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Dragged into Sunlight

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Conor Fynes View Drop Down
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    Posted: 10 Dec 2012 at 3:07pm
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Dragged into Sunlight are one of the most intriguing acts to spawn out of the extreme metal scene in recent years. Since their debut in 2009, I’ve had a lot of questions about this band; their style is thick and chaotic and saturated with aggression. The vocalist known as T got back to me with some answers to what this mysterious proect is all about.

In a few words, introduce yourselves. How might you describe the music and concept of Dragged into

Sunlight to someone who has never heard of you before?


Everything louder and heavier than everything else. A collective madness of unspeakable horror.


In the past, you have typically been described as a black metal band, although as your latest record

will testify, your sound draws from a myriad of extreme metal styles- including doom, death and dark

ambient music. Do you support the claim that Dragged into Sunlight is essentially a black metal act, or

would you prefer to do away from the genre-tags altogether?


Dragged Into Sunlight is an enigma of sound, the production on Hatred for Mankind had a black metal

extremity. The drums are very heavily influenced by Floria DM from the 90s. Vocally we draw on

influences a disgusting blend of extreme metal as well as the direct and raw cut of 90s hardcore efforts.

The noise and drone comes from strongly from Japanese noise artists, the art has the rawness of bands

like Rudimentary Peni, Doom, Terrorizer and that crust unholy terror cross over.


How did Dragged into Sunlight form and become an act? Undoubtedly, not all details can be revealed,

but due to the distances between you, it is surprising that the band has managed to gain such a

powerful momentum.


Dragged Into Sunlight began as an idea. We knew there were like minded people out there; we knew

a lot of them from previous bands. We knew the underground needed striking to the heart and that

is exactly where Dragged Into Sunlight came from, the blackened heart of the underground. The band

involves many individuals as a collective movement. We are located at opposite ends of the United

Kingdom and to even rehearse requires nothing but the utmost relentless energy from all involved.

That energy is apparent in the form of Dragged Into Sunlight, every note and every live show, it is a

fathomless passion.


Similar to what Deathspell Omega have gone for, Dragged into Sunlight remain entirely anonymous-

quite a departure from the thinly veiled cults of personality some extreme metal bands try to adopt

for themselves in one way or another. I take it this nameless, faceless stance could be something of a

protest against the ‘rock star’ attitude many of these black metallers have taken in the past?


It is simply a matter of we do not feel that those outside of the collective need faces to relate to what

we do. The music comes from our internal depths and has nothing to do with a look or a feel. It is

a feeling and one which we know like minded individuals can identify with. Any band can remain

anonymous, for Dragged Into Sunlight, our stance is indicative of our motivations. When we grew up,

the metal press was intellectual, you read a review of an Obituary album and the words struck you as

hard as the recording. Writers and artists were passionate alike and there existed no tolerance for

something which wasn’t truly unique. That is why looking back at the 80s and 90s there are so many

great releases that will always stand the test of time. Image and fashion continue to pollute extreme

metal and for as long as there are extreme metal musicians pandering to audiences, the integrity

of something we love will continue to suffer. Dragged Into Sunlight has no mandate for the same

attention. We do what we do because we are passionate about what we do and there is no replicating

such a sincere approach.


Live, DIS is known for performing with backs to the audience. Is this simply to further the sense of

anonymity in the band, or is there something more that you wish to convey through this anomaly?


Dragged Into Sunlight in a live performance is a collective effort. We simply have no need to entertain

an audience, we are there to crank up amps as loud as the walls can take and deliver an exorcism.

All those involved give nothing less than 300% to every show and every note and that is what makes

Dragged Into Sunlight such a hard to swallow reality. Internally, it is ritualistic and a celebration of

collective efforts, the audience relate to a sound and a feeling, the same sound and feeling that we are

conveying with every note. Much like the connection between artist and musician is the connection

between musician and audience.


Your latest record, “Widowmaker” came out this year. Suffice to say, it’s quite a departure from the

first record. What was the process of making this album?


It is what it is. Many compare Widowmaker to Hatred for Mankind, both recordings are entirely

different. The recordings are so different for a reason and that is because Dragged Into Sunlight will not

be one of those bands that produces the same sound over and over, we would not be so narrow minded

to do so. There is not one sound for Dragged Into Sunlight and the sooner that is understood, the

better. Widowmaker is a concurrent sound, it grows like the evil deformed twin of Hatred for Mankind.

It offers loneliness, depression and hideous frustration bursting into anger. Hatred for Mankind offered

mindless violence, relentless momentum and well, hatred in its purest form. Widowmaker was a longer

more drawn out process akin to the recording itself, it is meticulous in every detail and perhaps polished

to some, it carries the soul of Dragged Into Sunlight and forms yet another tentacle to a hydra of sound.

We recorded the drums several times to attain the correct feeling; a similar attention to detail was

adopted in respect of bass, noise, guitars, vocals and additional contributions. There were no short cuts,

if we needed a particular snare drum, we found it from somewhere, there was an occasion we drove

a 500 mile round trip just to use a particular guitar amp that we knew was hibernating in a studio out

there. As with everything that Dragged Into Sunlight is, Widowmaker is a concentrated effort delivering

nothing less than best endeavours.


What has the reception for “Widowmaker” been like so far? Looking back on it now, are you confident

that you accomplished what you set out to do?


It has. Widowmaker accomplished Dragged Into Sunlight set out to do the moment the final master

came to light. It was everything we had wanted from the recording. Regardless of objective opinion,

the recording comprises many memories and a plethora of feeling for all of those involved.


One of the things that intrigued me about the album was the particularly drawn out introduction.

Taking up a third of the record, should it still be considered an introduction, or is it just as valid as the

more active latter two thirds?


Widowmaker is to be appreciated was a holistic efforts. There are three portions to the record for

ease of listening, however, those able to grasp the depths of the recording know that the record is best

digested whole. Part I if anything is to be considered as a valid contribution to a larger picture if not an

essential organ of the beast.


In theme, concept and sound, Dragged into Sunlight represent a very pessimistic view of the world. Is

there any room for hope in this sound?


No. Dragged Into Sunlight is an exceptionally negative experience. If it could be different, it would be.

But it is not. It is a summit of the darkest elements of those involved and somewhere there lies a very

sincere hatred within all of us. Drawing the comparison to the serial killer speech samples that we draw

upon. It is often a sticking point for many reviewers, they would like to see a sample neatly packaged

around music. That is not how Dragged Into Sunlight utilises samples throughout our recordings. It

is the intention that is important and bears meaning. Those speaking represent the darkest side of

humanity. Inhuman acts fulfilled by very human beings. 

Not so much implied as directly stated with the album title “Hatred for Mankind”, it’s no doubt

you share a fairly misanthropic worldview. However, is this hatred directed at the species entirely,

or directed at the docile masses? No doubt, there are humans who have managed to justify their



Dragged Into Sunlight is not a targeted effort. It is an exorcism.


Is it your belief that all true art comes from a place of tension and darkness in some form?


Yes, very much so.


What advice would you give to other musicians, particularly artists in extreme metal who remain

completely unnoticed?


If there is real passion there, others will relate to that passion. If there is not, and you do not believe in

what you are doing, there is no feasible excuse why others should believe in what you are doing.


Favourite beers?


Anything bottled or canned.


Any favourite albums of the year so far? What have you been listening to lately?


Tragedy “Darker Days Ahead”, Furze “Psych Minus Space Control”, Converge “All We Love We Leave

Behind”, Pig Destroyer “Book Burner”. Lately, a mixture of old Integrity.


Final words?


Misery forever.


Cheers, and slainte from Vancouver.



Edited by Conor Fynes - 10 Dec 2012 at 3:15pm
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Post Options Post Options   Thanks (0) Thanks(0)   Quote UMUR Quote  Post ReplyReply Direct Link To This Post Posted: 10 Dec 2012 at 3:35pm
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Post Options Post Options   Thanks (0) Thanks(0)   Quote UMUR Quote  Post ReplyReply Direct Link To This Post Posted: 19 Dec 2012 at 2:44pm
I´ve updated the interview index to include the Dragged into Sunlight interview:
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