We had a really extensive talk with Morbid, founder and master of Conceived by Hate and Disorder, member of many other projects and we wandered through Salvadoran metal history and current projects. This is just a small portion of it, a glimpse, as there was so much to cover. Still, worth it every page.
- What are your influences as a metal musician and composer?
I do not consider myself a musician because I have no academic training on this, but I can tell you that I live for music because it is the reason for my existence, I try -in my own way- to transmit energies through the sounds of Metal and I definitely do not conceive existence without following this path in which I have never taken a break. Regarding influences, then any extreme music, heavy metal or hard rock that transmits energy, mainly bands from the 70s, 80s, and 90s definitely. Some classical music has also always been in the air, I think that the same thing that you listened to at a young age and impacted you in some way always stays with you and unconsciously you impregnate some of it in what you try to create.
- I understand that you were one of the founding members of Disorder, what was the reason why the band broke up in 2001? And how did the idea of creating Conceived by Hate come about after that?
Well brother let me correct your statement, I founded that band and I can tell you how it all started 13 Metal Extremista II since there has been a lot of "garments ripping" for many years about this issue that I don't really care about, but since we're living the end times I take your magazine to leave my statement. The beginnings of DISORDER go back to a little more than 25 years ago...
...I think that this band was on hold for some years due to divergence in interests and opinions between myself and the other band members, they were saying they wanted to do things "professionally" but for me it was about doing honest metal music, from the gut and to the bone. Also -somehow- I was the one who always set the guidelines about what to do and they no longer wanted to follow these ideas but to have the freedom to do whatever they wanted to, that was the break-up. I also think that as the other guitarist always wanted to have his own Grunge or Alternative band but he never succeeded because he did not find members to form a band. I remember he had a strange name for the band like "Caja con Dientes de Gallina" ("Hen's teeth box") when he saw the moment and the opportunity to get hold of this band and -presumably- he was already a hardened metalhead, he made his move. In fact, after it was agreed that we would start other bands from scratch, the other guitarist began to say that they were not going to argue about songs that were not a big deal and disparaging the band, this and other situations made things end not so well. As I said, I have never paused in metal and I never wavered to start new bands in this path, I have always been in a creative process, doing my diligence little by little without kissing anyone's ass, then CONCEIVED BY HATE -with the name SPIRITUAL DEMISE- comes up immediately after this break or freeze in DISORDER. Actually, this is a subject that happened many years ago and that no longer has any relevance or importance to me but I think it is convenient -as a historical record- to leave it reflected in your magazine for those who like to know a little more about the origins or the events behind the bands.
- How would you describe the evolution of the sound of CbH over the years? From its origins using keyboards to the most recent álbum where the sound is simpler and harder?
For me, the creative process of making music must always result in or become vibrations that must always resonate with the person who composes them, that gives soul to the songs regardless of whether they are complex or not; sometimes this gets across to the listener creating a bond. Therefore, over time there are certain things that change and perhaps that is reflected in the compositions unconsciously or intentionally according to the personality or style that you want to forge for each band, also depending on what you want to convey with such music to the listener and the people who contribute in the composition.
CBH is a band with about 18 years of purposeful and uninterrupted activity, there have been different line-ups and in the beginning, I always tried to give some opening for contributions with songs, guitar solos, rhythms, lyrics, or ideas from other members but I realized it is difficult to keep a group of people aligned under the same goal, rhythm, and intensity over time. So, little by little, I have chosen to reduce almost to a minimum the workgroup for each band since I think it has worked better this way. Maybe this is reflected in some way in the "evolution" you mentioned, but I would consider it a reflection of the changes in the compositional environments since the term "evolve" is understood as that the past is worse than the present and so on. However, I am proud of all the work that has been done since it has been real and honest representing the different stages and compositional environments through the years. With some self-criticism, there are things that could have been done better or in a different way, but things are as they are and the records are there.
Another factor that I think influences the perception of the listener is that, with practice, the compositional methods are refined and self-criticism becomes more objective, helping to solidify the resonance of the music and the composer as well as what is projected to the listener. An additional aspect is that I have been changing and making tests in the recording and production techniques which also impacts the final sound, this is part of the learning process.
The full interview was published in English and Spanish in Metal Extremista Vol. II, April 2021.