Throughout its history, New York City has become painted by its contradictions: majesty and chaos, violence and opulence, poverty and opportunity. Its landscape fertile with remarkable architecture, containing an ocean of diverse art, and home to a diversity of spiritualities, New York City is a breathtaking world in of itself. It’s a place not easily defined.
“The theme of every Imperial Triumphant record is New York City—that’s the fuel,” says Zachary Ezrin, guitarist/vocalist of Imperial Triumphant in a press release for Goldstar, the band’s newest album—out this month via Century Media. For the past decade, the New York City avant-garde metal outfit has explored the complex history of the great metropolitan, speaking to its beautiful highs, horrifying lows, and the magic that sifts through it.
Much like the astonishing diversity of culture that represents the city, Imperial Triumphant’s music is a tour de force of style and technicality. To call Imperial Triumphant simply a metal band would be doing a disservice to their versatility, for throughout their career, they have continuously pushed themselves to redefine what a metal band can be. Imperial Triumphant’s metal is infused with jazz and classical artistry, imbued with global inspiration well beyond their metropolis. And even beyond style, the band’s compositions are overwhelming with technical finesse that would make the likes of Gorguts and Meshuggah proud.
Goldstar contains a rich ecosystem of cosmic atmosphere and ruthless shredding, to captivating blends of jazz, classical and grindcore, as well as North African Gnawa music. It’s a stunning achievement of musical alchemy.
I had the opportunity to ask Ezrin about his passion for New York City and Goldstar. We discussed the band’s approach to writing about the city, the inspirations that shape Imperial Triumphant’s music, what he thinks about the current state of metal, and more.
Treble: Many artists are inspired to write about home or places dear to them, but with Imperial Triumphant, there’s been a continuous drive to pay tribute to New York City. Besides living in NYC, what is it about the city that inspires such drive in you to explore it through the band?
Zachary Ezrin: I think there’s a lot of dark and compelling history and characters within the lore of New York City. The well of inspiration has yet to dry up.
Treble: Would you say that, for Imperial Triumphant, there’s a goal to represent NYC as a character?
ZE: I enjoy hearing this. I don’t think we view the city as a character but that’s an interesting response to our music.
Treble: What’s an aspect of NYC you find that’s rarely talked about, and does Imperial Triumphant try to explore such?
ZE: Yankees aside, despite being the “greatest city on earth,” our sports teams rarely win any championships. I think that’s disappointing. But maybe we should explore this topic more. Why are the Knicks and the Jets so tragic?
Treble: When it comes to writing about NYC, do you strive to write from an objective point of view, or is it very much you writing from your lived experience? Or a combination of both?
ZE: It is certainly both. Depending on the subject matter. Overall, however, we strive to keep things objective. Think of us as golden bards sitting on skyscrapers and strumming songs of a dying metropolis.
Treble: What’s a piece of NYC occult-related history you find fascinating?
ZE: I mean there’s a lot of occult things hidden in plain sight and a lot hidden inside the penthouses of the skyscrapers. But I’d say my favorite is the obelisk named Cleopatra’s Needle. It’s an actual Egyptian obelisk just right in the middle of Central Park. I visit it often.
Treble: In the press release for Goldstar, you talk about the array of subjects that influence the band’s music. When you think of something like architecture or cinema, how do those influences work their way into the music? Is it jamming together while discussing a subject, and suddenly, a sound or riff emerges that paints a picture/idea?
ZE: Think the reverse. Watching a film or gazing upon a skyscraper and then the idea comes to us.
Treble: Speaking of movies, you mention that “Hotel Sphinx” has nods to Stanley Kubrick. I would love to hear what it is about Kubrick’s cinema that inspires you so much. Bonus question: what’s your favorite Kubrick movie?
ZE: My favorite Kubrick movie is “A Clockwork Orange.” I think what I love so much about his films are the creative and iconic usage of music. When you hear [Richard] Strauss’ “Thus Spoke Zarathustra” you think 2001 and when you hear [Henry] Purcell’s “Funeral March for Queen Mary” you think Clockwork Orange. I also love the juxtaposition that he creates with this music. It’s often beautiful music over violent imagery or the vice versa. There’s a similar juxtaposition you can definitely find in Imperial Triumphant.
Treble: You talk about creating a more “palpable” listening experience with Goldstar, and considering the artistic restrictions you placed on yourselves while making the album, what is a lesson you’ve taken from the experience and think you’ll apply to future records? Do you see Imperial Triumphant existing in a space between 4-minute anthemic songs and 9-minute-long tracks of unraveling technical mayhem?
ZE: The lesson is that we can be ourselves, be Imperial Triumphant, while still writing in shorter rock formats as opposed to our perverted sonata allegro formats that we usually prefer. I don’t consider Goldstar to be an easy listen but it’s definitely more forgiving and I think it makes for a great “first album” for anyone looking to get into Imperial Triumphant’s music.
Treble: Over the past decade alone, metal has been going through fascinating evolutions. While Imperial Triumphant strive to push the boundaries of avant-garde music, what are your thoughts on metal’s growth and current state?
ZE: I think metal has to grow. It’s a relatively young genre and needs to keep growing. Or it risks becoming institutionalized and a parody of itself. Once you can study metal performance in school, I don’t think we will see a lot of new developments. I love what’s coming out these days. There’s a good handful of hard-working artists pushing themselves.
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