Sunday 12 November 2017


Perihelion Ship released their second studio album "To Paint a Bird of Fire" on October 1st. The band from Finland offers an ambitious effort. Guitarist and singer Andreas Hammer spoke for Metal Horizons about the album. 

What made you go for the name Perihelion Ship? 

I suggested the name 'Perihelion Shift' at first, and Jani (co-founder) suggested half-jokingly the name 'Perihelion Ship' – as that was kinda strange but still kinda cool, we took that as our project name. 

How do you usually describe your music?

We started as 'Extreme Prog Metal' since older Opeth was our main influence but I think now after couple albums and more varied prog rock and metal influences, it is easiest to describe it as 'Progressive Metal / Prog Metal'. 

What is your writing process like?

When a good idea comes up either while playing or in the head, I try to write it down on tablature software and then develop it and see where it goes. Usually I have some kind of starting aesthetic that I aim for beforehand. 

Who or what is your inspiration, if you have any?

Interesting and experimental music, films exploring human psyche / philosophy and good literature. The new Blade Runner was/is exceptional for a more recent example. 

What is your favourite piece on the album “To Paint a Bird of Fire” and why? 

I guess both 'The Sad Mountain' and 'Wind of No Echoes' – as the songwriting succeeded in both and the aesthetics are spot on. 

What makes “To Paint a Bird of Fire” different? 

I would say the riffs and song structures are quite unique as well as the merging of different genres succeeds pretty well. The vocal approach is also little different: Sure other bands use the clean/harsh vocal approach but usually their palette is often near binary. The sound production is also unique and I think it doesn't sound like your typical metal record. 

What should music lovers expect from “To Paint a Bird of Fire”?

Experimental metal with 70's prog aesthetics: Fast riffs, great keyboard arrangements and well executed rhythm section. It is highly possible that this record doesn't “click” instantly and requires multiple listens, even if you loved the first one. 

What kind of emotions would you like your audience to feel when they listen to your music?

It is not up for me to say. For me the album represents a journey through a hazy, desolate landscape. 

Which do you like most, life in the studio or on tour?

I haven't ever toured so that's perhaps on the horizon. Gigging is fun but our genre is very demanding of sound engineering while playing live and it always leaves something to be improved on the next gig on these small venues we play. Studio work is fun if it's drum or vocal recordings, but since we do guitar/keys/bass straight at home, they're not the most interesting part of the process. It's usually the start that is most interesting in making a record. 

Pick your three favourite albums that you would take on a desert island with you.

Only three? That's nearly impossible to pick but let's just say: Opeth's Still Life, Genesis' Selling England by The Pound and Tangerine Dream's Phaedra. I guess there's a lot of nice variation with these three records.

Get "To Paint a Bird of Fire" from Bandcamp.

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