Interview with Psychedelic Zine (Hungary), Spring 1998

One of the best follow-ups of Candlemass’ Epic Doom style is While Heaven Wept. Tom Phillips (vocals, guitars, keyboards), who sang in the past with Epic masters Solstice, and for True Metal warriors Twisted Tower Dire, explained his thoughts about While Heaven Wept’s past, meantime, and future:

Please tell us about While Heaven Wept’s history. What is the driving force/philosophy behind the band?

I first formed the band under the moniker of Dream Wytch in 1989, and insurrected the name While Heaven Wept in October 1991. We have released a demo (which was later released as a MCD), a couple of 7”s (one is a split with Cold Mourning), and have appeared on numerous compilations. Right now we’re just about to finish recording our debut album “Sorrow Of The Angels,” which will be released on Italy’s Eibon Records. The driving forces behind WHW are catharsis, _expression, and musicality. I also believe in furthering the Epic Doom Metal legacy that Candlemass began.

What was the reason for you to begin playing music, and what is the current line-up of WHW?

Initially, I suppose I started playing music because of grandiose visions of fame, fortune, and excess, but that was sixteen years ago. For the last 9-10 years, it’s been all about _expression and coping with the pains of loss. Currently, the line-up really only consists of Jon Paquin (drums) and myself, but it looks very likely that Scott Waldrop and Jim Murad of Twisted Tower Dire will be joining us for the next endeavor. The bass tracks on the forthcoming album were performed by Dan Ingerson, who is also a classical composition major like myself. He also played with Grey Division Blue.

You released a 7” called “Into The Wells Of Sorrow” in 1994. What do you think of it now, and how many copies did you sell?

“Into The Wells…” was released as a limited edition for the people who stood by us from the beginning, and is nothing more than that. Even though it featured a death/doom approach (which we experimented with between 1990-1991), I think it holds up to a certain degree now; it is very heavy – even heavier than the MCD, which is very appealing. Certainly not the best version of “Into The Wells…” (compare it to the full-length version on the new album, with the original, melodic vocals), but it isn’t unlistenable. We pressed 500 copies, and that was it. This 7” is no longer available, forever out of print, though there may be a couple distributors who still have some, but I doubt it.

Looking back on the incredible “Lovesongs Of The Forsaken,” what is your perspective on this album?

Again, it was great for the time, but we’ve grown as musicians, producers and people. It was a very magical and cathartic experience for everyone involved, especially myself, since the material is basically an aural diary of a dark period in my life. The material stands up rather well considering I was sixteen when I wrote it, which is eight years ago. Production and performance are the areas I feel we are lacking in on the MCD; a fuller, brighter production would be preferable now, but on the other hand, it has a unique identity with it’s “from the catacomb” sound. I think it’s pretty impressive for a demo.

After that, you played with Solstice and Twisted Tower Dire. Why did you decide to stop working with WHW, and what is your opinion of your work with these bands? Do you think you will sing for these bands (or anyone else) in the future?

Well, WHW didn’t break up or anything; we just took a short time off while I explored other facets of my personality and different avenues of _expression. My work with both of these bands never reached it’s full potential unfortunately. Time constraints and other priorities definitely prevented us from ascending to the glory we were capable of. Alcoholism was another factor. Solstice was a good learning experience and a good time. Those guys are brethren to me. I don’t feel very good about my performance with them; I wasn’t as confident with them as I am with WHW – I needed time, but time ran out. I’m sure we’ll collaborate some way in the future. As for TTD, though I’d been associated with them for several years, the recordings I did with them were very off the cuff; I made up all the melodies in the studio, and recorded them immediately afterwards – considering that, I think they turned out well, but obviously it would have been better if we had practiced together for a while. I doubt I’ll ever sing for anything else other than WHW now, unless it is as a guest spot. I’m refocused on my band, and intend to take it as far as I can. I will be helping out the aforementioned bands, as well as several others- producing recordings, helping with distribution, and retail promotion though.

When you were working with Solstice, you were living in England. What is different about performing in Europe compared to the US?

I think the devotion of the audience is more apparent, perhaps because of the greater emphasis on culture in Europe. For example, in the US people have a tendency to leave shows after the band they are into has played, even if the headliner hasn’t, whereas in Europe, people generally stay for the whole show. Though it happens everywhere, there is less side conversation and carrying on at shows in Europe. I like Europe in general. All the maniacs are there!

A new 7” was released on Game Two Records in 1997, as a split with Cold Mourning. Your contribution was “The Mourning,” the first song you ever wrote for WHW. Why didn’t you use a new song? Do you think it’s a good idea to present the fans with an “old” song?

We wanted to give Conan/Game Two something exclusive for that release and we had “The Mourning” left over from the 1994 sessions. It was only released on a local Virginian compilation, and even that version differed slightly, subsequently, it was not widely heard. Though, I’d never write a song like it now, it still is pretty good. In fact, some people actually prefer that track to the later material! I think that it was better to release it now, than to leave it archived on the reels. Besides, vinyl is more of a cult thing these days, and we want all of the WHW fanatics to have everything; I’m a completist, so I want to have everything my favorite artists have released as well.

What comes first when you are writing the songs – lyrics or music? Is there any particular concept behind WHW’s lyrics?

Whatever is revealed to me first; I don’t sit at a desk and force out initial structures or words – they just come out. Sometimes, as with “Thus With A Kiss I Die,” it can take years to complete a song, and other times I compose everything in a matter of minutes, like the cases of “Sorrow Of The Angels,” or “Unplenitude.” There really isn’t a running concept in the lyrics, but there is a similar theme to all of the releases through the current album; they’re all about overcoming bereavement, and each song focuses on a different stage of healing. The brand new songs we’re working on now will focus on where we are now as individuals, and what we’re currently dealing with. All of the lyrics are based on, or document what is happening in our lives, sometimes coupled with fantastic imagery to describe the emotional magnitudes we feel.

Your new CD “Sorrow Of The Angels” will be coming out soon. Will it follow the same direction as the MCD, or will it be more heavy and sorrowful?

It is definitely much, much heavier than the MCD, and emotionally more melancholic, yet strangely uplifting. There is an epic and grandiose feel to the album, probably because of the expanded instrumentation and the density of the arrangements. It’s almost an aural paradox, because it exerts an amazing vastness and a “wall of sound” density upon the listener. We’re very pleased with the rough mixes so far and feel very confident that the final mix will be stunning – very full, clear, and bright, but also deep, heavy and crushing. The material, though mostly composed in the same era as the MCD, has evolved over the past nine years, and will be the best we cam release within the confines of these structures (I’ve grown quite a bit in the last years as a composer, and this will be evident on the next album, which will consist of all new material composed from 1998 on). Here is the complete track list for “Sorrow Of The Angels:” “Thus With A Kiss I Die,” “Unplenitude,” “Into The Wells Of Sorrow,” “The Death Of Love,” and “September.” We also recorded the title track and “To Grieve Forever,” but neither will make it on to the album. This album will be a point at which we pivot into new areas musically, while retaining the “new” sound we’re establishing: very Heavy, Epic Metal with dense orchestration and cosmic atmospheres. For reference, imagine WHW drawing from Wagner, Beethoven, Candlemass, Bathory, and Rush to express ourselves our own way.

Your future plans and anything you’d like to add?

After the album is released, we intend to do one live performance here in the States and then a small European tour focusing on Holland, Germany, Austria, Italy, Scandinavia, and the UK, if we can sort out the funds and proper legal documents. There’s also talk about re-mixing and re-mastering “Lovesongs…” for a limited edition vinyl pressing, possibly a split with In Search Of Obsession, the dark/noise project of our engineer Max Henkel. Definitely more 7”s and compilations as well…We’re, as I said, working on new material now, and there’s still a fair amount of unreleased tracks/re-mixes left to release too. Anyway, I’d like to thank you for the opportunity to express myself and let everyone know that we’re still defending the faith of Epic Doom. Thanks also to everyone who has supported us or felt a connection with our expressions – we love you all. Doom forever onward – and keep on smoking pot for the devil.