Interview / Clouds Taste Satanic

Clouds Taste Satanic is a NYC-based instrumental post-demonic doom metal band formed in 2013. The band has released 7 albums since 2014, including the most recent release of Tales of Demonic Possession at the start of 2023.

I sat down with Brian Bauhs, lead guitarist, for an in-depth interview.

How do you manage to achieve such an impressive output rate of seven albums in just nine years?

It’s just something that happens.  We hear these riffs in our heads and they wind themselves into songs.  The songs come into view and take on a life of their own.  Honestly there are more ideas and concepts than there is time. Seven albums in nine years seems like a pretty rapid pace these days but there was a time when that would have seemed slow.  Creedence put out 3 albums in ‘69, Deep Purple put out two in ‘68, The Stones did 3 in ‘65 and 2 in ‘64, The Beatles had 6(!) in ‘64. There are a bunch more examples. I’d love to spend even more time in the studio.  There are so many worlds to explore. 

Have there been any particularly influential or defining moments in your musical journey that have shaped your artistic direction?

I’m sure each member of Clouds has their own moment but the very first time I played through a huge amp stack, so loud you could lean against the sound, I KNEW I wanted to play heavy music. It doesn’t have to be loud all the time but when you experience that thing where the vibrations in the room activate the guitar and it becomes this beast you ride, it’s incredible.  

Given your track record, it seems reasonable to inquire about any upcoming projects or albums. Could you share any insights or details regarding what we can expect in the near future?  

As usual we have several things in the works in various stages of completion. First of all, we have our next album completed and ready to go. It’s the soundtrack of a post-apocalyptic film that didn’t get made. It’s classic Clouds and I can’t wait for people to hear it. While we were in Berlin on this recent tour we recorded our live set in the studio.  We found a place that had a bunch of the gear that had been at Hansa studio when David Bowie did his Berlin trilogy. The day was a blur. Set up, get levels, get comfortable and play the live set. It was a lot of fun to work so quickly and to document what we are doing live.  Obviously this set has a lot from our most recent record, “Tales of Demonic Possession” on Majestic Mountain Records but has some older tracks too. We even played an excerpt from the very first release, “To Sleep Beyond the Earth” and an excerpt of the upcoming album as well. That will get mixed down and probably make an appearance as a limited edition vinyl release.

We are neck deep in the arrangement phase of a series of Christmas songs. It’s in the spirit of “Cloud Covered” and our 7” single series.  A couple of them will seem like a real surprise. CTS bringing the doom to the holiday season. We go into the studio in a few weeks for those. And of course, rills and ideas for the next album after that are already brewing…

Are there any exciting tour plans on the horizon that your fans can eagerly anticipate?  

We just got back from a run of shows in Europe and Scandinavia and couldn’t be happier with the way they went. Plans for a UK tour in the spring are in the works so we hope to see a bunch of you there. 

How does the absence of vocals impact the way you approach songwriting and convey emotions within your music?  

I view it as nothing but positive. Guitars and vocals are in the same frequency range. The absence of vocals removes any concerns about guitars stomping all over the vocals and getting in the way of the singer telling their story.  But that means it’s up to the music to convey the message, to tell the tale. Whether it’s desolation, anger, or a sense of redemption it’s up to us to convey that with the music, not rely on a lyric.  

Doom metal is known for its slow and heavy sound. How do you balance the dynamics of pacing and intensity in your compositions? 

The incredible thing about the doom metal scene is that there are no rules. Particularly in our case as an instrumental band known for playing songs that are an album side in length. I view our compositions more in line with symphonic music than pop.  We aren’t bound to a verse/chorus song structure. It’s more about introducing a theme, working with that, then another and another.

At some point we will return to elements of a prior theme, but changed in some way. Shifting dynamics are a natural part of that progression.   It’s an incredibly freeing way to work.  

Without lyrics to guide the listener's interpretation, how do you hope your music connects with and resonates with your audience on an emotional level?  

Like any form of art there are many ways to interpret a piece of music.  None of them are wrong and my interpretation of a work can change with my emotional state and the state of the world around me.  I know I’m onto something when playing (and listening to) the music creates a film in my mind.  When it takes me on a journey from start to finish.  Our current album, Tales, and our upcoming release really do that for me.  

How do you perceive the current state of the metal scene, encompassing aspects such as recording, production, promotion, and touring?  

It’s no surprise that COVID had a huge impact on the metal scene. Clubs and recording studios struggled and some didn’t survive. The vinyl production supply chain was a huge problem.  It became really hard to get vinyl albums manufactured. But at the same time the demand for vinyl took off.  People were stuck at home and wanted to listen to records. Live touring ground to a halt and it was difficult not being able to perform live. Some bands got creative in ways to perform via streaming video or recorded video releases but it doesn’t have the immediate feedback of an audience reacting to you in the same room. At the same time it provided an opportunity to focus on writing and recording. I’m not sure our Cloud Covered album and 7” singles series would have happened the same way were it not for the pandemic.  

If you had to choose a single record to introduce someone who has never experienced your music before, which album would you select? And what is the reasoning behind your choice? 

I’d pick our most recent release, “Tales of Demonic Possession”. I think it really effectively

communicates the sprawling epic nature of the band and is an accurate picture of who and what we are right now.  Then I’d suggest they explore our back catalog in reverse order until they reach the start.  There is a lot to dig into.  

Could you share a standout performance from your career that holds a special place in your memory? What made it so remarkable?

Our show at Revolver in Oslo Norway really stands out for me for a bunch of reasons.  It was a great set and our first time playing Norway. But more importantly there were fans in the audience that had our patches on their vests, our t-shirts on, and they knew the music. I talked with fans that had traveled 7 hours from Bergen to Oslo to see us.  I identified with that sort of dedication to a band. I’ve made similar trips to see a band I loved. That night was also memorable because the largest aircraft carrier in the US fleet was leaving Oslo harbor.  It had more planes on it than the entire Norwegian Air Force and it was heading north to sit offshore Norway’s border with Russia. The Norwegians talked about gratitude for their relationship with the US but there was also a sense of the threat of war and the closeness of the Russia/Ukraine war that I don’t feel sitting at home in New York. That hit like a ton of bricks. 

Your affinity for vinyl is apparent through your releases, and it's undeniable that the digital format allows bands to reach a wider audience. However, there is a unique charm in holding a physical record and appreciating the artwork. Could you elaborate on the significance of vinyl to your band? Do you consider it the recommended way to experience your music?

I fell in love with music through vinyl releases.  Not just the sound of the records, but the large format of the artwork and the swag that was often included. I can still feel the cardboard and paper popgun that was included in my Kiss “Love Gun” album.  Included posters immediately went up on my bedroom wall. They were also super handy for cleaning pot and rolling joints.  You can’t do THAT with a digital release. My only recommendation is to experience as much music as you can, as often as you can.  I have a large vinyl collection and listen to albums a lot, but I’m really grateful to be able to take music with me anywhere I go. Earbuds and streaming services give me limitless choices to experience music when I am out and about. I can curate a soundtrack to the world around me.  And that’s just not possible with vinyl. 

You can catch Clouds Taste Satanic on their next show at Desertfest NYC on Saturday September 16th.

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For more on Clouds Taste Satanic, visit the following links: Instagram | Spotify | Bandcamp