When all four of us met, it was mainly for rehearsing the live set. and with two good friends helping us out as session musicians if necessary, it was possible for us to concentrate on playing live even when some of us weren't available. The interest in Ahab didn't decrease during these years, we got more offers to play live than we could accept. They asked if we're going to book a studio from time to time but never pressed us to release anything. We never got any pressure from our label. So, all of us had their hiatus from AHAB to concentrate on the new family situation. Almost everyone in the band had kids during the last years, beginning with the birth of my daughter in 2016. Until the release of our fourth album we somehow managed to release an album in a three-year cycle, which wasn't planned either. It was definitely not our plan to have such a long gap this time. This is your first full-length album in eight years, what took so long after the awesome The Boats of the Glen Carrig? He always makes notes when he’s reading, collecting scenes about Nemo’s character and his worldview to process them in his lyrics. Chris who is responsible for the lyrics in AHAB focussed on the most iconic scenes of the story, and retold them in his own words but quoted as well. It’s almost impossible to retell a novel with all its details on just one album. How much did you keep to the original story and how much was artistic/creative license to tell the story in song form? With a focus on the mysterious captain Nemo and his view on the world above, the story got another sub level for composing and by that got very interesting as a template for us to work with. When we finally read the book, we realized its full potential. I only knew the movie back then, which I absolutely loved as a kid, but I couldn’t imagine the story as a basis for heavy riffs and grunts. We already talked about composing “20000 Leagues…” a few years ago. Jules Verne’s story about Nemo and the Nautilus is the most famous nautical novel next to Melville’s Moby Dick. Is the album’s concept based on the original movie or Jules Verne’s book and what captured your imagination to take on this concept? The new album, The Coral Tombs, is inspired by 20,000 Leagues Under the Sea. I liked the concept, he liked the song I recorded so we decided to join forces and founded Ahab. Without knowing about my song, Chris told me about his plan to form a funeral-doom band to compose Melville’s Moby Dick. So I recorded a funeral doom song with sea related lyrics with the intention to record a little demo CD. I played in a local death metal band back then and was searching for a new musical challenge besides. There was this monotony again I once loved on Pentecost III but combined with a really dark atmosphere, and I was very curious to compose with these new tools. Those bands playing at Doom Shall Rise were mainly traditional doom bands, but we also discovered funeral doom at that time. I fell in love with its monotony and heaviness, but couldn’t find any other doom band that attracted me as much. My first love with doom metal was Anathema’s Pentecost III, which I discovered back as a teenager during a holiday in England. In the early 2000s we’d visited some editions of a small doom metal festival in southern Germany called Doom Shall Rise, and we discovered many new doom bands at the time. Talk about the formation of the band and what influenced you to write about nautical themes?Īhab was founded by Chris and me as a funeral doom studio project.
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