One of my favourite black metal albums from the last couple of years must be the debut of Aerdryk, moniker of Wemmel, Belgium-based musician François Breulet. It’s his only release up until now. »Met De Driertand Op Mijn Huid« separates itself from other albums in its genre because of its heavy bass sound, whereas most black metal music is based around guitar riffs. What Aerdryk has in common with other temporary Belgian solo black metal acts, such as Oerheks and Zwarte Dood, who he regularly collaborates with, is a fascination for ancient Flemish folklore and early Scandinavian black metal. There’s also a new album in the pipeline, called »Onzuiver«, produced by Déhà.
skug: »Met De Drietand Op Mijn Huid« is not a riff-based black metal album, but rather an atmospheric one. Why did you make this choice?
Corvus: The album is, in my eyes, a bass and synth album with guitars around it. Still, the songs were written on guitar, but it’s the bass and synth that give it a vibe. I have been playing bass for almost 25 years, but synths are quite new. I believe I started to develop an interest in synthesizers while recording demos for Wolvennest’s »Void« album. Synth is a pandora’s box, as you can literally create any sound with it. I love Mellotron and Hammond sounds and got deeper into it. While I can play guitar and be as serious / pro as possible about it, I have more pleasure with synths and vocals, because it’s still a learning process.
Another specific thing on the album is the »hoover« sound, which is mostly associated with early nineties black metal. Why did you choose this sound? Do you think this sound gives the album an old-school vibe?
I don’t like black metal when it’s overproduced. A matter of taste, I guess, but it’s supposed to be at least a little nasty. Imagine »666« from Katharsis with a good production. It’s supposed to be chaotic and disturbing. When it comes to Aerdryk, it was quite clear from the beginning that I would never go for a massive sound, but for a sound that you love or hate. I love the production and would not change anything on the first album. It’s a very honest album and I’ll be able to live with it until the end.
Why did you release a full album straight away and not a demo or an EP?
I felt confident about the whole vibe around the album. It’s a niche, even in black metal, but that is what I wanted. And the track list sounded like an album to me from the start. It just made sense. If I’m not confident in my late 30’s, it would be quite a shame.
Is Aerdryk a solo project?
Yes and no. Yes, because it’s my baby, my blood, my identity and my vision. No, because Déhà is quite present on the new album (guest vocal on one song, some bass, some synths). I also have my brother in spirit Zwarte Dood, the singer of LVTHN, as a guest, and I’ll always ask him to appear on every album. On stage, it will be a full band, including Hans from Oerheks, who always double checks my lyrics, as French is my first language, not Dutch. I’m quite insecure about that aspect, even if I get better with the years. While I’m confident about the musicians, I’m a little concerned about my vocals as it will be my first time, but I’m also dead excited about not having a guitar or bass with me. It will be a totally new experience, and I feel I needed to put myself in a situation in which I could fail. Danger is good!
Why did you choose to do everything on your own for the most part?
Just because I can and because it offers me freedom and control. I love to not have to rely on other people. The whole process has been easy because I don’t need to care about someone else’s mood or agenda. Doing solo albums is also a way to enjoy being in bands again. I’m less frustrated if a band member is too slow or unavailable or not in the mood, thanks to Aerdryk, The Radiant Light, and Erbeet Azhak. It also forced me to learn to scream, write lyrics. I’m starting to enjoy that part of the process more and more. All guests on Aerdryk are there because I want it, not because I need it, which is a way more honest process.
Which music influenced you for Aerdryk?
I want this project to smell tradition with a little door opened to weird atmospheres: Burzum, Thorns, old Satyricon, Drudkh, old Dodheimsgard, Emperor. That’s my DNA regarding Aerdryk, with the soul of my grandfather around it. Never heard him saying a bad word about anyone. He is still my good conscious and the reason why Aerdryk is in Dutch.
What does the name Aerdryk mean?
You can’t really translate the word. I discovered it in a poem by Hendrik Conscience, in which he describes his feelings while observing the fields. Aerdryk is my way of touching Flanders’ soul. There is still something very »local« in Flanders, which is hard to describe. As if, despite the centuries, the very core of the region is still alive and untouched.
You’re from Wemmel. Is there a local metal or black metal scene?
No idea. I don’t know anyone in Wemmel, except my family. Which says a lot about Wemmel or about me. It’s just an okay place to live, where nothing happens. Well, we have Nicole & Hugo (Nicole sadly passed away in 2022), but that’s all. Google it and you’ll know what you need to know about Wemmel.
Are you linked to the Brussels (black) metal scene?
Years ago, I said to Hans Cools from LVTHN: Let’s create our own scene. He now has Oerheks, Silver Knife, plays in Haxenzijrkel. I’m super proud of him. I followed him before I knew him personally (I loved »Destroying Something Beautiful« by Trancelike Void) and I talk to him every single day, even if it’s a small message. Same goes for Déhà. That guy is the most talented and versatile writer I know. Déhà is also the link between Hans and me, as he mixed a lot of our music. When Hans did Oerheks, I just did Aerdryk as an answer and Déhà mixed both bands. So I’m not sure it’s a scene, but it’s our little circle. And you got people around it. Good, honest, reliable and disciplined people that I love. There is also the Thousand Lost Civilizations team who supported us a lot through the years. They created something in Brussels, organized a lot of crazy good shows and are a solid input for quality in Brussels and beyond because they organized tours, as they did for one of my other bands, Wolvennest, in 2019. All in all, I believe we can be proud of what we achieved with our DIY attitude and the support of an underground but quality label like Amor Fati.
Are you working on new Aerdryk material?
The »Onzuiver« album is mixed and mastered. A part of it will be performed at Unholy Congregation in Oudenaarde at the end of November. I’m dead excited about it. Déhà did three different mixes until we finally had the right sound. It’s a little more defined than the first one but is still aggressive and trippy. I went deeper for the vocals, especially the screams. It’s still tradition versus unexpected, weird sounds underneath the riffs.
What are you currently listening to yourself?
Nothing, as I don’t have the time. New Wolvennest, Terrifiant and more are in motion. With a full-time job, I just don’t have the time to be a part of a lot of bands and to listen to music. I make an exception here and there with some old Allman Brothers, as it quite purifies my mind, and I’m always curious to hear what my friends do. I also don’t want to be influenced by anything new, so I just don’t listen to it, except if Hans tells me I should. I’m not naturally skilled, so I try to be as creative as possible without too much interference. And I’ll be honest: you take the worst Black Sabbath era, it’s still more relevant than shitloads of new releases. Hail Tony Iommi!
