Exclusive Interview: Helve talk writing and recording “To Be Forgotten”!

Returning for a second conversation with guitarist duo Joel and Andi from Helve means we get to chalk something from our epically long bucket list – an interview about writing and recording in the dark and cryptic genre that is Post-Metal. They released their masterpiece of a debut album “To Be Forgotten” via Ripcord Records at the end of last month, a labour of love which has been some eight years in the making – and – is very much worth the wait and it’s weight – in gold.

How did your previous experiences writing and recording help to smooth the path of the new record?

Andi: “It definitely made things easier, having some understanding of the process of recording is a big help, particularly as some of our songs are very natural creations. We don’t necessarily plan them all out, and we just follow each others cues into different sections rather than playing a specific arrangement so that was always going to be a challenge to record. Luckily we did some pre-production recordings, so we just took whichever version of those songs felt best and then recreated it’s structure, otherwise we might never have finished”

Joel: “I know jack shit about the technical side of it all (I turned up and played) but feel I’ve learned more about processes with this recording, so hopefully next time will feel better prepared”

How does the writing process of a new track start? Melody, riff or rhythm first? How does it evolve from there before you consider it the finished article?

Andi: “We tend to start from a riff, either heavy or clean. We’ll jam it as a band and see where it feels natural to go with that idea. One good riff can usually lead into another, and once you’ve got three riffs at the tempos we play at that’s pretty much a full song! I think we try to think about what the song needs, we’ve all been around music long enough to have a pretty good understanding of that and luckily there’s a refreshing lack of ego when it comes to writing. We usually evolve through a few jam room versions before we settle on a rough shape, and then we’ll try that out live to make sure it feels right”

Joel: “It’s definitely a band process which is great. Although we often have issues with structuring songs or rather trying not to get lost in the riffs and ending up with every song becoming an opera!! Andi and I play in different tunings which kind of adds a cool dynamic to the guitar sounds, adding different layers to the songs. It can also be a headache but we’ve been in this band together since 2015 so think we sync well together”

Post-Metal by definition is synonymous with longer cryptic writings. Have you ever written any material that simply didn’t fit the band’s sound that has been shelved for another project or is everything worked and reworked in the rehearsal space until it fits?

Andi: “There’s always a few ideas that lean too far in another direction, or just don’t sound quite right for us. Some of those ideas will get reworked if the right idea comes around to sit alongside it, but trying to force things together isn’t really our style and sometimes you have to shelve a good riff if it just doesn’t fit. I think we’ll keep evolving as a band, so who knows if they’ll work in the future”

Joel: “I’ve got so many recorded riff ideas that haven’t been developed but I’m sure that’s the case with many bands. Our songs are definitely shaped by the whole band, so it’s got to be a feeling we all have.”

If you had the opportunity to work with a guest in the studio next time around, who would you like to work with and why?

Andi: “I’d like to work with someone who sees music differently to us, perhaps a composer, someone with experience of arranging scores who would have a fresh perspective and perhaps add something we would have never considered”

For us gear nerds out there, can you tell us what you’re using gear wise (pedals, strings, drums etc) to get your sound?

Andi: “I’m a huge fan of guitar pedals, can’t get enough of them but I do try to use them in moderation. My main gear is a Gibson explorer into a Matamp GT1 head, with an Amptweaker Fat Metal pedal for the heavy tones. The Matamp is ridiculously loud but I love the headroom in it, and it just sounds big and aggressive but still has clarity even with low tunings and lots of gain. I have a Strymon El Capistan for most delay stuff, it’s just such a great sounding pedal. It’s a really nice tape emulation, it always sounds warm and musical and covers a lot of ground. I also have the Strymon BigSky for reverbs, it’s overkill really for what I use of it but it has some unique reverbs that I couldn’t be without now that I’ve heard them. I have a bunch of different fuzz pedals that I’ll swap between as the mood takes me, an Empress echo system delay pedal which again has more capabilities than I could ever use. There’s plenty more, but that’s the core stuff I use on most songs and couldn’t get by without!”

Joel: “Having gone through soo many amps, and pedals on this band, I now have a Jet City JCA 100. My distorted sounds come from a Black Arts Toneworks Quantum Mystic (Mike from YOB’s signature pedal) and a Walrus Audio Red. My drive tends to be bassier than Andi’s but our drive sounds seem to work well together to cover different frequencies. I use a Walrus Audio Mako R1 for ambient reverbs and a TC electronic hall of fame 2 set on the church setting. I very rarely use delays now, more long ambient reverbs stacked on top of long ambient reverbs via those 2 pedals. My guitar is a Gretsch Electromatic Jet, which I love the feel and sound of. I had the stock bridge pick up changed for a Bare Knuckle Black Dog after they recommended it for down tuned guitar. It works great with plenty of beef but also clarity.”

What difference would it make to you as a band if you could land an endorsement from a gear manufacturer?

Andi: “I think the landscape has really changed in music since digital gear and plug ins etc came along, before that people wanted endorsements because you just couldn’t afford all these amazing amps and guitars but now it’s possible to get something that sounds so close 99% of people couldn’t tell the difference for a fraction of the price. An endorsement with a pedal builder is still something I’d be interested in, I think there’s something in being able to play around with them physically and combine things that can be inspiring and there’s some builders out there that really seem to be creating things that aren’t just another overdrive but something new, and sometimes that really just unlocks creativity”

Joel: “I’d love a Hiwatt endorsement purely as I’ve lusted after their amps forever. The only difference would be I’d feel I’d achieved a lifeline dream of owning one. It would also make me happier! I only live about 20 minutes from Hiwatt HQ, so it would help with my sense of belonging to the local area too (you’d be helping my mental health Hiwatt – just saying!)”

“To Be Forgotten” by Helve is out now via Ripcord Records in physical edition here and digitally here.