On the new album, the interplay between the smoothness of the orchestral fabric and the anger raging in the guitar is very subtle, and brings the listener throughout a variety of states.  I find it very unusual to think of the guitar as an integrated element of the global picture, while experience shows that most bands into symphonic stuff keep the songs guitar-driven and use the synths and acoustic instruments as a more or less important auxiliary.  Could you comment on this statement?  Do you actually consider Virgin Black as belonging in any way to a metal scene?
I view ourselves as a metal band, even though bands with less genuine classical elements claim less affiliation with metal I will not forsake it.  Virgin Black’s music is a package and all the instrumentation is an integral part.  What makes music metal?  If it’s the heaviness of the guitars then I’m confused.  I consider many “nu-metal” acts to have more in common with pop music than metal but a lot of the guitars are much heavier than say, old Iron Maiden which would be considered as some of the purest metal by many.  There’s a certain something that I can’t put into words.  Actually I think on the new album the guitars are heavier and combine better with the string sections and the like because of it.  Another oddity to me is symphonic “black metal” that often sounds more like dreamy, new age synth music than metal.  After all is said and done I just long for the day when bands play what is natural to them and people simply listen to what they like (not what they should like); it sounds so simple but I think the scene is far from that situation.  Bands would not have an in-cohesive mix of instrumentation if they refrained from trying too hard.

Then of course the vocals of Rowan London are a most idiosyncratic trait of Virgin Black.  It has been announced that he was under the teaching of some prominent guy in the classical music scene.  I guess you’ve been asked a hundred times about that, but could you please sum up the whole story once again?
Following the recording and release of Sombre Romantic I caught wind of an elite opera teacher in our city.  Agim Hushi who had the same teacher as Pavarotti.  I contacted him with a view to possibly gain something and embellish Virgin Black’s vocals.  An audition was arranged and I attended with an expectation that I may well make a complete fool of myself, but it turned out quite the opposite.  He loved my voice and accepted me immediately upon one condition, to give up my band and concentrate on training with him.  He hadn’t heard of Virgin Black, and found anything along the lines of Rock/Pop detestable.  My response was a strong and assertive “no”.  As one could imagine, this intrigued him.  I desperately didn’t want him to hear the music – being wary of his aversion to anything outside the classical genre…and after many cries of “you wont understand it”, I produced the Sombre Romantic CD.  He loved it!  He was completely over the top in his response, comparing us to Mozart and suggesting that we were exactly what the classical music scene needed; that response continues to amaze me and needless to say, I was accepted, band and all.  Now I train with him with a view to eventually perform traditional operas as well as Virgin Black.

Are you familiar with the US band named Saviour Machine?  In a way, listening to “Elegant…and dying” reminds me of their massive epic “Legend” trilogy, in terms of metal meets orchestration of course, but mostly because of the feeling of the “godly” magnitude pouring out of the music… I think such albums affect the hierarchical connection of the listener to his music.  It’s hard to explain, but what I mean by that is: most albums I deal with on a basis on equality, for them being music, sometimes awesome music, sometimes less good music, but nothing else than music.  The more or less harmonic gathering of partitions and possibly some samples in between.  And then a few albums I look at from down below, because they radiate some supernatural power that blurs the horizontal music/listener bond and makes them somewhat unreachable (though understandable).  But I’m getting confused. Anyway, do you acknowledge this feeling of mine?  Do you agree that, however one might like an album, the degree of connivance between the music and the listener may vary to an extent where the enjoyment is underlined by distance bordering on apprehension?
The inaudible qualities of Virgin Black are very complex and at times create excruciatingly difficult scenarios where the sounds all seem to be present and working well but do not open the door to that extra dimension that you speak of.  That is unacceptable for us and that is why we have taken a full year to complete each album, because it’s not easy.  With there being such a focus on the “feeling”, a lot of people miss the point but I acknowledge that we are certainly not easy listening.  Elegant…and dying in particular features a situation where during the middle of the album the concepts and sounds are thrown further and further into turmoil for an intentionally maddened experience with “Cult Of Crucifixion” being the crux of that movement.  A few reviewers have levelled criticism suggesting that the resultant confusion during said sections is due to inabilities on our part, but of course when an artist aims for a level such as we do, we can’t expect the fast-food-sound-junkies to comprehend it.  It’s far from accidental that the following tracks that conclude the album lend a relieving simplicity to proceedings. Sometimes, strangely, a negative review is the ultimate prize depending on who it’s coming from.

I’m not asking whether Virgin Black is a religiously active band, but bearing in mind the biblical lexical issues showing up throughout the lyrics (God, Sacred, Crucifixion..) I wonder how you personally envision the allegoric implications of such symbolisms related to your music?
Most of our members have had experience with what we would describe as spiritual abuse, and have also witnessed a lot of it around us.  We write within that context but intentionally broaden the parameters to encompass a greater variety of personal situations which could include religious, political, social or many other stand points.  I personally hope to play a part in helping people understand the difference between the church and God as I feel they are becoming ever more disparate with God often bearing the brunt of the church’s atrocities.

Have you ever been out of Australia for live shows? Do you have any serious plans of touring Europe or the USA soon?  How does a Virgin Black concert look like>Do you attempt at rendering the atmosphere of the recordings?  Do the circumstances call for an emphasis on aggression or (on the contrary) intimacy?
In mid 2003 we actually toured the U.S. with two wonderful bands, Agalloch from the U.S. and Antimatter from the U.K. and then followed that up with just a couple of dates in Germany.  We are very serious about doing an extensive European tour and even got as far as booking shows for October/November 2003, but it will now have to wait until sometime in 2004.  As for what the live experience is like, the main thing to understand is that while it might “sound” different, it “feels” the same as the recorded material and is perhaps more aggressive as well as more intimate at the same time.  Some have commented that its almost voyeuristic because particularly for Samantha and I as composers, it’s an inescapably personal journey through our songs.

That’s it for now.  In the name of the Violent Solutions crew, I wish Virgin Black the most thriving of futures.  Before you take leave, please mention your website/contact address for all readers…  Farewell.
The website address is as follows: http://www.listen.to/virginblack
You can e-mail us at: virginblack@hotmail.com  Thank you for an interesting interview, and thank you for your time.

You have given the name Virgin Black the definition “An anomalous harmony between the juxtapositions of purity and humanity’s darkness”. How do you think you have succeeded in expressing this through your music and lyrics?
(Samantha): The definition is purely intended to clarify the meaning of ‘Virgin Black’; we’ve had a few horribly inaccurate and cheesy takes on its meaning which served as inspiration to explain it. Juxtaposition and harmony are themes that run throughout most of what we do. Sombre/romantic, elegant/dying, virgin/black, classical/metal. A contrast of purity and hope against the dark night of the soul and hopelessness. Ideologically I believe that society has largely embraced extremes, which have now in effect become conformist. Religious non-belief and fundamentalist belief for example are extremes that are all too common. We are ironically the “extreme balance”.

Well, congratulations are most certainly in order for your recently released “Elegant…and dying” which is nothing short of a masterpiece – experimental and refreshingly unique. In fact, both this album and “Sombre Romantic” have received rave reviews from press and fans worldwide. You have achieved something which, despite its dark, sinister, essentially doomy and gothic sound, can be quite dramatic at times and display classical elements. Have any of you been classically trained, musically and vocally?
Thanks Amy. The last few years particularly have been an engaging experience. It’s been an interesting journey. Appreciation from overseas critics is an added blessing and it has been quite staggering. Classical elements are certainly formed, arranged and utilised within the music. It wasn’t until after we recorded “Sombre Romantic” that Rowan auditioned with a renowned opera teacher. This teacher was very impressed with his voice and immediately accepted him for training. As for myself, I have sporadically studied the cello.

Yourself and vocalist/keyboardist Rowan are responsible for writing the Virgin Black music and lyrics. Despite the writing process being largely individual rather than adoption a joint process your albums maintain a beautiful continuity and flow throughout. How have you achieved this?
As you mentioned, Rowan and I write separately. A situation like this would ordinarily reek of disjointed arrangements but in this case it somehow doesn’t. Musically our perceptions and interpretations tend to be on a similar wave-length. Ordinarily I only need to hear a piece of music he is working on to understand that music’s character; there is very little verbal communication and more often than not, we get it right. I strongly believe, and tend to repeat, that music has a countenance, it has features. It is not my job to fashion it according to rationality, it has more dignity than that. The greatest gift is having the capacity to step back, be attentive, and have the sensitivity to allow those concealed features to dictate you. It is our job to lay them bare.

You have also played a large role in the photography and artwork of the albums. Do you attach a special significance to these visual aspects?
Interrelationships purposely exist between not only words and music, but also album titles, artwork and photography. It was significant for me to capture an intimation of what lay within. A benevolent exterior, yet quietly disturbing; beauteous yet afflicted. The colouring of the booklet is also symbolic. You will notice that “Elegant…and dying” is outwardly white, a positive bright exterior, yet inside boasts a stark dark contrast; the packaging then ends as it begins, white. This theme (white, black, white) coincides with the stages in the music. A fairly positive sound ushers in a looming darkness; the music and theme descend, and then finally surface, finding remnants of a sanguine voice, a vestige of reassurance.

Rowan has also traditionally been responsible for the production of the albums. Is this a matter of wanting to retain a high degree of control over the output?
Prior to entering the studio, we have a strong visual perception of the finished product. What consumes us is the desire to accurately translate and represent the message and features of each song. The end result is clearly known, hence it is important for Rowan, a great visionary, to govern and regulate the process.

Virgin Black have not only stunned Australian audiences with your powerfully emotional live show, but have also toured overseas in European regions as well as the United States. Could you tell us a little about your experiences overseas? Do you plan to return there in the near future?
Both in the U.S. and Europe there is an astonishing array of choices each night with regards to bands performing live, they’re rather spoilt really. With that in mind, it amazes us what lengths people were willing to take to see Virgin Black live. We had people flying from all over the U.S. and Canada to reach various shows featuring on the West coast of America. In Germany people travelled from all over Europe and from as far as Israel just to see Virgin Black. In a tired and cynical music industry, it’s nice to generate such passion. The pinnacle of the tour was the very last show which was in Leipzig, Germany for the Wave-Gotik-Treffen festival which attracts over 20,000 people. The manner in which we were received was beyond all expectations and was the catalyst for a proposal to set up an exclusive event for WGT 2005. They want us to perform an acoustic set in the church that Bach played in for 26 years and is now buried; it will be lit solely by candles and hold about 2,000 people which will be simultaneously intimate and majestic.

Have you found it hard, as an Australian band, to establish yourselves overseas and receive international attention or do you find the European audiences have been more inclined to embrace the Virgin Black sound?
It all comes down to perspective and prior expectation. On one hand we released our demo in 1995 which is a seriously long time ago and suggests a hard road of semi-fruitless toil, but on the other, one may revisit the previous answer for another perspective. It was a very slow process but that was largely by choice, we were never interested in the mediocre deals that were offered two or three years into our existence so we waited, released a self-financed, self-recorded, self-produced, seriously ambitious risk of a debut album that paid off and was met with success. “Sombre Romantic” gained us deals with two pre-eminent labels, Massacre Records (Kind Diamond, Fates Warning) and The End Records (The Gathering, Arcturus, Dark Throne, Ulver). The European market is flooded, so many bands sound like thousands of other bands. The strength of the internet has triggered new labels to sprout in almost endemic proportions. The volume of people in the underground music scene may be similar but the choice of albums available has escalated. One could easily be overlooked and disregarded in such a climate. The release of “Sombre Romantic” and “Elegant…and dying” caught the attention of many esteemed critics who embraced the music as authentic and compelling, an inspired change to its surroundings. I am forever astounded. Even recently, one of the main reviewers for Germany’s enormous “Legacy” Magazine was so impressed with “Elegant…” that he scored it 15/15 and wrote a three page review on the album and sent it to us. Obviously it had to be condensed for print, but its evidence that it was something distinctive. Not everyone understands Virgin Black, and being dissimilar can also be a curse. We have already begun establishing ourselves overseas, and are now making ourselves known to the wider Australian audience.

You also recently secured the national support for Swedish progressive death metallers Opeth. This was very pleasing to many, a refreshingly deserving and appropriate choice. How did you find your reception from the Opeth fans on this tour?
They were remarkable shows, the Opeth diehards received us eagerly and seemed to give us fair credence as we can be a little confusing or bewildering upon first inspection; but we were hardly sharing the stage with AC/DC and their infectious three chords. We received quantities of e-mails and guest-book entries after those shows. It’s an added sweetener to be accepted so avidly in your own country.

You are about to embark on a tour with Sydney’s black metal clan Nazxul which takes you to Canberra (May 27), Sydney (May 28), Brisbane (May 29), Adelaide (June 4) and Melbourne (June 5). The bills for these shows contain a lot of musical diversity. How did the pairing of you and Nazxul as tour partners come about?
Interestingly enough, different members of Nazxul saw us independently at different shows, and each one of those members was highly impressed. They were looking at doing a tour, and we were the only band they wanted to tour with. Needless to say we were very honoured and very eager, thus the unexpected but brilliantly dark venture snowballed into a fully fledged tour.

Why should punters across these cities attend these shows?
After this tour, Virgin Black will refrain from performing any more shows for a very long time as we will begin the process of actualising what is a ridiculously ambitious project for the next release. Nazxul haven’t played for five years hence one would be irrational to assume they’ll have another opportunity to see them any time soon. We’re playing a lot of larger, high quality venues like The Metro and The Esplanade, so we urge people to support and prove what the Australian scene is capable of.

Any final words?
I can’t leave without thanking you. Support like this is deeply appreciated.

First of all, greetings, salutations and whatnot. I own “Elegant…and dying” and I must say it is a superb piece of work. Now, I know this is something of a typical question, but, what would you say are your major influences?
(SAMANTHA): Greetings Halfman, and thank you. Well, what I'm inclined to listen to and what exudes as a writer can generally be inconsistent. I find influence and inspiration are two very different things. I believe it's important to function according to or allow the very essence of inspiration to be that which dictates how you create a song. That essence is what should dominate. If you can learn to become a slave to that factor, you're on the right track.

When did you meet each other and decide you were going to become a band? I've read your bio, but like most band bios, it's rather uninformative. No offence, I just find biographies to be lacking lately.
I guess we've recently neglected the whole history lesson as it's repeatedly asked in interviews regardless of whether it's on the website or not; as a result the bio has leaned more toward an update of our music at present. So sorry about that. I was in the local death-metal scene from an early age. It was then that I was approached by a comrade to join him and another member in writing music. Reluctance turned into desire, and consequently this is where the foundation was laid. This initial line-up wasn't Virgin Black. The direction the guys were heading and what I was writing became increasingly conflicting. It was during this time that a mutual friend by the name of Rowan London attended our rehearsals. He was there as a spectator but in retrospect, he was assessing our progress. Rowan approached me as he recognised that what I held onto was very much a reflection of his own vision. Virgin Black was born when the two of us joined forces. Our demo was released soon after (1995) and subsequent to its release the line-up has been very stable. The only variation has been in the form of bass-players.

So you guys, yourself and Rowan London write all the material for Virgin Black. How does the creative process flow for you? I mean, do you just think of things and jot them down, or do you sit and plan for a long time with a specific something in mind? The difference between “brain vomit” (which is my style) and “coherent ramblings” (just a term I've invented)
Brain vomit and coherent ramblings, that's not bad! The way we work is very different. Interestingly enough we always write separately, but having said that, I don't think we could ever be accused of disjointed compositions. It all comes down to remaining faithful to that initial inspiration, the very essence of a song. That essence has its own features, its own character. It's important to adhere to those features and reveal them in the most unadulterated way, remaining loyal to the true countenance of that song. Musically, Rowan and I tend to function on a very similar wavelength; I guess that's why so little verbal communication is necessary. If he's writing a piece, upon hearing it I'll know if it connects with me. If I can't recognise that “essence”, if it doesn't connect with me, I won't touch the song. I don't believe in forcing things. Again, it comes down to respecting and remaining true to that delicate yet powerful initial inspiration.

In regards to your performances, (which sadly I've seen none) do you find you are more comfortable recording in a studio or playing live?
Studio or live? the two are so dissimilar I'm not sure. Our studio process is always a daunting one as we tend to do most things ourselves and its compounded by the fact that our sound is far from simplistic. But I love that whole experience; it's very stressful yet strangely rewarding. The live performance is enriching in its own way. It's a beautiful thing to give of yourself and to experience that communion with people. I treasure it dearly.
Which do you think is a better way to experience your music as a whole?
We've always been a live band, it wasn't until we recorded Sombre Romantic that countless people responded with “finally, a recording that captures the live experience”. I know that for many the live show was what helped them comprehend the recorded material. Perhaps it's a symbiotic relationship. I think you have to experience both.

Samantha, why did YOU decide to start a band? You're an amazing guitarist and you play the cello as well, and probably other things I don't know about. So what inspired you?
I was literally coerced into it by our very first bass player. Initially I was very withdrawn, very hesitant, and declined the offer (and other offers) numerous times. I just didn't aspire to be in a band, it was never a longing as I was content with sequestering myself and writing music behind closed doors. But…something was stirring inside. I'm unsure how to accurately recount it, it was some sort of “unremitting conviction”. I knew what I had to do but didn't want to do it. I did of course. It has never been a regret.

There are few bands that I would call epic, amazing bands. You are one of them. What I want to know is, do you/did you plan to be such a huge driving force in music, or are you just doing what you do?
That's very generous of you. As Rowan once said, the only plan we had was to never have a plan, and it's so true. I'm a supporter of that which is natural. Music shouldn't be stilted or insincere; it shouldn't be an insentient object.

What are your feelings about fame, influence, and inspiration to your fans?
Fame? For a start, don't bother with an ego. It's a waste of time living in an illusory world. Influence and inspiration to fans? Well, I love the “Virgin Black family”; I make no apology for the cheesy words. We treat our fans with the greatest respect. It has been said that our music appeals to a more “intelligent audience”. Now I'm not going to comment on that, but I will say that we conduct and create in a way which venerates their intellect. It's really difficult to say something that is constantly reiterated and still come off sounding genuine. Trust me, I mean this with the depth of my spirit. It's the greatest gift to be able to give to people, to give in a way which often brings solace, inspiration and strength. If that's true (as so many claim), I'll never take credit for it. My heart overflows with joy. It is a moment when the spirit bows down and is grateful for that which has been entrusted to it. I know that may sound odd but it's the closest way to express what's is in my heart.

What are your feelings about the media?
Am I walking into a trap?! If you're talking about big magazines that interview bands and review discs based on the prerequisite that their label buys advertising, then I think that speaks for itself. That's one end of the scale. In the past one had to be a writer in order to acquire responsibility for reviews. Today's climate ensures that anyone can set up a website and critique what's around. Someone with an opinion doesn't equate to being a reviewer. The average consumer may not necessarily know the difference between an informed review, and a review. Fans and artists have the right to expect the writer to be a writer.

Can you leave a few words for the fans and others who will read this interview?
To the fans, learn to dream. To others, have an open mind.

Thank you so much for your time and patience.
It's my pleasure. Thank you.