Imminence ultimately found the focus needed to set such a high bar. In the end, Imminence now touts their most celebrated full length release to date - a project they have spend their whole career leading up to.
Emphasizing the malleability and shelf-life of the entries on The Black, Imminence have recently revisited the songs and embraced the spirit of collaboration. First reimagining "Death By A Thousand Cuts" with Lucas Woodland of Holding Absence, Imminence would then fully showcase their classical chops debuted a version of the album's title track, composed with the addition of a string quartet and grand piano.
For their most recent offering, Imminence has teamed with another impenetrable Swedish force, sourcing Niklas Karlsson of Orbit Culture for a mammoth rendition of track, "Continuum". Breathing new life into the album, the band's ability to reconfigure such well-constructed songs and craft something refreshed and reimagined underscores a unique musical versatility. It's no wonder the band's stock continues to soar as more fans discover the magnitude of The Black and consider it as one of the best of the year.
Coinciding with the release of the new variation of "Continuum", guitarist Harald Barrett spent some time assessing the strides Imminence have made as The Black continues to garner acclaim. Sharing his insights on the band's expanding reach, Barrett confides the feeling of liberation that has marked this record. He also details how the latest collaboration with Orbit Culture is a testament to the rich legacy of the Swedish sound and how "standing on the shoulders of giants" has given Imminence the ability to see far further ahead.
The success of The Black has been nothing short of resounding. While you were certainly proud of the project, were you surprised at all about how well received the album has been since its spring release?
Harald Barrett - Absolutely, I’m sure I can speak for everyone when I say that we could never have expected such an overwhelming response. It’s the first album we’ve released independently, which truly set the tone for how we approached the creative process of this album.
Without comparison, it was the most liberating and unhinged writing process we’ve ever experienced, and neither me or Eddie gave much thought about the end results of the songs that came up when we met up to write new music. Seeing The Black rising as the grand behemoth it is and instantly receiving the astounding, global reactions was nothing short of unreal to us. I believe it’s all a testament to the best way moving forward will always be keeping your head down and focusing on your own path, undistracted by everything else.
Among the fans that seem to be most intrigued with Imminence, your North American run was nearly sold out entirely. What was the feeling among the band knowing that your first run off the US was such a draw?
For years, we received messages from our audience, asking us to come to North America. By the book, you’re always recommended to be introduced to a new territory by supporting a bigger act - an opportunity that never presented itself to us. With the independent mindset, we chose to move forward on our own and enter North America as a headline act, not even remotely knowing what we could expect. It was nothing short of a leap of faith. The first tour was sold out within 48 hours. We upgraded all dates and realized that we had an equally large audience over there, if not bigger. Instantly, we realized that we had to go back and play more cities.
It was really an honor to premiere The Black Tour in the United States, as we were truly so fresh on the market, and the result was just as incredible as we could ever imagine. As a European act, these are the kind of things you dream of, but never actually expect happening to you. Until they do.
Since the spring Imminence has re-released "Death by a Thousand Cuts,” with Lucas Woodland of Holding Absence. You then followed that up with a live rendition of your title track which featured classical elements like a string quartet and grand piano. Now, you have joined forces with fellow Swedes Orbit Culture for a version of “Continuum” featuring Niklas Karlsson. What has been the common denominator among these varying artists that makes sense for Imminence?
Clearly, the classical influence is there in our DNA. Obviously, thanks to Eddie’s schooling of classical music, which fortunately implements these elements right at the very core of our creative process. Unlike many similar acts, these arrangements live within the songs, rather than being added on top afterwards. This made it very easy to scale to a larger level, and actually perform all the arrangements live with real instruments versus a backing track. For us it is just very important to represent live music.
Lucas and Niklas are simply friends of the band. Be it sharing a tour bus or just talking about a collaboration for years, both these incredible vocalists and creators have crossed our path several times over the years, and we’re very honored to have them breathing new life into two of the tracks from our latest album.
How did the collaboration effort with Karlsson come together and of all the songs from The Black, what about “Continuum” made the most sense?
We first got to know Niklas from being on tour together in late 2022. Two up and coming Swedish acts were welcomed to open for the legendary acts In Flames and At The Gates over Europe, and we truly had to cooperate and help each other to make ourselves look worthy in the company of these giants. This created a very strong bond and friendship. Looking at the vocal arrangements for Continuum, it was easy to imagine Niklas’ monstrous growls. The long screams and instrumental aggression served his beast-like vocal abilities very well, and it was just a match made in heaven.
Given this series of re-releases, did you always have this plan in mind or did the idea of revisiting these tracks happen organically?
I’m asking myself if there was ever a plan with the new album. I feel like one puzzle piece was laid down after the other, as we were breaking into new territories with every single move we made. Figuratively and physically. Such was the case with the re-releases as well. We act, then react. This format felt right, and so it happened.
In getting different perspectives from the various people you have worked with that have all had a hand in interrupting your music - how has that impacted you as a songwriter? What are some of the lessons you have learned in working closely with people outside of the immediate band?
Musically, I wouldn’t say that we have ever had an external working partner that influenced the creative process behind our songwriting. It’s me and Eddie writing the music. However, we’re of course working with partners for recording, video creation, graphic development etc, which obviously has its effect on the process. In terms of songwriting, well it’s always just been up to us.
A collaboration track with Imminence and Orbit Culture - two of Sweden’s most in-demand prospects. What kind of pride do you take in being part of the next generation of Swedish metal practitioners - a region so beloved for their contributions to the culture?
We’re all standing on the shoulders of giants. One of our absolute greatest influences growing up was In Flames, and they’ve had a huge impact on myself as a songwriter and guitarist. To be recognized as (to actually quote one of the In Flames band members) “the ones who are going to take this further on” is one of the greatest prides in my life. Our country is small, but filled with incredible talent, and to be considered as one of the forefront acts in our genre is a responsibility and honor that I do not take for granted.
Catch Imminence live next month on their run of EU/UK dates in support of The Black. A complete list of dates and cities can be found below. Get tickets - HERE
- 2024 has been a breakout year. What can/should fans expect for 2025?
There is no stopping from here. I believe we have just touched on the surface of our potential, and we are looking forward to laying out the next puzzle pieces from here on.
