Nicolas, Chris, and Bri get candid, dishing on influences, the inspiration behind their music, and their creative secrets
Fresh off the release of “Heaven//Hell,” The Silent Era took some time out to deep dive into the pandemic struggles and self-discovery behind the track.
Nicolas and Chris share the story behind the band’s journey since 2021, lineup twists, and the wild world of London’s music scene. They generously give us a glance into 2024, hinting at fresh beats, and what truly makes them happy – creating, a dash of puppy love, and the buzz of getting stuff done.
Happy: What are you up to today?
Nicolas: I was working on a mix for a client. My first time doing country folk. Hope he likes reverb. Then I worked on a drums mix for one of our next songs. Which wasn’t easy with the renovation works going on in the flat below. Fucking earthquake.
Chris: I worked at my sports job, baked a loaf of bread, went to the gym, went shopping, and have just finished scrapping out and replacing some contaminated silicone in my bathroom. Business as usual….
Happy: Tell us a little about where you are from, what’s the scene like?
Nicolas: Me, originally, Paris, France. Although there are a few great musicians there, the scene is like… gated even at a very small level. I never managed to find the keys there so I moved out here in London, which is way more interesting and open than Paris.
At least for alternative rock stuff. It’s home now. That being said, whilst it’s easy to find gigs and play around London at our very small level, it’s super tough to find your audience here and ways to access the next level but we’ll keep going until we get there.
Chris: I’m from Australia originally, and I still swear that the Australian music scene is and has long been the best in the world.
Especially the likes of Brisbane and Melbourne. It’s tough outside the capital cities like I was though. We’re all from different countries, but met in London.
Comparatively, London is an amazing place to meet musicians and get regular gigs, but it’s got it’s own limitations, as Nic pointed out.
I can’t think of any band I’ve loved from London in the last 10+ years that’s gone on to bigger things…
Happy: Can you tell us about the inspiration behind your latest single, “Heaven//Hell”? How did the band come up with the concept for the song?
Nicolas: It started with an instrumental demo I made. I don’t remember how it came up but I thought ‘it’d be cool to have this sort of song, energetic, industrial-ish with a chaotic outro’ then I put together the beat, the bass, guitars.
Then Bri wrote the vocals and we could start playing it together, adjusted the parts, the tones, and tested it live.
We decided it would be a good candidate for a single release so we recorded it. The final result is more rock-y than the initial demo but you still get the mechanical feel that gradually humanises throughout the song.
And also the fact that we changed drummers in the meantime has impacted the final result too. Whilst both nailed it, I feel Jo has done a great job especially on the industrial marching-type part of the song (which sounds like a faster version of Running Up That Hill by Kate Bush, I realised it recently).
Bri: Hearing the demo and writing to “Heaven//Hell,” (originally titled “Shiny Happy People” haha) was like releasing a pressure valve over a churning pot of anger, denial and confusion.
The dark, pulsating storm of a track perfectly mirrored the chaos in my head and gave me a way to confront the shadows I’d been hiding for so long.
Telling this story wasn’t about assigning blame or playing the victim. It was about the brutal awareness that I’d been sleepwalking through hell, mistaking it for some twisted paradise.
It’s waking up, gasping for air, finally clawing my way towards something real. So, it’s not a happy-ending song, it’s a liberation song – the breaking free from the cage of self-deception.
For me, that’s the heart of the song’s concept – the power of facing the dark within, and in doing so, finding strength.
Happy: Your music draws influences from ’90s alternative, with nods to bands like Faith No More, Garbage, Deftones, Tool, and The Cure. How did these iconic bands shape your sound, and what other artists have had a significant impact on your music?
Nicolas: NIN.
Chris: Also Nine Inch Nails for me. Sonic Youth is a huge one, Pavement in the way Stephen Malkmus approaches lead stuff, Grinspoon has left an inescapable print on my playing!
We’ll probably just get more obscure from there. But we’ll all bring our own individual influences to our style, the ones above are probably the best shared influences – I think they’re all bands we love their due to their uniqueness, versatility and approach to making music.
The influence each of those bands have will be in maybe one or two elements of any given song, rather than having a song that sounds like Tool, for example.
Happy: “Heaven//Hell” explores themes of personal suffering, healing, and trust reclamation. Can you share more about the songwriting process and how personal experiences influenced the lyrics?
Bri: So, yeah, I guess I had a lot of time over the pandemic to dive deep into some personal history and issues I’d been suppressing.
It was a scary prospect to revisit them. Writing ‘Heaven//Hell’ honestly felt like navigating a haunted house. Every creak and whisper in the darkness was a memory I’d rather keep hidden.
The music was like a flashlight illuminating corners I’d kept shadowed. Yes, the lyrics draw from personal scars, but I avoid bloodletting in public.
Metaphors and imagery can convey experiences without going into the details. I don’t wanna scream the names of ghosts.
Because I hope this song can resonate with anyone who’s ever caged themselves in denial, mistaking its trap for contentment.
The song reflects my own journey – the chorus is that moment when you tear through the cobwebs and see the first ray of light, of realisation and taking the first step out of the dark.
So, yeah, it’s absolutely personal, but I hope it can serve as a mirror where others can reflect on their own struggles.
Writing about these things, discussing them with my partner and being able to tap into genuine emotions when performing has been a real catharsis for me.
Happy: The band’s live recording of “Scorpio (Slowpio version) – Live at Brighton Electric” showcases a different side of your performance. How does the energy of a live setting impact your music, and what do you enjoy most about performing live?
Nicolas: I’m more of a studio person but I find it interesting to adapt songs to a live context and the limitations it comes with, as in we don’t have 78 guitar tracks, we only play one bass at a time etc.
So naturally it becomes more raw and more organic. Also the ‘you only have one shot, don’t suck’ pressure of a live performance brings out a special something from us, I guess.
Chris: I love playing with these guys so much. For me it’s a lot of fun figuring out how to translate the denseness of the recordings, which parts to play to fill everything out as a simple one guitar, one bass, drums and vocals.
The collective feeling really does change the energy of a song on any given day, and the set can be a bit like riding a rollercoaster. When we’re firing, it’s an absolute ride!
Happy: The ’90s grunge influence is evident in your music, especially in the strong and immediate impact of the opening sequences. What draws you to the grunge genre, and how do you aim to evolve and innovate within its established sound?
Nicolas: I personally don’t have much connection with grunge. I mean, I like some of it, there are some great artists I respect and I’m glad it happened but I’m more connected to what’s around it.
Chris: The first CD I ever bought with my own money was In Utero when I was about 8, so Nirvana are a huge one for me. I’ve got an In Utero tattoo so it’s literally in my blood.
Alice in Chains and Soundgarden are also favourites. I love of lot that stuff but it’s not something I’m trying to recreate myself though. Tonally there might be an unconscious nod to Soundgarden, but it’s not something I’ve really thought about.
Happy: Your lyrics are described as authentic, dark, and rebellious. How important is it for The Silent Era to convey a genuine and unconventional message through your music, and what kind of impact do you hope it has on your audience?
Bri: “Authentic, dark, and rebellious” – that’s pretty cool! For me, genuineness in our music is everything.
We’re not interested in crafting formulaic songs or chasing trends. We just pour our emotions and experiences into the music.
My lyrics, yeah, they might get a bit dark and twisty, but that’s just me processing life’s shadows, you know?
And if some rebellion creeps in along the way, well, that’s just the natural urge to break free from the expected I guess!
Maybe our music won’t change the world, but if it helps anyone feel less alone in their darkness, gives them room for reflection, or gives them the courage to break free from their own problems, then that’s awesome.
Happy: Can you share some insights into the band’s journey since its inception in 2018, especially considering the merging of members from Ghost Wives and Black Palms? How has the lineup changes and diversity contributed to the band’s resilience and evolution?
Nicolas: The Silent Era was formed in the summer of 2021. These previous bands you mentioned ended before that. All of us wanted to start something new and we did. We managed to find each other and built our universe. I think the only relevant line-up change for The Silent Era is Jo replacing Conor on drums last year.
Chris: All those bands are very different. It’s not like we really took any aspect of what we were doing in any of them to this. It really did feel like a fresh start. A whole different approach and different understanding of what we wanted to do.
Happy: What role does London play in shaping The Silent Era’s musical identity, considering your regular gigs around the city? How has the local music scene influenced your growth as a band?
Nicolas: Like I said earlier, it’s very easy to find gigs to play around London, but hard to find your audience.
A lot of times, we play for a handful of people only. Some promoters are better than others. Some if not most of them expect YOU – the artist – to promote the gigs and sell the tickets. They’re the worst at promoting events and bands so yes, of course the room will be empty.
Which is why we only work with a couple of promoters, the good ones. But to be honest, we’re actively looking to step up and play bigger events. Our music isn’t suited to play in pubs anyway.
Chris: London is such a huge place there’s not really any like solid scene. The closest there really is the dedicated metal venues…there’s a pretty solid metal fan base in London and heavier bands probably have a better shot here than they might do in a lot of other cities.
Happy: As 2024 approaches, what can listeners expect from The Silent Era’s upcoming track batch? Are there specific themes or sonic elements you’re excited to explore in this next chapter of your musical journey?
Nicolas: Yes, more music will be released this year. A couple of singles and b-sides and we have started to work on our debut album, the songs are written and demo’ed.
We like to explore different aspects of rock music but I think we found our lane. Some of the next songs are more industrial, some more psychedelic, even dreamier, some more coldwave and we even have one that’s kind of in the doom territory but it’s all consistent and tells a story.
We’ll be hitting the studio in Feb for drums and guitars, then, vox, bass, synths, more guitars in the following months, then mixing, mastering, artwork. In the meantime, we have some videos from the Brighton Electric session to put out too.
Happy: Lastly, what makes you happy?
Nicolas: Creating. Getting shit done.
Chris: Same…huge fan of getting shit done and creating! And dogs. Everyone should create something new every day and have a dog. That’s the secret to happiness.
Nicolas: oh yeah animals of course! They’re the best.
Check out The Silent Era’s latest review/single here.
