Now signed to Metropolis and with a new album garnering considerable acclaim, ReGen digs into Kadri Sammel’s creative impulses behind Bedless Bones.
An InterView with Kadri Sammel of Bedless Bones
By Stitch Mayo (StitchM)
First of all, how are you doing and how has your 2023 been? And how is your winter so far?
Can you share more about your journey in developing Bedless Bones as a solo project? How do you feel your background and artistic explorations photography influence your musical style?
Sammel: I don’t consider Bedless Bones to be ‘photographer music’ or something like that, but everything I inherently am and have been doing plays a part. Things I’ve learned and valued as a photographer also guide me in music, such as following my intuition and feelings and building a certain atmosphere.
The project blends a lot of the darker genres, from various industrial sounds, elements of darkwave, and everything noir. What’s your approach in the process of combining these diverse elements? From a production standpoint, do you have a favorite studio instrument, like a favored synth?
Mire of Mercury is a vast and immersive album. It seems to become more arcane and ethereal in sound and theme towards the end as it progresses – there’s quite a palpable sense of being in touch with myth throughout. The title carries a certain intrigue too. Were there any particular stories that you found inspiration in for the album?
Sammel: The album was intentionally crafted to reveal itself, layer after layer, and make every chapter of the story relevant, leading into something new. It is meant to be like a myth you seem to remember from somewhere, but can’t exactly pinpoint where. I can actually imagine Mire of Mercury being expanded into a collection of short stories even. It’s an intriguing place indeed. It isn’t based on existing lore, though, except for ‘Tantalus.’
There’s some incredibly rich and intricate vocal styles and harmonies throughout the album and some brilliant complementary production techniques – ‘Tongue and Rhythm’ and ‘Tantalus’ spring to mind in particular. Can you delve into your approach to vocals?
How do the songs from Mire of Mercury translate to a live performance setting? Are there any specific tracks that take on a new dimension when performed live? Any favorites to perform?
Sammel: The songs have been very easy to bring to the stage, possibly because the song structures are more logical and simple than on a lot of my previous tracks. ‘Dead Woman,’ ‘Litha,’ and ‘Solar Animus’ have all been very enjoyable to play live.
Do you have a favorite lyric or verse from the album that holds particular significance to you? If so, what inspired the writing of that specific piece?
Can you name some artists or genres that have had a significant impact on shaping the musical direction of Bedless Bones? Any surprising ones that people may not expect, or even guilty pleasures?
Sammel: The underlying influences are always there in one way or the other as no art comes from a vacuum, but I try not to emulate someone else’s specific sound or essence when I create. I don’t feel like namedropping or pulling out any genre names these days; it’s being done for me in a sufficient amount.
Could you share with us five albums that have profoundly influenced and contributed to your musical journey?
How does Mire of Mercury fit into the broader trajectory of Bedless Bones, and do you have any plans or hints about future albums or projects?
Sammel: I’m very eager to write a new album. I’ve been holding myself back a bit to concentrate on other art forms, but I have a lot of ideas for the next step in music. Expect the unexpected.
Photography by Anders Melts – provided courtesy of Bedless Bones