Born from a shared love of “sahti” and shaped by lockdown isolation, Ilon Lapset channel pure sonic misery into their unique sludge-doom sound—unfiltered, filthy, and defiantly unorthodox.
1. Let’s
start at the beginning—your origin story is already legendary with the
connection to “sahti.” How did your shared taste in traditional booze turn into
a sludge-doom band, and what still fuels the fire four years later?
Markus: We
began in spring 2020 so in fact more than five years have passed at the moment
that I write this. We met each other thanks to our common “sahti” dealer and
realized we also had other things in common. That was the 1st Covid year so we
had a lot of time to practise, since there were no concerts and the pubs were
closed. Needless to say, those days we maintained a high level of consumption
of “sahti”, the infamous artisan drink that is a bit similar to beer. The way
to maintain motivation is in my opinion to keep challenging your song writing
with different types of ideas and details. That is what we try to do even if
for others it may not seem so.
2. The
name Ilon Lapset—"Children of Joy"—is such a beautifully ironic
contrast to your sound. Was it always meant to reflect that contradiction, or
has the meaning evolved along with the music?
The meaning
has not evolved at all. In the beginning we found it both serious and amusing.
That’s how we still feel.
3. Your
latest release Kurjuuden tuijotus feels more intense and suffocating, leaning
deeper into death doom territory. Was this evolution a conscious decision or a
byproduct of life’s grind since the first tape?
I don’t
think it has any relation to changes in our lives, except maybe getting older,
and the frustration related to that. After playing longer together, obviously
we can play better, which makes us more capable of trying death doom
influences. But not only them - I mean also unorthodox song structures. Still,
some things are random and not planned. There are very few clear rules - except
that it must sound miserable and filthy. Planning everything thoroughly would
erase inspiration and improvisation. Our 4th release, Mykkä Pimeys, continues
in the same direction of development or regression.
4. We
picked up strong echoes of early MY DYING BRIDE, PARADISE LOST, even ANATHEMA
in your recent material—especially in “Rajapinta.” Were those classic
death-doom vibes intentional tributes, or did they creep in naturally?
Yes and no.
I composed the opening riff of that track while sleeping after a drinking night
in a brutal concert. So it wasn’t conscious in that sense. However as a
totality that track was clearly an effort in the doom/death territory. I would
add UNHOLY from Finland as an influence here, even if the level of that band is
unreachable by ordinary mortals. I enjoy a lot especially the early material of
those bands you mentioned, but the rest in ILON LAPSET find them less
important. Let’s also add Dutch death doom as a small influence.
5. Your
sound has really filled out—thicker, nastier, but still raw. What role did your
friend Porcifer play in shaping the sound of the new release, and how important
is that DIY recording ethos to the band’s identity?
Porcifer
was very skillful already when we started recording with him in 2020 but since
then I think he’s learned even more of all the possibilities of producing and
mixing. I can’t explain it better. Our recording process is pretty rough and
typical in general. We record the instruments together and then add vocals plus
more layers of guitars etc. Recording in the practice place is more relaxing
than in the studio. However it’s not really a part of DIY principles. It just
feels better.
6.
Finland is currently a hotbed for old-school death metal. Has that growing
scene rubbed off on you in any way, consciously or unconsciously? Any local
bands you’d shout out as kindred spirits or personal favorites?
Yes, I’m
into a lot of contemporary Finnish death metal, especially MORBIFIC. The scene
seems continually interesting even if it’s impossible to invent something
totally new. Lately I saw a gig by EXTINGUISHED and was very impressed. I’m
looking forward to seeing NECROTIC OOZE live in Copenhagen next September.
7. Let’s
zoom in on Tampere: what’s the local underground like these days? Any hidden
gems or venues that outsiders should know about if they ever find themselves in
your snowy neck of the woods?
Tampere is
a nice city for smaller music venues, and the amount is even increasing. The
amount of interesting concerts could be higher however but I can’t really
complain. Anyone who complains also has the choice of being more active in the
gig organizing front. I don’t know about hidden gems but let me emphasize that
Vastavirta club celebrated 20 years of activity this year. Cheers to the best
underground music club in Finland!
8.
Sludge is a genre with many faces—from groovy swamp stomp to pure sonic misery.
What type of sludge is closest to your heart, and which bands helped define
that sound for you when you were just getting into it?
I prefer
sludge without the grooviness, even if I’m very much into EYEHATEGOD too. In
the early years it was of course more difficult to check new bands, as the
Internet was different. Finding sludge bands felt more special those says. In
addition to EHG, I was for example into DYSTOPIA, NOOTHGRUSH, and GRIEF.
9. If
you were locked in a cabin with one sludge album for a year, which would it be:
EYEHATEGOD’s Take As Needed for Pain, MELVINS’ Gluey Porch Treatments, or
something even filthier we haven’t mentioned yet?
The records
mentioned above are masterpieces for sure but I’d take “Pillars” by FLESHPRESS.
This group has a vast amount of material but still that’s where they peaked in
my opinion. The song-writing is sick, memorable and breaks the boundaries of
this genre. And the band seems to execute everything with total dedication and
emotion.
10. Your
releases came out on your brother’s label, Rämekuukkeli-levyt. Is it more
helpful or chaotic to have family in charge of your discography? And has he
ever begged for a guest spot on stage with a saw or a modular synth?
In fact our
second release, “Pettymysten aikakausi” tape was not released by Rämekuukkeli.
Necrotic Effluence, a label from the morbid town of Lahti, was responsible for
that. There was no drama involved, just an experiment. Anyway all the practical
details have been easy like this. On the other hand, without a family member in
charge, I might have taken some things more seriously. So far the chief
executive of Rämekuukkeli has not asked for a spot on stage.
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