The Dutch blackened death metal band God Dethroned recently released their latest album The Judas Paradox. We caught up with vocalist/guitarist Henri Sattler about the album, the promotion process, his burgeoning production career and other subjects.
Chad Bowar: How did your newest member, drummer Frank Schilperoort, come to join the band a few years back?
Henri Sattler: Our previous drummer decided to become a session drummer, leaving us with the issue that we had to hire him as a session drummer or find a permanent replacement, which we did. And since I knew Frank from previous bands, like Dictated for example, it was an easy choice to choose him as the new drummer for a God Dethroned. So actually it was a very smooth transition.
Was there anything unique about the songwriting process of The Judas Paradox compared to previous albums?
Yes, there was. The Judas Paradox was written and composed in its entirety by everybody separately. So we basically did not get together to rehearse songs or new ideas for the new album. Everybody composed at the comfort of their own home and we sent ideas to each other by my email and we worked on the songs via email. So we didn’t have to do anything together. We didn’t have to travel to get this album done. Everybody just worked from home.
What will be your strongest memory of the recording of the album?
I guess that will be the fact that I recorded vocals in my own house with my own studio equipment, with a piece of equipment I bought especially for my vocals, which made it sound really beautiful. Working on it in peace, no rush, no time limit. Just made sure that I could sing to the best of my abilities in a very nice and calm process.
What was the biggest challenge in its creation?
Basically it was writing the first song. I guess everybody was waiting for a starting point. The band was waiting for me to come up with the first song to determine the direction of the album. Of course we had done Asmodeus two years prior, but the guys didn’t take that into account when writing the new album. So they were waiting for me. I came up with the song “Hubris Anorexia” and when that song was finished they were like, “Ah, that’s the direction you want to go. Okay.” So that was the biggest challenge to come up with the first song.
Are there any disadvantages to self-producing?
The biggest challenge, if you will, is the fact that there’s no producer telling you to hurry up. There’s no objective, fifth person who can look at the band and say, I would change this, or maybe perhaps try that. Or I’m going to make sure that the album is finished within three weeks. The disadvantage of self-producing is the fact that you have to have a lot of discipline to finish the album in time. Luckily enough, we did have a lot of discipline.
How has the band’s sound evolved from Illuminati?
We have a better production this time. It was my first big production and I managed to separate all the frequencies in a way that all the details are audible and still managed to make it sound brutal enough and aggressive enough. I got the result I envisioned for so many years. This time I didn’t have to translate my ideas into something that an engineer could work with, because I could just do everything myself.
What led you to Judas as a lyrical focus and title subject of the album?
It was basically by accident. I ran into this idea that he might be innocent. And how would that be if he was truly innocent? So I started doing research on that topic and I found that many people on this planet are thinking about this, wondering about this. And then I found out there are two contradicting stories in the Bible or actually two different versions of the story in the Bible. And one goes that Jesus could look into the future. Therefore, knew what was going to happen, that he would be killed and return as king of the world and that Judas was the chosen one to fulfill this plan. So the song is written through the eyes of Judas, which gives it a completely different focal point and a different insight into what happened back in the day.
What other lyrical topics do you cover on this one?
We have a song about the secrets in the Vatican called “Rat Kingdom.” We have a song about the all-seeing eye called “The Eye of Providence.” We have two songs which are based on the subjects of tarot cards; one card is death and the song is called “Healing Death,” where I mixed the meaning of tarot card death with crossing the river Styx. The other song is called “The Hanged Man,” off of the tarot card the hanged man. Then we have a war song which is called “War Machine.” We have a song called “Broken Bloodlines,” which is a fictional text about royal family dealing with inbreeding.
Then we have “Hubris Anorexia,” which is about the feeling of confinement which I suffered myself during the pandemic, where you were basically forced to stay at home unless you would get vaccinated in order to be able to move around freely again and to play shows, etc. And many people got sick by these vaccinations including me and I would never do it again. We have a song called “The Kashmir Princess,” which is half conspiracy theory, half fictional story. Just listen to it and find out that conspiracy theories are quite ridiculous. And I think that concludes all the songs on the album. Of course, the re-recorded version of “Asmodeus,” which is the oldest demon known to mankind. That’s it.
How was the video shoot for “The Judas Paradox”?
It was quite a funny experience because we re-enacted The Last Supper. And on one hand, we tried to do it as seriously as possible, and on the other hand, we tried to make it a big mess as possible too. So it was quite funny. And well, you can see in the video itself how it came across.
Do you enjoy filming videos, or are they a necessary evil for promotion?
I must admit that filming the videos is not very high in my priority list when it comes down to liking it. So I don’t necessarily like it, but it isn’t necessarily an evil, and when the end result is cool, then it’s fine, then you can enjoy it as well and look back on it with a good feeling. And working with the guy that we worked with, the JayBee film company from the Netherlands, that guy was so professional. He was very easy to work with, it was very nice to work with him, and that helps a lot.
Speaking of promotion, when you started there was a lot more mystique around new albums. These days, everything is documented on social media. Do you prefer when there was more mystery, or do you like the transparency and interaction of modern album promotion?
I like the times with more mystery. On the other hand, I know everybody’s curious, everybody wants to know. I wanted to know back in the day, when everything was a complete mystery. So it’s nice to see something, it’s nice to see some photos and shit, but you know, I just don’t like it that much. I don’t want people to look at my fingers when I’m playing guitar. So I tend to go to the mystery thing, and not the modern way, although I understand people want to see it. People are curious.
You have a European tour coming up. Where haven’t you played live that you’d still like to get to?
Yes, we have a European tour coming up, starting September 26 until October 28, with Batushka and Vltimas. It will be across all of Europe. Looking forward to it very much. We haven’t played Australia and New Zealand yet, and I really would like to play there. Also China, Southeast Asia. Those are the places we haven’t played before, and I would really like to go there.
What’s the coolest site/attraction you’ve been able to visit while on tour?
There have been a lot. Niagara Falls, the Eiffel Tower, the Eiffel Bridge in Porto, Portugal. New York, Central Park, L.A., Sunset Boulevard, etc. I don’t know what the coolest was, but I liked them all. I liked to see all those places, and I love to go there again, like the Rainbow Bar, for example.
What are some of your non-musical interests and hobbies?
I like taking long walks through the fields and woods here where I live.
What’s in your current heavy musical rotation?
Bleed From Within mainly at the moment. It’s because i’m mixing music in that direction currently, so I use it a study material.
Anything else you’d like to mention or promote?
Yes. If anybody’s interested in getting their album or demo mixed/produced by me, please get in touch. I’ll do a free test mix.
(interview published September 28, 2024)
Watch God Dethroned – “The Judas Paradox” Video
