Max Enix has spent the years since “Far From Home” building a project that keeps expanding in scope, even as the tools behind it change from album to album. That double album paired him with the Budapest Symphony Orchestra and the more stripped-down Constellia and Secret Garden material; “Beauty in Darkness” trades the orchestra for a dense roster of guest musicians, orchestrations from Thomas Kubler, and a lineup that carries over nearly intact from the last record. Guests on the new album include Niklas Kvarforth of Shining, Nile drummer George Kollias, and rap and R&B artist Michael Herrington Onetwenty, alongside returning contributors like guitarist Xavier Boscher and Soilwork’s Simon Johansson. We caught up with Enix to talk about how “Beauty in Darkness” came together, the thinking behind its concept, and what’s next.
- “Beauty in Darkness” follows “Far From Home,” which featured a full orchestra. What led you to move away from that setup this time, and how did you approach building the album’s scale without it?
So, first of all, thank you very much for this interview and the wonderful review that goes with it! Actually, the way the album was put together was the same as for *Far From Home*, because I worked very closely with Thomas Kubler on the arrangements and orchestrations right from the start! He took my complete compositions (songwriting = Strings/Piano…) and orchestrated them, incorporating strings and pianos! The decision not to use an orchestra is, of course, a question of cost, as it’s really expensive to hire one – even though the Budapest orchestra offers more reasonable rates. I’ll now reserve that for film scores, depending on the directors or producers who place their trust in me/us, and perhaps for certain shows in the future – if possible, for a DVD or Blu-ray release, why not as Devin Townsend for the Moth ! Furthermore, I find that Thomas’s orchestrations, performed naturally without an orchestra, have a more massive sound than a standard orchestra, and I prefer that. It’s also simpler to weave all the elements together with the electric sounds! As for the vocals, I’ve actually recorded them – and asked the guest vocalists to record theirs – on the orchestral tracks rather than the electronic ones, which, in my view, gives a much more consistent result than on *Far From Home*. It’s a step forward. Some shows will also be performed using the orchestral tracks (acoustic) to create an even more cinematic feel, à la Hans Zimmer, but with my own artistic touch!
- You’ve said you’ve been the main songwriter and composer since “Far From Home.” How has that shift in role changed the way you write compared to the Constellia and Secret Garden era?
So you should know that for about 20 years now, I’ve composed around 500 improvisations on the electric guitar (my first instrument), where I’ve developed a good level of technical skill, and especially on the keyboard, which – like Hans Zimmer – allows me to escape to other realms and pick up on frequencies and vibrations that come from elsewhere! Interpretations of books such as Stephen King’s *The Shining*, and so on… Anything is possible across all genres, and it is this variety that I hope to bring to my future projects and creations! Each one will be a quite different world! I’ve sung in various ensembles before , choirs younger and across different registers, which has allowed my singing to evolve from album to album and reach a professional standard – according to renowned coaches and sound engineers – now more than ever before! For *Constellia* / *Secret Garden*, I enlisted the help of a French composer to assist me in to work through the various stages of creating an album and feel more confident about future projects! I’d written about twenty very epic pieces that I regularly played on the keyboard in preparation for concerts! I wanted to use massive orchestrations – or even a full orchestra – right from the start, but in the end things turned out differently! I always maintained my artistic vision throughout, though; in the end, I decided to go for radio-friendly compositions. My themes, composed on the keyboard and piano (not the full epic compositions), were therefore used and retaken for 12 tracks, and he then wove melodies over them, incorporating some contemporary elements! We then recorded the vocals over the various compositions, which were generally based on piano and strings, and he added elements on top as appropriate! I oversaw the process and ensured things aligned with my vision whenever they didn’t. Then, gradually, ideas for music videos, lyrics and other elements came to me. So that’s what’s different – it’s co-composition, or rather co-songwriting! I then gained a better understanding of the artistic world and what I did and didn’t want! Given that there are often ego clashes amongst the musicians I’d previously brought on stage, I wanted to opt for a broader vision that was entirely personal and unique, even though there were already significant elements of it in Secret Garden under Constellia.
⇒ Don’t miss checking our album review on “Far From Home” here.
After that, I wanted complete independence, so I chose to carry on under Max Enix, managing everything myself from start to finish and working with a team of efficient collaborators! So that’s the big difference: from *Far From Home* onwards, I composed all the songs on the keyboard (sometimes strings, sometimes piano, sometimes both), and Thomas fully respected the complete structures I wanted for the tracks from start to finish, before taking them on and orchestrating them, rearranging certain parts. Just like Hans Zimmer, who has various collaborators and bases his vision on instinct and the sacred! So in the orchestral version, you can see the work we’ve accomplished together for film scores, games, TV series, etc… A whole range of artistic worlds are possible! Then I hired musicians for the electric versions, giving them my instructions on placement and other details – or not – and they followed the music, adding and composing their own parts on top! *Far From Home*, then *Beauty in Darkness*, followed by the upcoming *Ocean of Light*, *Tears of Africa*, *3049*, *Halloween Ghosts*, *Love Letters*, *A dragon at the top of the sacred mountain*, *From the Other side of the mirrors*, *The black cat in the magic street*, *The Pale Blue PhoEnix*, etc… Dozens of projects in mind!
This will always be the case from *Far From Home* onwards, which allows me to express myself fully and to create works that reflect who I am in every respect, enhanced by the orchestrations and the musicians – whether they are involved or not – because the evolution of my art is vast and can open up vast universes and dimensions of the soul. Epic, radio-style, purely instrumental compositions that will blend various genres – contemporary or otherwise – depending entirely on the stories I write, which may also be purchased for films (screenplays)! From *Far From Home* onwards, there will always be an original and an orchestral version (as a bonus or additional Album)!
- The album is built like chapters in a single story, ending on a short, delicate piano piece. Was that narrative structure planned from the start, or did it take shape as the songs came together?
Yes, quite right – it’s not a concept album in the strict sense of the term, with songs that follow on from one another without a break, but rather a concept album with chapters that make the character question things and take him on a journey; he eventually realises the horror of certain aspects of society and the dead ends in certain areas, and ultimately commits the irreparable because he knows that another path and spiritual awakening exist! A reflection on life, death, suffering, but also on beauty both here on earth and beyond! In this sense, *Ocean of Light* will be a sort of heavenly ascent towards the Heavens, with compositions that are mainly radio-friendly (with a few exceptions) leading up to a 20-minute apocalyptic finale, where the Angels of Darkness and Light, united after the battle, will put a stop to human Machiavellianism and the diabolical system spawned by false, fallen angels and Judas who lead to the cliffs clinging to unwholesome interests! What will remain is pain and Love! A new age of souls and new universal languages!
- Thomas Kubler returns to handle orchestrations on this record after working on “Far From Home.” What does that collaboration look like in practice, and how much does he shape the final sound of a track?
As explained in one of the previous replies, Thomas does an absolutely masterful job and, to me, is one of the best orchestrators working today – and he’s only 27! He has a brilliant future ahead of him in this field! I entrust him with my keyboard compositions (strings, piano or various sounds, particularly for future projects); he takes the complete structure (songwriting) that I’ve created – including demos – and orchestrates them with a few re-arrangements to elevate the whole piece using the latest technology, whilst staying as true as possible to the intended atmosphere!
- Niklas Kvarforth and George Kollias both appear on some of the album’s heavier, more apocalyptic tracks. How did those collaborations come about, and what did each of them bring to the songs?
These choices came naturally as a way of staying rooted in the present day and the society in which we live! They’d already collaborated on *Far From Home* on one or two tracks, but I wanted to bring them back here to add that apocalyptic feel and sense of the end of an era, whilst remaining grounded in the current social malaise. Some very powerful messages are emerging, and they’ve written their own lyrics to add a personal touch alongside the ones I’ve written. I wanted the vocals to be placed very precisely, and Niklas was clever enough not to overdo it or shout as he does in his own projects! He managed to capture the very essence of the album without overdoing it, sometimes whispering the words to create an extra layer of emotional and otherworldly impact! Michael has done an absolutely remarkable job and is always at the cutting edge when it comes to rap and R&B vocals! He deserves far greater exposure and many more contracts ! We’ll certainly be collaborating on a number of shows in the near future, amongst other things! There may well be opportunities for further collaborations, including on various side projects where we’ll join forces!
- Michael Herrington Onetwenty’s rap and R&B contribution stands out as a genre departure. What made that the right fit for this particular album?
As explained earlier, it embodies the evolution of society in a certain sense, featuring rap and R&B vocals, amongst others, but integrated here into a broader, more emotional concept! These styles of music, much like Linkin Park’s, when well-integrated with fused elements, can be very enjoyable and catchy without falling into the narrow-mindedness of some people on either side of the spectrum! Not here to talk about barbecue or in an humoristic way ! It helps to attract audiences who might not necessarily have listened to this sort of music and to shift attitudes towards an even broader future! The same will hold true for the Enix Records label, which I’ll be setting up later to showcase all kinds of transcendent and emotional music, with an extra touch of soul across all genres and origins! This label will be affiliated with another established label so that we can build a fantastic team and push the boundaries together and reach new audiences!
⇒ Check out our review for “Beauty in Darkness” here.
- Much of the core lineup, including Xavier Boscher, Simon Johansson, Jean-Jacques Moréac, and Leo Margarit, carries over from “Far From Home.” How important is that continuity to how the band’s sound has developed?
So, yes, I do think it’s important to maintain consistency from album to album since *Far From Home*, and this will remain the case in the future, whatever form it takes! This time, Vikram Shankar isn’t on piano because I wanted to keep my own piano parts more personal, and these have been integrated into the orchestrations in the best possible way! The same will apply in the future too, apart from certain collaborations – such as with Calixte Fischer, an incredible young french pianist, on a more acoustic album I have in mind (similar to *Ashram* Band but more personal and with an other Vision) which will be called *Love Letters*, for example. Lots of ideas! It’s worth noting that Simon Johansson wasn’t on *Far From Home*! He was brought into the album’s line-up to add further variety to the sound and pave the way for future shows where we’ll have one guitarist handling the leads, solos and acoustic parts, and another for the rhythm parts. Everyone involved have made again a wonderful work. Thanks for them. I think it’s important, as far as possible, to maintain consistency, much like the Devin Townsend Band did in its day. But we’ll see how it all develops. And I need musicians and people who respect the work they’re involved in! Not the others – and I’m very selective in that regard!
- The album’s lyrical themes deal with apocalypse, transcendence, and the body giving way to light and spirit. Where did that concept come from, and how did it guide the writing?
The process is deeply spiritual and comes from beyond! Everything is guided by the Love from another sacred place, both here and beyond! Body and mind are one, and the soul is the vessel for all manner of emotions! Interdimensional journeys depending on the different souls incarnations through times ! Reminders of the deep and universal connections that are bound by other threads, whether invisible or not! The transcendence of a single moment and the delight of celestial caresses and pleasure that carry us towards nirvana and well-known spiritual realms! The source and reminder of our bonds, beyond the false ones that some try to create or interpret! A reminder of our origins and the fusion of our hearts, emotions and spiritual forms, both here and beyond! In Sanguine Veritas and Beyond, through life, death and far beyond. The storms of emotion that penetrate and haunt us!
- You said the tracks on the album would be presented in orchestral versions together with the originals. Why did you want to present the material in both forms?
The original version is ultimately the main one, but the orchestral version forms the basis of the work, bringing a different, transcendent approach to the whole and allowing the composition and songwriting to come through more clearly! In my view, this one complements the original! Unlike *Far From Home*, this time there are no additional sound effects grafted onto the story! I reserve that for true concept albums with a scenario, maintaining continuity wherever possible! Here you have a pure, distant, deep sound that takes you on a journey to different places – some accessible, some inaccessible, and some that only the soul can feel when remember definitely not under pression of the saboteurs/parasites/Apophis ! Anubis is watching a said and the weight of hearts and souls ! Unlike *Far From Home*, which featured an orchestral version released on three CDs that could be purchased separately from the original two-CD album, here in *Beauty in Darkness* you have the original on one CD and the orchestral version on another CD, which will only be available as a bonus in the digipak edition! But I strongly advise you to get this one so you can listen to whichever version suits your mood and preferences, as both are equally good in my opinion! This will always be the case for future albums under the Max Enix label!
- You spoke of a cyberpunk vibe live show with visuals and lighting. What do you envision for “Beauty in Darkness” on stage?
So yes, the shows will indeed have a distinctive, unique approach with different set-ups! There’ll be cyberpunk and goth elements in the styling to create a contemporary, futuristic feel that fits with my broader vision! You’ll sometimes see me with a fleeting light blue hue and matching clothing elements that will help create a unique universe! Although in everyday life I’ll keep my natural dark blonde hair tied back, with strands that will sometimes fall loose (letting it grow out to naturally evoke the poetry of *Ocean of Light* and counter the cold, shaved look of *Beauty in Darkness*)! I’m also working on my physical and mental condition to be ready! The first shows and tours are set to take place in England (UK) and, in certain venues – bars and clubs – will feature a unique, acoustic set-up where I’ll be singing solo or sometimes with a female singer (powerful, varied, emotional, sensitive, professional…) over orchestral arrangements and a few accompanying samples! Lights will come on, and the venue will sometimes be plunged into darkness when I’m not singing, to let the music speak for itself (Yin and Yang, Light and darkness, Creations, Cosmos…)! Then, there will sometimes be a video screen or projector showing striking images of the world’s beauty, the horror and Beyond ! This set-up will be replicated with the electrical elements in larger venues, and sometimes session musicians will join me for the bigger shows or festivals! The entire *Beauty in Darkness* album will be performed, and occasionally a few tracks from *Far From Home* or even *Ocean of Light* tracks will be played exclusively! Purely instrumental and orchestral interludes may also feature! There are plenty of possibilities with this innovative vision!
- Looking ahead, you talked about a number of future projects in the pipeline. How does “Beauty in Darkness” fit into that longer-term vision for your work?
I think *Beauty in Darkness* is a sort of exorcism of the thoughts of the moment, the pervasive stress and the anxiety caused by the sentinels in the Matrix, as well as a scathing critique of a society turned upside down – the system in which we live! Just as with a film role, I had to incorporate this feeling into my everyday life and bear the weight of this condition – a burden that many people will be able to relate to! ‘Ocean of Light’ will be a source of solace and wonder, hope after the descent, deep and indestructible Love connected to the divine and the sacred, steering clear of the false labyrinths where one gets lost. Natural evolution! And the next pieces in this vein will be lighter or more intense depending on the emotions of the moment, but always there to convey messages and push the boundaries towards the transcendence of a moment—here and beyond! The echo of our souls in unison, connected to another dimension of the soul where we feel completely in tune, without frills or false paths! Emotions that make us feel alive and immortal together!
- Thank you for taking the time to speak with us. “Beauty in Darkness” is a dense, ambitious record, and it’s clear Max Enix is still building out a larger world around this material. Stream “Beauty in Darkness” and keep an eye on Enix’s socials for upcoming news.
Thank you so much for everything! Anyone wishing to collaborate with me in general, or for film projects (in various roles), who would like me to feature as a guest vocalist on one of their albums, to perform at certain shows, or who would like me to write songs or compose music for them (Bands, Artists, films, TV series, games, etc.), amongst other things, can contact me here: maxenixmaxenix@pm.me! Thank you for your time and support! See you soon! The Future is here & Now! Max Enix
