INTERVIEW: Sam Skarstad – Yellow Eyes

YELLOW EYES are one of the most interesting bands in American black metal. Since forming in the woods of northwestern Connecticut in 2010, brothers Sam and Will Skarstad have been driving their sonic template forward to remarkable effect. Although their creative process is rigid and calculated, their sound is not. Jarring juxtapositions and paradoxes lie at the beating heart of their sound and their ability to switch from cold to warm moods is incredible. They are a prime example of how to push the black metal sound forward. Prior to the release of their stunning new album, Rare Field Ceiling, we spoke with guitarist Sam Skarstad to get the insight into their latest creation alongside reflecting on the growth and health of the modern black metal scene in North America.

You are on the cusp of releasing your brand new record, Rare Field Ceiling, what can we expect from this new release?

Sam: This one is a sharpening of everything we’ve done so far. It has more of a point to it. That’s my reading of it as a listener. You never know what an album is really like until a year later. It’s out now, so whatever we say here could be in opposition to what people truly think of it. But I think it’s easier to enjoy.

This new album arrives two years on from your last release, Immersion Trench Reverie. How has the band developed in that time?

Sam: We’ve gone on tour a few more times. A lot happened in our lives personally. I think that has relaxed us and allowed us more freedom. It seems to me that we care less about the result of the recording process and that has paradoxically unlocked another layer inside the music.

As is now tradition, you recorded the album yourselves. How was that process? 

Sam: As always, very intense. Very enjoyable. I’m the one throwing microphones around and making sure the recording is actually working properly, and simultaneously searching the edges of my brain for how to play the songs. It was very hot…

Handling things in a very DIY nature goes in accordance to your belief that limitations of skill or technology can nourish a singular voice. Can you expand on this and why you want to create music in this manner?

Sam: When you are trying to put up a frame around an idea that is nearly inexpressible, it’s better to have fewer people involved. The idea can get blurred. If you have even a shred of technical skill at recording, that allows you full control over what you are trying to say. And even if you don’t know precisely what you’re saying, sometimes your weaknesses will say it for you. And you shouldn’t necessarily prevent them from doing so.

And by being this self sufficient, how has it helped you define the sound of YELLOW EYES?

Sam: It has to do with the little switches that happen between being the writer, the performer, the editor, the listener. As writers and performers, we can be intense and blind. As editors, we gain some perspective and cool off a bit, changing some earlier decisions. Then, much later, as listeners, we can assess what truly happened and what we like about it in a way that is nearly third-party. We can listen back and decide to keep some of the good problems around, the ones that arose in the state of blindness.

The album title itself, Rare Field Ceiling, is particularly intriguing. Can you expand on what the album title means?

Sam: It is about trying to touch the ceiling. It is the question of whether that is or isn’t possible.

I seem to get the impression that a major source for inspiration for YELLOW EYES is that of real world experiences. Is that the case, and if so, can you reveal to us what experiences helped shape and influence the creation of Rare Field Ceiling?

Sam: There was illness in the family, a near death experience. It happened at a time that life felt intense anyway. It came at the tail end of a year of touring through Europe. I may be wrong about this, but I believe there were a few key moments during a tour that fed directly into this record. Untethered days of driving toward a spot we pointed to arbitrarily on a map. Finding abandoned Czech castles in the forest and trying to climb inside. Wandering through private property at the edge of a ravine as night fell, trying to find the source of a weird sound. There was a sensation that none of it could last. But, why not?

Going further, can you describe the lyrical themes and messages explored on this new album?

Sam: The title of each track is something that can protect you. The lyrics in the songs are elaborations of the titles. They are all connected. One track in particular is about sensing that death is immediately at hand. That one was especially resonant to me at the time. I think it will be obvious to anyone who scans the lyrics.

One thing I find incredibly satisfying about the record is the duality. It seems to swing from cold and bleak tones to ones that are both warm and inviting. Was there always this intent to display juxtapositions and did you find it difficult to create this musical atmosphere?

Sam: Our songs are impulsive. Sometimes too impulsive. That’s our natural state, and we have to battle against it by stretching out certain passages to give the ears a rest.

With Rare Field Ceiling being your fifth full length record, how do you think it compares to your back catalogue? 

Sam: This one is prouder. Less skittish. But what do I know?

Since your formation in 2010, you’ve become quite the force in modern American black metal. How is the scene today compared to when you first started the band?

Sam: Lots of good bands, lots of bad bands. The balance always seems to remain the same, even as the bands change. There’s probably a chunk of raw truth in there somewhere. It’s hard to say, it’s a moving target. I’m still discovering bands from every era. By the way, we’ve always been bad at answering this question.

Whilst many people often think of Scandinavia when it comes to black metal, America has provided countless quality bands throughout the years. How do you think the US black metal movement compares to that of say Norway for example? 

Sam: Incomparable. Too different. No matter how hard we Americans try, we won’t ever sound like that. It’s not a bad thing, of course.

Following the release of the record, will there much touring in the works? Can we expect to see Yellow Eyes on UK shores any time soon?

Sam: Nothing locked down, but yes…

To close, we’ll offer you the chance to leave a parting message with our readers. Do you have anything to say to the readers of Distorted Sound?

Sam: Every time someone contacts us, it changes our trajectory ever so slightly. If we get a few people asking us to go somewhere, we’ll probably form a tour around it. Speak!

Rare Field Ceiling is out now via Gilead Media.