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No! Our guitarist and bassist are both fans of Arnold Schoenberg, but we don't use twelve-tone rows or any of what is usually associated with that. Nevertheless, we don't think it matters that much. These techniques doesn't define a sound or a style.

"12 notes aren't that much more than 7 ... and if I have a riff or melody in my head, I don't need to verify or sieve it through an arbitrary system I don't conform to anyway." - Jeanne

Indeed we do! On our debut "Mind Cemeteries", the forms were often simple (like the song "Mind Cemeteries": ABCABCDE).

"Thoughts From A Stone", due it's length, is a bit more complicated: There, we have a circling (and inside the circles, alternating) forms. Like, the middle (12:05*) and the end (20:14) are exactely the same: "Crushed, Marred, Scarred, Nothing"!

The main theme appears three times, every times shorter: first at 2:15, then 11:37 and finally at 20:04. All parts on TFAS are interconnected (in pairs, groups), sometimes almost like a fractal.

No, it's all faithfully composed. All notes on CCV's releases are played willfully, there's no amount of improvisation or guesswork included. Still, during composition and recording, we sometimes like to spontaneously change things.

No, we just use our own, unusual harmonies!
Our guitarist/songwriter's "classical" compositions (link) are often microtonal - but in CCV we use standard equal temperament. All instruments are intonated and setup specifically for our "dissonant tuning".

No, we create "riffs out of riffs" (or "riffs out of motifs")! Usually the first riff of a song introduces a few motifs, which is then the base material for all other riffs of the song. It's a form of "developing variation", for which a famous example is Beethoven's 5th symhpony, where the initial "da da da daaaa" is developed throughout.

Though for CCV, it can be different elements of a motif: The notes and/or the rhythm and/or just the contour. An example from our recent release, Thoughts From A Stone: The characteristic quintuplet rhythm of the toms and bass guitar in the main theme appears verbatim in many of riffs throughout the whole piece (compare 2:15*, 8:05 and then 16:13).

If one calls "quiet music" ambient or "quiet drums" jazz - just for being quiet...? For us it's just playing quiet/soft instead of loud/powerful.

No, it's all acoustic. Everything that is not vocals, guitars, bass or drums are either violin, bass recorder and/or violoncello (XelmYa Trio).

No, it's always just 2 guitars, one bass, one drumkit and multiple singers. Just raw. For example, if you hear two or more voices, it's always two or more singers. If you think you hear two violins, it's one violin playing on two strings. If you think you hear two recorders, it's Sylvia singing into the recorder while playing. Etc. ...

It's a phrase refering to the way of our rhythms that are a different flavour than those of other pioneers of rhythmic variety in metal. It's a bit of an ironic expression, it actually means that our rhythms are "anti", but still have their own "groove".

No, we rarely use open strings and never power chords (and almost never tritones). But we use palm mutings using various kinds of chords. However, we do different things in different songs, so there's the exception of the song "All Bitter Endings", where the huge palm mutings are the lowest three open strings (thus the chord C F# G).


Yes, it is truly one song, or a "one-movement symphony" if you like. The "tracks" refer to lyrical chapters, not musical chapters, "tracks", "parts" or "songs". The "tracks" were meant as a convenience: to be able to skip to a certain passage, but not have to. Shuffle is deadly here. The Vinyl has no cue gaps at all.

See also: https://comaclustervoid.com/audio-video-photos/155-tabs-2

We are not experimental. We just get things done.

Yes, it was Ronnie James Dio during his time with Judas Priest.