In this interview, Weaving Shadows delve into their evolution, creative process, and the raw emotions behind Existential Decay, revealing how personal struggles and heavy influences shaped their uncompromising sound.
1. You
originally performed under the name Dopecorpse—what inspired the transformation
into Weaving Shadows, and how did that shift redefine your sound and identity?
It just started to feel a little generic after a while, ya know?
It ended up working out for the best though. I think the music we started
writing didn’t match the stoner doom vibe and as someone who writes lyrics, it
just came naturally. I love weed and all, however I wanted to write lyrics that
I could relate to on a deeper level.
2. Your lineup solidified over time with the addition of Adrian Salcido. How
did his arrival influence the songwriting process for Existential Decay?
It influenced the sound a lot. Actually, our original guitarist on the first
album was Matt Williams, who was also a part of Dopecorpse. He is into shoegaze
and indie music, in addition to doom. Therefore, our first album was a
doom/dronegaze kind of a thing.
Adrian is from more of an extreme metal background, influenced by death metal,
thrash and grind. Adrian is currently in a grindcore band, called Cheap Porno
Flick and was formerly in a death metal band called Sepulcro. You can really
hear the extreme metal influence on this album, especially on tracks, Leech and
Kodokushi, which Adrian contributed the most on writing wise.
3. The album features contributions from Tim the Ex-Fascist and sound
engineer Tim Zick. What did they bring to the project that elevated the final
result?
Tim the Ex-Fascist was instrumental in producing the album, documenting the
experience, taking notes on everything, and really conveying our sound to Tim
Zick. He also lended his talent on piano and synth on the first track
“Anguish”.
Tim Zick brought it all to life; he captured our sounds and raw volume
perfectly. There’s a reason he’s been nominated for a Grammy. We are the first
metal group he’s recorded and yet it sounds so incredibly polished, like he’s
been recording metal bands his entire career.
4. Your influences range from classic legends like Black Sabbath and Slayer
to modern acts like Conan and Primitive Man. How do you balance these
old-school and contemporary elements in your sound?
We love taking influences from the masters. We put on vinyl every practice when
we take a break and it helps get the creativity flowing. I want to create our
own sound, but you can tell the influence is there. Check out the vocal riff on
Kodokushi and tell me you don’t hear some Sabbath influence.
5. Existential Decay feels deeply rooted in real-world emotions like anxiety, fear, and isolation. How do you translate such heavy themes into your music and lyrics?
Things really are going to shit in this world. The best thing we feel like we can do, is try to be decent people, and use our music to distract from the horrors of everyday life.
6. The album was written during a turbulent time globally. How did current events shape the tone and direction of the record?
All we can really do is lift each other up with music.
7. You recorded the album live in just a few intense days. What are the advantages and challenges of capturing your music in such a raw, immediate way?
It was such a cool opportunity, we couldn’t turn it down. We showed up every day at 8:30/9am sharp. Setup, sound check, and go. The pressure was a blessing and a curse. There were some things I wished we had a bit more time for, but the pressure made us play our asses off. We always live track our takes. Live tracking sounds more natural and raw..
8. The opening track “Anguish” introduces a different sonic texture with piano and atmosphere. What was the vision behind starting the album this way?
I knew the album was going to be like 95% doom/sludge, loud, and in your face. I really wanted to convey a sense of somberness and dread to start the album; I described the type of theme and sound I wanted to start with, and Tim the Ex-Fascist and Adrian brought it to life.Then, the album transitions into Fragile, which hits you with a punishing verse riff.
9. “Kodokushi” stands out as a central piece of the album. Can you dive deeper into its meaning and why it represents the core of Existential Decay?
Kodokushi roughly translates to “Lonely Death” , the Japanese phenomenon of people dying alone, unnoticed, and remaining undiscovered for extended periods.
One of my biggest fears in life is dying and having no one notice or care. I live with liver and heart disease, so death is something I think about on a daily basis. Adrian was a big part of composing Kodokushi, and once he was done, I added my special touch with the lyrics.
10. Recording at The Lake House in Plattsmouth sounds like a unique experience. How did that environment contribute to the mood and energy of the album?
It was a great experience. The acoustics were amazing. It’s important for us to be able to see each other since we are incredibly loud. We were able to set up in the same room and let the magic happen. Something else that helped was the view and ambiance outside of the Lake House. I love nature, so that also served as inspiration.
11. You’ve recently shared the stage with bands like Year of the Cobra and Dopethrone. How have these live experiences shaped your identity as a band?
Dopethrone and Year of the Cobra was a dream come true. So many of our influences have been coming through the Midwest lately, and every time we are on a big show, we are incredibly grateful. We had the opportunity to open for Conan last summer and shows like that solidify that we belong.
12. With Existential Decay now out, what do you hope listeners take away from the album—and where do Weaving Shadows go next?
We just want people to hear our music. We know it’s probably not for everyone, but if you like loud, heavy music with raw emotion, give it a listen. Weaving Shadows will go anywhere we are wanted, so if you want us in your town send an email to weavingshadowsne@gmail.com
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