His musical awakening may have its roots within metal, but guitarist Malcolm Callus’s musical vision has never been restricted to any one particular genre.
It gives us the liberty to wander freely in the journey through multi-ethnic sounds we seek to share with the listener
“I started learning guitar under the guidance of Tony Pace,” Callus recalls. “But I also continued to study musical composition and theory, which proved vital when I eventually formed Sceptocrypt in 1992.”
Anyone who remembers this band will recall it had a distinct avant-garde outlook embedded within its metal core, reflective perhaps of the fact that Callus has never settled for the obvious.
Equally intriguing were the events he, along with some like-minded souls, organised under the banner of Bisoul Promotions, which focused on the sounds of the underground as its main inspiration.
“We wanted to blend elements of theatre with metal, Goth and industrial music; anything that was extreme in its own artistic way.”
This was also reflected in the launch of Malta’s first-ever local underground magazine and radio show Rancid Soup, under which moniker Callus had also invited doom stalwarts Anathema to play in Malta.
Since 2007, Callus has been actively involved in Ethnamorte, a band he formed with guitarist and multi-instrumentalist Mick Di Lullo.
“Mick and I were two metal guitarists seeking to experiment with Latin jazz on the side.”
Their experimentation led them to explore more types of world music, which in turn led the duo to seek other musicians, collectively shaping the sound that they refer to as “world music with a dark twist” and which Malta will get its first taste of on November 6, when Ethnamorte, along with other acts will be performing live at the Calling All tribes event at V-Gen in Paceville.
The band has had various line-up changes, which according to Callus is the result of “relations and inspirations, moods and reactions that develop according to who leaves and who joins”.
In the space of four years, the band went from a duo to a quartet, a quintet, a nine-piece, a trio and back to a duo, its current formation featuring Callus on guitars and an impressive list of other instruments, and a colourful chap who plays percussion, sings, acts and goes by the name of Guerilla Man.
The band’s name is an integral part of what Ethnamorte is about.
“Our sound, despite being predominantly ethnic has, since our early days, always held a noir twist, and to capture both these attributes, we came up with Ethnamorte.”
As the sound evolved, they adopted a ‘no frontiers’ approach, as implied by the band’s oft-quoted motif ‘Death to music confines’.
“The elimination of musical boundaries is of paramount importance as it gives us the liberty to wander freely in the journey through multi-ethnic sounds we seek to share with the listener.
“This is evident in the blend of elements from Asian, European, Aztec, Arab, Mediterranean and other cultures past and present that are employed in projecting the contradicting emotions everyone faces in everyday life.”
Another result of their penchant to explore different cultures is the use of a variety of traditional instruments, some rather unusual, and a literary insight that contribute to the band’s unique and multilateral musical textures.
“In our bid to embrace different genres of world music, we’ve used a variety of instruments, from the Chinese bowl and hand-drums from Italy, Peru, and Morocco to string instruments from Finland, Romania, Japan, Brazil, Turkey and many others.”
It all comes together, he says, in the way they bring to the fore their personal observations of the world around them.
“You could say we inhabit a parallel world to this jolly journey we call life, so when a particular literal work or other happens to reflect our feelings, we feel inclined to include it in our own way and as befits our musical art.”
This, as can be heard on the band’s only album to date, also involves the use of different languages, including Maltese.
“The album features five languages, but Italian, Portuguese and English are the more predominant languages we use in our songs.
It’s safe to say we have a multilateral perspective when it comes to seeking inspiration and expression; we just like to experiment with different genres in the same song. It’s pretty primordial really – we want it, we have fun doing it, so we do it.”
These words further underline the band’s consistent pursuit of new sounds with no regard to any imposing restrictions, but have they ever been tempted to appease the mainstream’s demands?
“When we write we don’t exclude anyone; our music is directed at everyone but there are reasons why Britney Spears is more popular than artists of our ilk. At the same time, I could also ask – why question why Egberto Gismonti is less of a household name than Justin Bieber, or why Thelonious Monk thought the way he did with no regard to who might love or hate his music?” All are questions that could spark off an interesting debate, but Callus prefers a different approach.
“If you recognise a common thread in the possible answers to these questions, then you’re likely to enjoy what the Calling All Tribes event has to offer; it is, after all, a celebration of diversity through musical expression.”
Besides music, Ethnamorte’s performances also tend to establish a connection with the audience by infusing a theatrical aspect, something they also encourage their audience to participate and dress for the occasion.
Vocalist Guerrilla Man, a former student of old-school mime extraordinaire Yves Lebreton, feels this aspect plays an important part in what Ethnamorte is about.
“Our approach in fusing theatre with music is based on corporeal mime. We find that masks amplify our music’s dark attributes and are a way to respond fully to feelings individuals in our audience may unknowingly demand of us.”
While not obligatory, having the audience putting on masks or make-up enhances the Ethnamorte live experience.
“We apply ourselves totally to the cause and it goes without saying that a similar reaction from the audience is more than welcome.”
Calling All Tribes is, to an extent, something of a groundbreaking event in offering a variety of innovative genres, and all under one roof.
The concert will feature Kurt Aquilina, an upcoming young talent on the classical guitar, as well as Nisġa, a five-piece band that merges jazz and flamenco with a slightly psychedelic undertone and poems in between.
Rasadance will present a potpourri of ambient, world music, gypsy and Middle Eastern folk combined with a rock-driven punch, and Eliyah’s Project will serve up an engaging experimental post-rock folk fusion.
“There will also be a surprise act announced on the day. I will also be performing a set as Unus Quod Insane, my solo side project,” Callus adds.
After the last band, Guerrilla Man – a former member of reggae outfit Dread Inna Babylon who have supported Ziggy Marley, Israel Vibration, Antony B and other leading reggae acts – will unleash his reggae roots during the after-party till everyone drops.
Calling All Tribes will be held at V-Gen in Paceville on November 6. Doors open at 6 p.m. and the first band will start at 7 p.m. sharp. Tickets are €8. Tickets bought before October 31 (or till stocks last) will receive a free copy of Ethnamorte’s debut album.
www.myspace.com/ethnamorte
bugeja.michael@gmail.com