AVANT-GARDE METAL

 The idea of Implant Soul first appeared in 2012. At that point it was little more than a thought, something vague that stayed dormant in the background for years. The project itself only began to take shape in 2019, after a conversation with Nader Sadek.

 What interested me in Nader’s work was the way he brought different musicians together, constantly changing the people involved while keeping the core of the music intact. It made me think about my own ideas differently. Later that year I met Niklas Kvarforth of Shining, and our conversations pushed things further. Somewhere along the way, the idea stopped being just an idea and started becoming something real.

 The concept of multiple voices existing inside one piece of music had been in my mind for a long time. One of the earliest examples that stayed with me was Tony Iommi’s first solo album, “Iommi”. Different musicians came into the same world, each leaving their own unique mark on it. I wanted to explore something similar, but in my own way.

 Implant Soul is not simply a name. For me, it represents a conflict between opposites: the living and the artificial, matter and ether, agony and desire, flesh and spirit, what is hidden and what is exposed. It is about the space between things that should belong together and things that perhaps never should.

 The music is written and composed by guitarist Ivan Lozovsky. Dmitry Kim brings the drums and production into the physical world, while Tata Early provides the low-frequency foundation that holds everything together.

 The first person to give Implant Soul a voice was Eugene S. Robinson. He understood what the project was trying to become and gave those early pieces a human presence. His voice became part of the identity of Implant Soul from the very beginning.

 This project was never meant to be a traditional band. It was always more like a meeting point. Different people, different backgrounds, different voices entering the same space for a moment.

 And then leaving something behind.