Karl Sanders: Who knows? It’s a side project, so it exists purely because I enjoy the music on a personal level. I am just grateful that I have the chance for others to listen and enjoy as well. Maybe because I would like to make more of these records in the future, I have an interest in the project doing well. After all, if Saurian Exorcisms goes plywood and no one buys the CDs, then obviously Andreas would not be as eager to do another one. So I hope it does reasonably well just for that reason.
Obviously the sound is completely different, but does the songwriting process for your solo stuff ever trigger ideas for Nile material, or vice versa?
Occasionally. A couple times I'll start on something, and it will become very obvious to me whether it’s a Nile song or a side project piece. “Shira Gula Pazu” could have gone either way. There is actually a version laying around with Nile guitars and death metal vocals. George and Dallas both expressed a strong interest in it when we were working on Ithyphallic; it really could have gone down the Nile path with only a few alterations from what you hear on Saurian Exorcisms. I think I just liked “Shira Gula Pazu” with the Baglama Saz. It gave it a more North African flavor then the big all-empowered, all encompassing pyramid sized Nile guitar tone. The Saz leaves room for other instruments in the mix to be heard as opposed to the Nile guitar sound , which eats up so much sonic space.
Is it easier or more difficult coming up with song titles for instrumental songs?
Well, with lyrics, there usually is a hook or chorus or some theme in the lyrics to make having a title pretty easy. But with instrumentals one has to use their imagination a bit. I usually just at some point listen to the song with my eyes closed, and see whatever imagery the music suggests to me. And that might suggest a title. Or, quite a few times, I will read something somewhere and a title suggests itself , and then I start with the title to inspire some new music.
One thing I don’t do is argue with the muse. If the music gods give you a gift of an idea, you just go with it and see where it takes you. Cause if one tries to get arrogant about it, and start making demands on the Muse, she will say (screw) you and probably go give somebody else the good stuff.
Have you, or do you have plans to play your solo material live?
Although I would really like to play the Saurian stuff live, the reality is I already tour quite extensively with Nile, and I have to balance that with being a parent. I am gone at least five months out of the year already, so it wouldn't really fair to my kid for me to go off and tour a second band. Maybe when he is grown and off to college or whatever, then maybe I could seriously tackle the challenges of touring Nile and the Saurian material.
When you’re listening to music for pleasure, is it typically metal music, Middle Eastern music, or something else?
Both. I also very much enjoy listening to soundtrack music. Movies are like the modern day venue for the new classics.
When and how did you first become interested in Middle Eastern culture, mythology and music?
Years ago, my friend and Band mate Pete Hammoura. His family is Lebanese, so I got a healthy dose of exposure to Middle Eastern culture. Of course I was also a fan of world history, particularly the Ancient Sumerians, Babylonians, and Egyptians. I am not at all surprised that I ended up in a band like Nile.
What’s the timetable for the next Nile record?
Preproduction is April and May, then we start recording in June at Erik Rutan’s studio in Tampa. Hopefully we will finish mixing sometime in July at Rax Trax in Chicago.
Are you far enough along to be able to divulge an album title or the direction of the record?
Gunter Ford would have my ass if I were to give away the title this soon. As far as the musical direction, we have upped the bar on the guitar playing this time around, and are very conscious about incorporating plenty of new and interesting extraneous instrumentation.
The last two Nile records were more straightforward death metal than say In Their Darkened Shrines, but that’s really just where we were as a band at the time. At that time I was also perhaps a bit fed up with some of the online nay-sayers who were accusing us of “gimmickry” and saying stuff like we weren’t capable of making metal without some sort of other “trickery” elements. What B.S., I know.
Every member of Nile right now can certainly play the Jesus (and Devil) out of their respective instruments. We are pretty damn confident about our technical skill level and our fever for pure metal mayhem. But that negative stuff sits in the back of your brain, entrenching itself in the most unforgiving way. I guess on some level I just wanted to lay down the hammer the old–fashioned way for awhile, at least until I stopped hearing any last remaining “Nile is nothing without its Egypt theme” internet foolishness.
Living in Greenville, South Carolina you’re pretty removed from the metal scene. Do you see this as a positive or negative?
It’s got its ups and downs. On the one hand, there are few distractions here, and one can really buckle down and get some work done. But the flip-side is there aren’t that many metal shows in Greenville. So to go see a real metal show – my personal brand of fun – I have to drive a couple hours to either Atlanta or Charlotte. I guess there’s always a trade-off in life.
