Subscribe to our mailing list

* indicates required
Email Format


(... miss a question? E-Mail us via the Contact Form!)

No! Our guitarist and bassist are both fans of Arnold Schoenberg, but we don't use twelve-tone rows or any of what is usually associated with that. Nevertheless, we don't think it matters that much. These techniques doesn't define a sound or a style.

Indeed we do! On our debut "Mind Cemeteries", the forms were often simple (like the song "Mind Cemeteries": ABCABCDE).

"Thoughts From A Stone", due it's length, is a bit more complicated: There, we have a circling (and inside the circles, alternating) forms. Like, the middle (12:05*) and the end (20:14) are exactely the same: "Crushed, Marred, Scarred, Nothing"!

The main theme appears three times, every times shorter: first at 2:15, then 11:37 and finally at 20:04. All parts on TFAS are interconnected (in pairs, groups), sometimes almost like a fractal.

No, it's all faithfully composed. All notes on CCV's releases are played willfully, there's no amount of improvisation or guesswork included. Still, during composition and recording, we sometimes like to spontaneously change things.

No, we just use our own, unusual harmonies!
Our guitarist's "classical" compositions are often microtonal - but in CCV we use standard equal temperament. All instruments are intonated and setup specifically for our "dissonant tuning".

Does playing a drumkit softly turn metal automatically into jazz? ;)

No, we create "riffs out of riffs" (or "riffs out of motifs")! Usually the first riff of a song introduces a few motifs, which is then the base material for all other riffs of the song. It's a form of "developing variation", for which a famous example is Beethoven's 5th symhpony, where the initial "da da da daaaa" is developed throughout.

Though for CCV, it can be different elements of a motif: The notes and/or the rhythm and/or just the contour. An example from our recent release, Thoughts From A Stone: The characteristic quintuplet rhythm of the toms and bass guitar in the main theme appears verbatim in many of riffs throughout the whole piece (compare 2:15*, 8:05 and then 16:13).

Only if you call "quiet music from acoustic instruments like violin and bass recorder" ambient. For us it's just playing quiet/soft instead of loud/powerful.

No, it's all acoustic. Everything that is not vocals, guitars, bass or drums are either violin, bass recorder and/or violoncello (XelmYa Trio).

No, it's always just 2 guitars, one bass, one drumkit and multiple singers. Just raw. For example, if you hear two or more voices, it's always two or more singers. If you think you hear two violins, it's one violin playing on two strings. If you think you hear two recorders, it's Sylvia singing into the recorder while playing. Etc. ...

It's a bit of an ironic expression, it actually means that our rhythms are so "anti", yet they "groove" again.

Perhaps 21/16!

Or in the words of our drummer: If you are phrasing music practically and intentionally, there are no strange time signatures. If you were to attribute music to 3 dimensional shapes, it could be argued that a time signature is no more elaborate than a 2 dimensional polygonal shape. How the adjacent edges bend or kink is how the shape comes full circle, from it's starting point to it's end point.

Imagine 4/4 being a perfect square, and 5/4 being a pentagon. Each edge is of equal length and you can probably picture exactly how these conventional shapes look. This might equate musically to a "4 to the floor" quarter note feel (applicable to the 5/4 as well, just adding a simple extra beat).

Now, imagine that in either model, only two or perhaps no edges are of equal length. You begin to stretch the picture perfect models of the polygon and inevitably the music sounds more elastic and "Stretchy". We can achieve this with complex subdivisions.

If one 4/4 bar is comprised of only eighth notes; we begin to expect the pulse and tune into it and tap our feet. However, imagine a trapezoid. This 4/4 bar is comprised of one triplet, two 16th note phrases, and one septuplet. Now things begin to get very interesting in terms of shifting feel, and we haven't even left a 4/4 time signature!

No, we rarely use open strings and never power chords. But we use palm mutings using various kinds of chords. However, we do different things in different songs, so there's the exception of the song "All Bitter Endings", where the huge palm mutings are the lowest three open strings (thus the chord C F# G).


Yes, it is truly one song, or a "one-movement symphony" if you like. The "tracks" refer to lyrical chapters, not musical chapters, "tracks", "parts" or "songs". The "tracks" were meant as a convenience: to be able to skip to a certain passage, but not have to. Shuffle is deadly here. The Vinyl has no cue gaps at all.

Yes, it was Ronnie James Dio during his time with Judas Priest.