"Holy crap", I went and immediately looked for further information. People were confused, thinking that those pics symbolized the final confirmation that the band was no more and that the final recording in the Requiem-trilogy, titled Pianissimo, would never see the light of day, even though it had allegedly been finished around the same time the first two parts were (ten to eleven years ago).Īnd then, yesterday, I browsed the Encyclopedia Metallum, wondering something like "Oh, is there finally a confirmation that Virgin Black are no more? Let's see." and to my surprise, the band was listed as Active once more since 2018, there was a new band foto (of only two people, because only masterminds Rowan London and Samantha Escarbe - now going by "Sesca Scaarba" - remained in the band) and a listing for their 2018-release "Requiem - Pianissimo". I seemed to be proven when strange gravestone-images appeared on Virgin Black's Facebook-page. Roughly six months ago, I talked about their magnum opus, the Requiem-trilogy, and how it will most likely remain forever unfinished. I hope that the music does reflect that attitude.Friggin' Virgin Black are back. A value system that places honesty and being challenged, over meaningless fluff. Rowan and I have both been lone wolves our whole lives, something that has encouraged a certain value system. The commitment to being genuine is imprinted in the music. This is not out of any sense of being unfulfilled, but borne more from a need to be constantly genuine. That means that while I have an unerring belief in the basic ideals of Christianity, within those wide parameters I am searching. I feel compelled to broaden the parameters by saying that I am more of an agnostic under the banner of Christianity. You’re a Christian band… can you tell us how, if at all, your religious beliefs play into your music, particularly these albums? One just needs to do so wisely as it’s important to remain true to that piece of music.
#Virgin black requiem pianissimo digitsl full#
Falling short of a full orchestra, we have been known to re-interpret certain pieces and present them within a live context. Obviously Requiem – pianissimo will be the greatest challenge. How – if at all – do you envision these albums being presented in a live format? Hence, mezzo forte was released first in order to pave the way and help people understand what was to follow, to help people understand the entire package. Ideally, the three albums need to be heard within their context but after getting feedback it was decided that releasing three albums at once would be too much to digest. It is the centrepiece of the three albums and best portrays characteristics of the other two. Requiem – mezzo forte (the middle album) was released first. Why was the cycle released out of order? Was it purely a marketing decision, or was there some other thought process behind it? It features beautiful choral arrangements, tenor, soaring mezzo soprano and soprano solo voices and was recorded with the Adelaide Symphony Orchestra. The first piece (unreleased) is Requiem – pianissimo. There was too much to articulate, and each voicing needed its own…well, “means.”ĭoes the trilogy have a story line? If so, is there anything you can tell us about it? How does the music reflect the story?Ī requiem is a piece of music written for someone who has died. We knew what had begun as a single album could not be confined to a single album. Rowan’s experience was similar to my own. And once I began to write, it almost all burst out, so fluent, almost uninterrupted and effortless. Unbeknown to him, Rowan approached me with the words, “what do you think about releasing a requiem next?” I was elated… but also terrified. For years and years I had this hopeful craving to one day write my own requiem.