Despite producing some of the past three decades’ finest works in death metal and traditional heavy metal, multi-instrumentalist and songwriter Daniel Corchado remains an enigmatic, if not perennially underrated, figure in heavy metal. The mastermind behind The Chasm and Acerus relocated to the United States after cutting his teeth as the bassist and vocalist of Mexican death metal pioneers Cenotaph, with whom he released 1992’s foundational The Gloomy Reflection of Our Hidden Sorrows.
Six short years and an international relocation later, he turned down John McEntee’s offer to permanently join Incantation, with whom he wrote and recorded 1998’s Diabolical Conquest. Focusing on his own projects became his sole priority as The Chasm began making waves internationally. For those not already familiar, I’d recommend cutting your teeth with 2000’s Procession to the Infraworld. You’re welcome.
An integral part of North American death metal from very close to its impetus, Corchado continues to consistently unleash unusual, engaging heavy metal that refuses to conform and challenges genre expectations. His most recent offering is Acerus’ best album yet, The Caliginous Serenade. While many recent traditional metal outfits favor straight-forward recreations of greater works from decades past, Acerus does anything but. Formed in 2012 during a quiet period for The Chasm, the band have slowly evolved into its current form, bolstered by drummer Mario Hernandez, lead guitarist Ed Escamilla, and vocalist Esteban Julian Pena.
Featuring unusual, big vocals and aggressive incessant leads and solos that weave amidst an engaging blend of U.S. power metal and speed metal that could easily pass for death metal if only the tuning changed, The Caliginous Serenade is a riff-laden monster. Closing tracks “Prevail,” “Fourth Pentacle,” and title track “The Caliginous Serenade” are its apex. Casual listening is not the purpose here: This is heavy metal to get utterly lost within. Every single listen opens new dimensions.
To learn more, I caught up with Corchado, who agreed to grant us an exclusive interview for the release. He revealed many secrets of steel. Plus, we’re streaming the whole album in full before it releases this Friday.
-Sarah Kitteringham
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First up, hey Daniel. I appreciate you interviewing with me today, as I know you rarely grant interviews. Indeed, you don’t seem to bother to conform to the same cycles many commercial metal artists get caught up in–interviews, single premieres, “content creation” (whatever that means), touring comprehensively.
You don’t quite do any of those things, and yet you’re quite a revered figure within both underground death metal circles and underground heavy metal circles for your work in the Chasm and Acerus. Can you speak to why you’ve opted to forgo these standard practices? What does it mean to be an artist who can create without succumbing to commercial pressures? Do you think it impacts your creation and your ability to evolve and experiment as an artist? Can you speak to how that freedom manifests within your bands Chasm, Acerus, and your atmospheric synthwave project Magnum Itiner Interius?
I want to express my gratitude for your time doing this interview, and I truly appreciate your support for Acerus. It’s been quite some time since I engaged in discussions about my musical projects, and your insightful questions brought back some valuable reflections.
As you rightly pointed out, I’ve distanced myself from the “standard practices” of music promotion. This shift has been a gradual process, influenced not only by a loss of interest in traditional promotional methods but also by my evolving perspective on the dynamics within the metal community.
The burnout from years of following the conventional cycle of promotion was a pivotal moment for me. The routine of interviews, advertisements, and the relentless effort to spread the word about my music began to feel like a futile exercise. It’s a valid approach to present and promote music, particularly for record labels looking to sell records. However, I found myself uninterested in the commercial aspects, especially considering The Chasm’s identity as an underground death metal band.
The seeming contradiction of selling music rather than offering it for free arises from my primary identity as a musician rather than a business or label owner. Over time, my mindset has evolved to embrace the ideology of letting the music speak for itself. I believe in the authenticity and power of the music we create, and I’ve chosen to prioritize that over conforming to conventional promotional practices.
I’ve genuinely lost interest in sharing my opinions and perspectives with the public. It’s not a role I feel inclined to play, and it doesn’t captivate my interest. Rather than considering myself an artist, I view myself as a simple musician. If I release my music for others to hear, that, for me, is the only recognition I seek. This might not be the most business-savvy approach, but personal satisfaction takes precedence over monetary gain. That’s why I maintain a regular, well-paid job—My music is a deeply personal endeavor.
While it’s gratifying to have people pay for my creations, it has never been my primary goal. My perspective has evolved over time, influenced by aging, maturing, and growing , somewhat disheartened by the developments in the metal scene. Change is inevitable, and I accept that, but sometimes I feel very disconnected from the current state of the music circle. Nevertheless, I’m at peace with my decisions, continually moving forward.
Looking to the future, I remain grateful and fortunate to continue creating the music I love. Despite my age, I’m still learning and eagerly anticipating what comes next, whether music-related or not. I no longer feel the need for interviews or attention-seeking tactics to validate my presence in the metal scene—Those days are behind me. Embracing isolation has become crucial and welcome, contributing to healthier and more focused musical outputs.
I’m not seeking validation through social media metrics like likes, views, or comments. In my view, such pursuits are a waste of time, especially at my age. Social media, by its nature, implies a level of social engagement, which I don’t resonate with. I engage in playing, composing, and creating to fulfill my inner existence and maintain a sharp and healthy mind. While I do share announcements related to releases, I aim to keep it minimal and devoid of unnecessary hype.
I believe I did achieve “Artistic freedom” a while ago, mainly by the time I decided to release everything by myself, independently, and with a full DIY commitment. It gave me this liberty to express myself without external constraints, opinions, or pressure from others. I can explore and experiment with different ideas, sounds, moods, and visions without “fear” of reprisal or backlash from “label people” or just external opinions. I know this implies the self determination to make creative decisions and take risks, but it allows me to push my boundaries and try to innovate. Granted, this principle is mostly applied towards The Chasm and MII, but obviously it reflects a lot on Acerus (that’s why I call it unorthodox molten heavy metal).
The root of your artistic work is heavy metal, but the Chasm are rooted in the death metal lineage, while Acerus are traditional heavy metal. For me, the unifying theme between both projects is hooks and dynamics. Both bands are focused on building atmosphere, and rather than relying on consistent repetition, you just churn out riff after riff after riff after riff. Can you speak to how your writing and creation process differs between your two projects? What commonalities and threads would you say unite your heavy metal bands, and what areas would you say are intentionally and exclusively exorcized in each band?
I’m truly pleased that you’ve highlighted the atmospheric aspect of my music, as I believe it’s the essence of creating a unique auditory experience. My deep passion and connection to the authentic, old-school metal formed a crucial pillar in shaping my musical style, evident in both bands. In essence, my goal is straightforward—to craft meaningful songs that transport me beyond the mundane, on small journeys through the inner and outer realms.
The inspiration for my approach lies in the way I felt when I first discovered this music many years ago. Back then, the most vital factor for me was the sense of meaning and exploration within the songs. While I acknowledge the technical aspect’s importance, I firmly believe that technique alone, devoid of genuine feeling, aura, and spirit, amounts to nothing in my ears.
Regrettably, the sense of introspection and exploration in music seems to be fading.
Consequently, I create what I want to hear and feel, perpetually in search of those elusive notes and moods. Additionally, though not a deliberate choice, I find myself naturally gravitating against the current trends. This inclination is particularly evident in the latest albums from both The Chasm and Acerus, where even the production reflects an intentional departure from the nowadays recordings, to sound distinct, possessing personality and character.
My unique personal style, for better or worse, has evolved into a form entirely my own. I take comfort in this journey of exploration within my compositions, a craft that unfolded over years without me fully realizing it, and then this realization brings a profound personal satisfaction. While The Chasm leans towards introspection, darkness, and oppression, Acerus embodies pure heavy metal riffing—straightforward, yet powerful with speed, heaviness, and a profound passion for the music that shaped my upbringing. It’s an unapologetic embrace of the classic elements, devoid of groundbreaking innovations, but rich in the essence of what I love.
Let’s speak more specifically about Acerus and The Caliginous Serenade. Caliginous is defined as “dark, misty, or night,”, but it also evokes potential references to Emperor Caligula, the cruel and sexually perverse Roman emperor. Indeed, I poured over your liner notes and throughout your lyrics and saw illustrations of night creatures engaging in Faustian delights; lyrically and conceptually, it seems to be much the same. Can you speak to the overarching concept of the band itself, the theme of The Caliginous Serenade, and your penchant for seemingly dark erotic/romanticism?
From the inception of this project, now evolved into a band, my lyrical inspiration has consistently drawn from the pervasive sense of doom and hopelessness that has been a constant presence in my life. It seems that no matter what, there’s always something crude, raw, unexpected, and ugly lurking on the horizon. This profound feeling of perdition and loss, forged through life’s experiences, continues to fuel my creative endeavors.
As we embark on this new chapter, I find myself delving even deeper into the same thematic vein. In my perspective, we are now witnessing, more than ever, the beginning of the end for humanity—a triad of mental, physical, and spiritual demise. It marks the unraveling of the world as we know it, a loss of salvation that, while sounding dramatic and perhaps overreaching, is the lens through which I perceive this fantasy in my head.
Despite its fantastical nature, this perspective has remained a steadfast source of inspiration for me over the years. Indeed, I draw motivation from dark, old Renaissance/dark times era imagery and art. Exploring the minds of those true artists who were inspired to paint and draw such exceptional pieces is a captivating experience. The sense of dark dread and atmospheric occult horror that permeates these works, though nearly extinct in contemporary times, continues to ignite a spark of influence and inspiration within me. I’ve been fortunate to witness several authentic pieces in various museums, thanks in large part to my wife’s passion for ancient art. Seeing the genuine pieces of true art face-to-face is an incredible and humbling experience, contributing to moments of meaningful inspiration.
The Caliginous Serenade is more than just a collection of songs; it’s a dedication to all those, including myself, who harbor the belief that we are descending down the path of grand perdition and ultimate demise. It encapsulates the essence of our collective apprehension and foreboding, offering a musical reflection of the challenging realities that surround us.
Once again, your guitar work in The Caliginous Serenade is stunning. You have a long history of playing guitar in Cenotaph, Incantation, the Chasm, and several other projects. Your ability to play leads is simply hard to match: for example, the galloping leads in “Prevail” that act as a counterpoint to the vocal lines simply blew me away. You seem to approach your instrument more dynamically than most, favoring both solos and leads, and almost using it as a replacement for backing vocals, which has really amplified the power of this record. Can you speak to your relationship with the guitar, how you approached songwriting on this record, and what it means to be a self-professed music snob? Who would you say are your biggest influences as a guitarist, and what exercises do you engage in to continuously improve as a musician?
Thank you sincerely for your thoughtful comments; they mean a great deal to me. I identify much with the venerable Heavy Load hymn “The guitar is my sword.”
From the outset of my journey into the realm of playing guitar, my primary focus and ultimate goal have centered around creating memorable music, grounded in powerful riffs. This encapsulates what I mean by letting the music do the talking. Describing the process of how these creations come to be is challenging, as it’s a state of mind that eludes easy explanation. I prefer to let listeners draw their own conclusions as they immerse themselves in the music.
Two crucial factors contributed significantly to my approach. Firstly, being self-taught has been a defining element of my musical journey. I started by playing it by ear and absorbing as much as possible to what I was discovering/hearing; I never placed excessive emphasis on technique, skills, notes, or arpeggios. While this may have limited my abilities in some aspects, it fostered self-sufficiency. I endeavored to bring forth what resided in my mind with my limited knowledge, drawing from my own unique musical training and “theory,” honed through years of practice. Additionally, my deep appreciation and immersion in diverse music genres, particularly old German/European electronic, soundtracks, and obscure progressive bands, have greatly influenced my musical sensibilities. I believe this is what you might have referred to as being a “music snob.”
Now, turning to the lead guitar work on this album (and 2020’s The Tertiary Rite), I must credit Edward Escamilla with it, a remarkably talented guitarist from the area. Recognizing his top-notch technical proficiency and being significantly younger than me, I entrusted him with the task. Similar to the collaboration with Esteban, I provided Edward with the song demos, outlined my thoughts on where I needed his touch, and allowed him the freedom to express himself. When he returned with his takes, we were collectively satisfied and astounded by how seamlessly his style integrated with the songs. His contribution brought a new layer of class and atmospheric, true metal feeling to the album. No doubt being able to have the participation of people with talent and will to do things have made the Acerus way stronger and more coherent.
To be honest, I’ve found myself gradually losing interest in the routine of guitar practice. My playing reached a plateau long ago, and I stopped the pursuit of actively “becoming better.” While this might sound somewhat on the mediocre side, it paradoxically strengthens my resolve to delve deeper into my limited arsenal. I rather exercise the mind in order to come up with new ideas and explorations….
And as for those maestros who became my inspiration and influence back in the day, I can mention icons like Iommi, Blackmore, Malmsteen, Moore, Smith/Murray, Downing/Tipton, Kasparek, Weikath/Hansen, Hoffman, Petrozza, Tom G., Piggy, Mike, Hanneman/King, Hetfield, Mustaine, plus a bunch more….
Your vocalist Esteban appears to have become an important collaborator for you. He writes lyrics and has sung on both this album and your 2020 album The Tertiary Rite. I reckon these two albums have exposed Acerus to a whole new audience, and Esteban’s contributions have certainly assisted with that—He’s a stunning, unusual, strong vocalist.
That said, there was a period in the 2010s that it appears that you’ve been favoring doing almost everything in music production yourself. You were the sole creator of Acerus’ 2016 The Clock of Mortality; additionally, it was you and drummer Antonio who solely created the previous two albums by the Chasm. What encouraged you to open up Acerus’ lineup once more? What does Esteban bring to the table that you are unable to deliver? Do you see him as a long-term contributor? Will there be any chance for people to see Acerus live with its current lineup?
The unique aspect of The Clock of Mortality is that it emerged as a solo project out of necessity. The lineup for the debut album disintegrated for various reasons, leaving me alone but determined to press on. At that point, rather than seeking to assemble a full band, I embraced the idea of going solo. The experience turned out to be immensely rewarding, and I have no regrets about the final results. However, I was fully aware of the inherent limitations, particularly in the vocal department.
In 2018, when The Chasm returned to the live arena, I envisioned incorporating Acerus to the stage too. This led to the formation of the first real band incarnation. We did a few shows with a different lineup that eventually fell apart, only with Mario on Drums still strong and being the longest-standing member. His performance revitalized the original vision for the band, emphasizing punch, power, and simplicity. By fate, Esteban joined just before we began recording The Tertiary Rite. His addition has been tremendous, infusing a unique style that brings a new layer and dimension to the songs. He plays a crucial role in shaping the sound of the band today.
With The Tertiary Rite, I provided Esteban with more guidance and input on how to approach and sing the songs. Although he had a significant amount of autonomy, it was his first time recording heavy metal, especially of this unorthodox kind. For The Caliginous Serenade, I simply gave him the demos and let him practice independently, without offering input or opinions. He took the songs to a different level, showcasing his talent and class. I trusted him to bring his own fire to the project, and he delivered with excellence. He also played a significant role in crafting the lyrics, offering valuable assistance at a time when my lyrical creativity was waning. This was one of the main reasons I temporarily stepped away from singing with The Chasm.
(I’ve) got to mention that the recording of this new album was done in the most DIY manner possible; no studio was used at all in any of the parts. Each one of us recorded independently at our own places, a very raw and crude way, but since there was no budget at all, that was the only option. I think it is very noticeable on the final sound, but we are very satisfied with the final outcome and proud of what we accomplished.
We have a record presentation show scheduled for early February here in Chicago, sharing the stage with High Spirits and Bear Mace. Beyond that, the future is uncertain. We’re essentially “open for business.” If there’s interest from promoters and fans in having us play live in their cities, we’re more than willing to explore those opportunities. Our desire is to present this music in its rawest and liveliest form. However, the decision ultimately lies with the fans and people—Their interest and response will determine whether they want to see Acerus live or not. We won’t be pushing for it; instead, we’ll let the organic interest and demand guide our live performances.
I’ve read some of the interviews you’ve done in the early 2000s, and the main takeaway that I’ve seen from them is that you’ve been robustly jerked around by labels. I know you’ve heard from numerous people over the years that your bands should be huge, and yet, that’s been a sticking point for the Chasm and for Acerus. Fast forward to today, and you’ve now got your own label with Luxinframundis Productions, and you’re working with Brandon’s emerging label Nameless Grave Records. What made you decide to work with Nameless Grave, and do you see any future with either band being signed to a bigger label?
Certainly, labels, much like many other things, held a significant meaning in the past. (I’m 52, “back in the day….”) but reflecting on it, I realize that labels, in essence, are simply businesses, and the majority really don’t have much of a clue of what it means to compose and create honest ,tue music, but anyway, throughout the years, I’ve had both positive and negative experiences with them, and looking back, I have no complaints. Each experience was part of the overall journey and learning process.
However, as I’ve grown and evolved, I’ve come to view being signed to a label, especially concerning The Chasm, as somewhat pointless in the current landscape. With Acerus, I maintain a slightly more open-minded approach and am willing to engage with the industry to some extent. The primary reason I sought Brandon’s help for this release is because he has been a staunch believer in Acerus’ music since the beginning. His consistent support and honest perspective in my music have been invaluable, and I appreciate and respect that.
Another factor influencing my decision is that I’ve become somewhat, once again, burned out with my own label business, while Nameless Grave is growing and doing an excellent job in their domain, so their help and support is more than welcomed. I don’t see a big label in our future, nor is it a goal for us. We don’t fit the mold of what is traditionally considered “big label material,” and I’m perfectly fine with that. The authenticity and connection we have with our music and audience are more valuable than conforming to industry standards.
Trends in heavy metal come and go, but both of the genres that you are currently playing with the Chasm and Acerus are currently experiencing surges in popularity: old-school death metal (OSDM) and traditional heavy metal. Has the NWOTHM (New Wave of True Heavy Metal) trend and leap in interest in Acerus encouraged you or anyone in Acerus to take the band more seriously?
The same question applies to The Chasm and the huge leap in interest this past decade in OSDM, which I’d argue isn’t particularly relevant to The Chasm, particularly with your more recent shift into a more progressive and transcendental space. However, the question still applies. How does—or doesn’t—surging interest in the art you’re already making impact your creative process?
Any kind of music I create, I take 100% seriously, yet, it is not a priority in my life anymore… To be honest, I find myself somewhat detached from the current happenings in the music scene. I tend to stick to my classics, revisiting albums from bands that held significant meaning for me back in the day. Interestingly, there are periods—sometimes extending for weeks or even months—where I don’t engage with music at all. Occasionally, I’ll listen to non-metal genres, showcasing the diversity of my tastes. Whatever unfolds in the actual, broader music landscape out there, it doesn’t exert any direct influence at all on my creative process; the isolation remains a powerful force.
Over the years, I’ve been fortunate to carve out my own personal style and, to some extent, a unique sound. Whether for better or worse, it has become an integral part of how I craft songs. I’ve long recognized that The Chasm, Acerus, and MII maintain a low-key presence compared to today’s standards, and I’m content with that. This subtlety doesn’t warrant complaints; rather, I appreciate the fortune of having a dedicated yet small audience that supports and listens to my creations.
At this juncture, I’m not actively seeking more followers, fans, or listeners. My focus lies in the music’s inherent quality, trusting that if it resonates, people will take notice, and the notes will find the right listener. It’s not a goal I’m trying to force or change; instead, I aim to remain creatively engaged and continue exploring new avenues to express the thoughts within my mind. The pursuit is ongoing, a continual search for answers.
In parallel, my interests have shifted over time, reflecting an evolution in my creative journey. This shift is a natural part of the exploration and adaptation inherent in my personal way of expression.
Thank you once again for the opportunity to discuss these aspects of my journey.
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The Caliginous Serenade releases January 26th via Lux Inframundis and Nameless Grave.
