There is so much that now falls under the metal umbrella that would have been laughed out of clubs decades ago, and Gost is here for it. The dark synthwave phenom has wooed the metal community with a blend of shadowy electronic music with elements of black metal and gothic metal a la Type O Negative. Finding new footing from outlets across the sphere, Gost (aka James Lollar) spoke with Noizze about how his music bridges the divide between two worlds, and how the toxic environment of political discourse reminds him of the Salem witch trials, all while describing the method behind the writhing and oh so macabre danceability of his new record, Rites of Love and Reverence.
Related: GosT – Rites of Love and Reverence | Album Review
In meshing two worlds together, what have been your revelations as to how the communities of metal and electronic music are similar? Do you feel there’s a kinship there with how both communities express themselves individually and in large groups, and that’s a bridge that can cover the gap most would think is there between the two?
Lollar: “I’m not really included in the electronic community. I’m really much more accepted by the metal community. I don’t really get to see that side of things much. I’ve tried to get in with the more post punk and coldwave shit but it doesn’t really happen. Metal people like my music so that’s sort of where I’ve stayed.”
What are the textures of darkness and alternative culture that you think synthwave captures so well opposed to metal and rock? What did you find when you combined black metal with synth? Do you feel there’s another side to the soul of those who love alternative culture and dark things/horror that your kind of music captures, or scratches a different itch? Do they both tap into something primal?
Lollar: “I think it boils down to horror movies. My music has a lot of elements from 80s horror movies and metal and alternative people love horror. Maybe it taps into a nostalgic part of them.”
What are some other unexpected sources of inspiration that you pull from that people may not expect?
Lollar: “I love late 90s early 2000s teen movies, stuff like The Craft and Clueless. I pull a lot of inspiration from stuff like that for sure.”
There is an aggression in the percussion you use, and the sounds you craft. How did you first discover synth based music can be aggressive and dark? Do you feel it gives you a wider palette to play with and a way to combine limitless elements?
Lollar: “I’ve always had a conflicting taste of loving the heavier and darker, but also loving pop music. Darkness always finds its way into my music, but adding the pop elements is more work for me, actually. The new album is very stream of consciousness. I just sort of let things happen the way they were going to for it. The older records, I had a much more focused idea of what I wanted to do, but here I just let it flow creatively and I didn’t feel like I had to map it out as much. But I’m definitely in a place now where I feel I can create more freely. It keeps me so inspired. I dread writing at first, but when I start, it all goes away.”
Because electronic tracks are often more hypnotic and use a constant repetitive backbeat and textures, what are the different challenges you face to craft a track that is really going to standout or capture attention, or are there a different set of goals entirely?
Lollar: “I’m always trying to figure out ways to keep structure interesting. It’s hard to get out of the verse chorus verse bridge structure in modern music, so I’m not sure if I did it consciously, but I always try to keep it a little weird. It was both conscious and unconscious.”
The last record really combined black metal and synth, and had a completely different palette and production. What were the themes, colors, and ideas you were approaching rites of love and reverence with as opposed to Valediction? There’s a real depth, warmth, and thickness to this album.
Lollar: “I was writing all the lyrics during the pandemic while everything was politically insane, which it still is. It’s more of a social commentary about how we’re interacting with each other on social media and shit now. With witchcraft, they were condemning people to death for nothing, and we’re doing the same thing now. We’re crucifying people over things they said on Instagram ten years ago, and I think we need to give each other space to grow. It’s me trying to navigate through modern times. I’ve been totally confused and befuddled by everyone’s reaction to a virus like it’s this whole big conspiracy. So the lyrics are playfully witchcraft based, but touch on my emotions about that time. For the sound, I just had footage of 80s bands like Depeche Mode playing, and I wanted that arena sized sound. I wrote it like it was meant to be performed on a large stage. It’s largely a pop album in my opinion as far as the hooks go.”
How have you noticed yourself growing as a vocalist over time?
Lollar: “It’s probably the most difficult thing I’ve ever tried to do as a musician. It doesn’t really come naturally to me. Over the past couple records I was finding where my voice sits naturally. On Valediction there’s a lot of higher vocals and I think I have more of a baritone, so I really was exploring where I’m most comfortable. I think I found it on the new record. It sounds more relaxed.”
Have you noticed any changes in recognition in terms of large bands taking electronic artists on tour? Are festivals taking notice?
Lollar: “For sure. Before the pandemic, I was out with The Black Dahlia Murder, and they asked me to go, and I was on the Mayhem tour. I hope things pick back up so I get to tour with a lot more acts like that. Bands definitely do take notice of acts like mine. Some fans on those tours would say stuff like “This isn’t metal,” but I’ve gotten a lot of great feedback from fans discovering my music who really enjoy it. But in terms of a dream tour. I would love to tour with AFI. That would be a dream for me.”
The last track is an acoustic track. What was the process of creating that like for you and did you feel you were really stepping out of your comfort zone?
Lollar: “I’ve never written a song like ‘Burning Thyme’ before, so it feels like I put myself out there a little bit on that one. It was frustrating to create. I hadn’t played guitar in years so I was relearning to string chords together. Halfway through I was running out of ideas, so that’s why it becomes a dance track at that point, and it works in a weird way. But I took the chance and it’s funny to watch people’s response to it. They either love it or hate it.”