We met up with Fernando Ribeiro from Moonspell to talk about his new album, poetry, concerts in Poland and the role of vampires in popular culture.
Photos by Romana Makówka
What do you think is the place like of gothic metal and gothic aesthetics in modern metal music?
FR: Personally, I still believe in the reasons that led us to spark a small revolution in our music in the early 90s and to strengthen the ranks of the gothic scene. I believe that gothic music and gothic aesthetics bring meaning, emotion, beauty and elegance to metal. So I think metal has been hugely successful thanks to the blending of different styles, and gothic has brought a certain new dimension to metal. But I believe that gothic definitely brings out the poetry, elegance, beauty and darkness in metal, and I think that for a band like Moonspell, it was an offer we couldn’t refuse.
Tell me about your upcoming album, „Far From God”. I am, curious to know how you came to explore the themes of vampires and love?
FR: It’s an old aesthetic for Moonspell. I got a bit bored with it at one point; the theme started to feel repetitive on the music scene, and we always want to evolve as a band. I’ve always wanted to move forward with Moonspell, also because, in my opinion, films and books about vampires and vampirism have, over the years, lost their quality and vision. Pop culture has simply transformed one of the most interesting and human characters in literature since the days of Bram Stoker. That kind of killed my enthusiasm. It was something that no longer interested me, because I discovered that these literary villains in cinema are the most interesting to discuss, as they are usually men, like everything else in this world. There are women too, of course, but unfortunately they always remain in the shadows in popular culture, which is very wrong. But there are also many very good things; Anne Rice, for example, is a very good vampire writer. I have always felt that the true human condition, full of conflict, love, pain and death, can be found in these typical characters, mainly from European literature. So Dracula, Vlad, or whatever you want to call him, or Nosferatu, were simply going about their business, looking after their countries, their cities, their affairs, just like Doctor Faustus and so on, until something happened, something dramatic, something tragic. In Dracula’s case, it was the murder of his wife. Yes. You know, the theft of his joy, the frenzy, the theft of his reason for living, whilst in Faust it was the dying city, as well as his love for Gretchen. I found that really inspiring, but for many years it didn’t mean much to me, until I finally sat down and watched Robert Eggers’ 2024 film Nosferatu and thought: “Wow, this is what I was talking about.” One thing led to another and I immediately started thinking about writing, let’s say, new songs, not just about vampires, but about my own world. I think it’s about the vampire character’s place. I hope we’ve done it justice, because it’s not that simple. There’s a bit of death in it. I put a bit of thought into it, but it’s very difficult to always live up to those expectations. It’s very dangerous for a metal or gothic band to sing about these topics without quickly descending into something ridiculous or absurd, you know?
What was your favourite moment whilst working on this album?
FR: Obviously, there’s the studio part, the part with the demo recordings, and the part where we write the songs. When I’m alone in the room with Pedro and Ricardo, writing lyrics, I stop them, I stop everything. I just throw out a line. I want to sing it right now. And they’re working on something complicated, and I just barge in and interrupt them. I think these are very rich moments, and I believe they are the most special ones. For me, the best thing about every album we’ve recorded was the moment when I had the finished mix and could listen to it in peace and quiet for an hour, doing nothing else, not looking at my phone, not dealing with family matters. And there were such special moments. “Far From God” was a slightly different album for me. A truly special moment was when we got together and, after much doubt and many existential questions, we said: “Let’s make a new album and let it be truly gothic and truly dark.” We recorded the vocals, and we love love and death, and we like those powerful guitars and everything that makes up “Far From God”. For me, that was the decisive moment when we plucked up the courage to go back into the studio.
Excellent, and what’s your favourite track on the album, and why?
FR: Things have changed a bit. Of course, I loved „Far From God”. That’s why that track was chosen as the first single. I think it’s a beautiful song that, in a way, captures the essence of this album. But it’s also a very misleading track, because there are many other songs on the album that are very different from it. So at the moment I’m torn between “Our Freedom to Fall”, which is a heavier track, not for that reason, but because it really took me by surprise. I didn’t think it would turn out so great after recording, and it’s really gothic metal. You know, I’ll explain it better, because it has something of Moonspell or a darker Paradise Lost about it, but it also has elements of death metal. But I think my actual favourite is a track that will be really special to me. It’s “The Great Wolf in the Sky”. I think it’s one of the best tracks we’ve ever written. It has a bit of everything that lies at the heart of who we are. It’s also dedicated to a friend and fan who, sadly, lost his life when we stopped on our way out of the studio. So we dedicated this track to him and his family. It’s as if I were returning to the theme of the wolf, trying to avoid all the clichés, all the platitudes, and seeing the wolf as the people of the Nordic countries saw him, in a sense, but in my own way. In Latin or Southern Europe, as a protective figure, something like the cosmos, something like a father. Let’s go. It’s leading us. So this will be a very special song for me. And I really love it. I’m not being modest, but I really like how it turned out.
I see you are wearing a T-shirt featuring Charles Baudelaire and „Les Fleurs du Mal” – could you tell us about the influence of his poetry on your music?
FR: This is one of the books I keep by my bedside. I am a bit obsessed with books. I currently have over 4,000 of them. I simply collect them. I have more books than records, and I’m quite happy with that. I’m active on the literary scene in Portugal. I’ve published three collections of poetry and two novels, and I’m currently working on a third. I also attend lots of workshops with writers, although I’m not a professional writer. It’s just a hobby for me. But there are three or four books that have been with me since my teenage years. One of them is Les Fleurs du Mal. I have it in Russian, Spanish and Portuguese, in various editions. You know, I don’t even have enough money to buy books forever, but I have the first edition of Edgar Allan Poe’s short stories, translated into French. It’s one of my most treasured possessions. It’s a very special book and a gift for my wife. I’m thinking about it in the shopping centre. It’s a gift that brings constant joy, like a Bible of poetry, because it contains everything. It’s dark poetry, romantic poetry, I suppose, invented by the bold left; to be honest, it has to appeal to melancholy, boredom, cats, you know, evil characters, Satan, Lucifer, but also love, frustration, pain. And I think it’s a kind of poetic compendium of everything a person goes through. I think both left-wingers wrote very honestly. They weren’t just trying to survive financially through their books. They wrote, if I may say so, to read, to get something off their chest, which in my opinion is the best thing an author can have. And all these stories show, you know, his significance in French literature, but also worldwide, which makes him, in my opinion, the most talented poet. There are far fewer of them among American poets. There are also Portuguese poets. But I think he’s simply my number one, let’s put it that way. And I love everything about him and his collections. They are timeless masterpieces.
Tell me about the cover designed by Eliran Kantor, a figure well known to metal fans.
FR: It really catches the eye. No doubt about it. You know, I didn’t even have the music for this album yet. I wrote to Eliran because I admire his work and I have loads of albums that I haven’t even listened to properly – you know, there are some tracks I don’t know, and I don’t know if I like them, simply because his artwork is on the cover. I first wrote to him in 2023. So I just wanted to book him in, as I know how much he’s in demand. I wasn’t sure what to do with the music or the cover art back then, so I kept sending him stuff. I told him I wanted something concrete first. I wanted something that could be framed in a museum gallery, and that people would stop and feel moved by it. So we had many conversations and exchanged loads of emails, right up until the deadline was approaching. I was a bit worried, as he’s a very busy man and I didn’t want to rush him. Of course, you don’t rush an artist, so he simply sent me a sketch, without any colour, just a black-and-white sketch of what was to be the cover of „Far From God”. And I absolutely loved it. It was a complete surprise, and that’s exactly why it was perfect. He told me that, and I had to agree. I won’t put a cross on the cover. Eliran is also a Moonspell fan, and after listening to our demo, he told me that this album – and I completely agree – is about alienation. He wanted to create something that holds immense power in our culture, namely a kiss or the promise of a kiss, because they don’t actually kiss. He said: “Well, you don’t know whether this woman is luring the man to the guillotine to have him executed, or whether she’s kissing him goodbye because she loves him.” And I don’t know. Neither does he. And no one will ever know. I think that’s what makes art. It’s also that mystery. So I think the cover is amazing, so amazing that I told him: “Well, I don’t want to put any Moonspell logo or ‘Far From Gods’ on it.” And of course we had to do it. He was the one who put the logo in its place. I just don’t want a big logo to ruin this piece of art. And our LP release from our own shop has no logo or name on the cover, so that people can fully appreciate the art. It’s our surprise for the fans.
What part of the album promotion are you most looking forward to? What do you most want to share with your fans?
FR: The album you’ve already had a taste of. . We played two new tracks, “Far from God” and “Across Your Heart”, at the Wave-Gotik-Treffen festival, and it was simply magical. I mean, we were really nervous before performing them, because they weren’t quite ready yet. “Far from God” was released the day before. The gig took place in Leipzig, Germany, and the single was due to be released straight after, but only a few days later. It was a huge success, though. Of course, there’s still plenty of music to discover, or ‘Far from God’. We never like just releasing two singles and then having nothing else to show. There are plenty of songs to come, and the full album will be released in July. I think it will be quite a surprise, because it’s also a very diverse album, not just “Far from God” and “Across Your Heart” in versions 2, 3 and 4. So I wanted to present a new show live. I think the time has come to invest more in Moonspell, in our ideas and our originality. So in a sense we’re putting this together to take it on tour on 27 March. Obviously we can’t take the whole production with us; that’s logistically impossible. But we intend to build a new stage presence and new stage costumes for Moonspell, where the cross will be the dominant element. Many people think you’re born-again Christians. I said: “Well, since when is the cross not a symbol of our culture? Even if it’s inverted, the Catholic cross is Catholic. The inverted cross used by all black metal bands. That is the cross of St Peter. He was crucified upside down because he did not deserve to be crucified in an upright position, as Christ was. So when people write to me saying the Pope is a Satanist because he has an inverted cross. No, the Pope is the direct representative of St Peter. That’s why he has an inverted cross. Of course it’s the symbol of St Peter, not the symbol of Satan, you fools”. But needless to say, I think it’s going to be a really great concert. We’re still looking for the right bands. We’re not rushing it. We didn’t rush the album. We didn’t rush the tour. You know, we’re not 21 anymore, so we want to win too. We don’t have a manager. We don’t want someone shouting in our ears. I have to do this. You have to produce, you have to make money for us. We have to record an album within two years and then go back on tour. It’s great to be able to say ‘No’. That’s why we remain an independent band. I’ve just started working with Pedro and our lighting guys on this project, the new stage design. The concert isn’t for Moonspell. The concert is for the fans. It’s on stage that we show what we give in return for the support we receive from them. It’s a unique place where the band comes face to face with its audience. There’s no ‘why’, there are no tricks. It’s just us and… them. That’s why live performances have always been incredibly important to Moonspell – to us. It’s also great that we’ve been able to pick a few tracks from our back catalogue, perhaps from the album “Darkness and Hope”, which we haven’t played in ages, or maybe from “Sin/Pecado” or “Extinct ”. Of course, “Alma Mater” and “Vampiria” won’t be missing. There’ll also be “Opium” – or rather “Full Moon Madness”. That’s the very heart of our show. But I also think it would be too simplistic to view us solely through the prism of our biggest hits. If you go to a band’s concert and always want to hear only the most famous songs, in a way that robs the band of some of its power and character. I’m responsible for all of Moonspell’s setlists, so if anyone’s to blame, it’s me. Sometimes people say they respect that. And I reply that it’s probably the best compliment we could hear. Playing lesser-known tracks, songs like “The Butterfly FX”, means a lot to us. After all, a concert is a story. A story about the band’s life. And life never follows a straight line. Sometimes things appear and disappear. It’s the same with our songs and our concert setlists.
What is your „ultimate” goal as an artist, poet and musician?
FR: Well, I’ve always made the most of the opportunities my surroundings have offered me, and I’ve been able to adjust my expectations accordingly. Especially here in Portugal, in my dealings with older people and with those I call true artists — people blessed with natural talent. Unlike them, I wasn’t born with any particular gift. I’ve always said that since I can’t do one specific thing exceptionally well, I’ve learnt to do a bit of everything. That’s just how I operate. I really do believe that. I have no particular talent for either singing or writing. If I had to pinpoint my strongest point, it would probably be writing or performing on stage. However, I had to create my own persona along the way. I remember the first time I went on stage and spontaneously spread my arms. It happened naturally and has stayed with me to this day. It’s an ongoing process. Of course, there are also more practical goals: more tours, performing alongside other bands, playing in countries we haven’t visited yet, as well as returning to places we’ve already been to. I want to continue living this dream and remember what a huge privilege it is to be part of a Portuguese band that can hold its own on the world stage despite fierce competition from countries with a much stronger and more established rock and metal tradition. But as a person and an artist, what I want most is to live in harmony with my own decisions. It’s something you learn with age. I think “Far from God” has brought me a lot of inner peace and reignited my enthusiasm for the band. The last few years have been difficult for me, and many people know that. However, when we do what we truly love, we don’t need grand ambitions. It’s enough just to keep it alive and in good shape. That is my goal — not so much to conquer new territories, but to preserve what we’ve already managed to build. Perhaps it doesn’t sound as ambitious as the dreams of young musicians and young bands who want to conquer the world. Of course, I used to have dreams too, but I was never the sort of person obsessed with a vision of global conquest. I can’t say I never thought about it at all, because that wouldn’t be true. I understand that passion, I understand the struggle, and I also understand the pain that comes with it. For practical reasons, I’m already thinking about the next album. I’d like to start working on new material as soon as possible to preserve and make the most of the positive energy generated by “Far from God”. I hope we won’t delay this for too long. I’m looking for the right moods and inspiration, though I’ve already found some of them. I’m also hunting for rare books in second-hand bookshops and bookshops, as I’d like to use some of them as a starting point for our next concept album, just as we did with “1755”. It’s not an easy task. These books aren’t particularly expensive, but they can be extremely rare. I’m also working on a new novel in Portuguese. I’d like to translate some of my poems into English, and finally unpack the books in my new flat, arrange them on the shelves and start revisiting them. I want everything to be back in its place. So I don’t have any wild ambitions. The chance to continue with Moonspell and do what I’ve been doing for the past thirty-three years remains my ultimate goal.
Do you have any special memories of concerts in Poland?
FR: I have some truly special memories of my concerts in Poland, and I’m very proud of what Poland has become over the years. I first visited in 1995. I knew the country was going through a difficult period — the effects of the Soviet era were still visible, you could sense a certain harshness in everyday life, poverty was rife, and there were many other problems. But that didn’t stop us. We entered Poland in small steps. In 1995, we arrived in a van and went on stage. If I remember correctly, it was some sort of metal festival. We’d already played gigs in Germany, France, Portugal and Spain. We went on stage and suddenly felt like rock stars. I thought: “What on earth is going on here?”. People were shouting our names and wouldn’t let us leave the stage. Kreator were due to play after us, and we were actually embarrassed that the crowd kept demanding Moonspell. I’ve never forgotten that. I always tell my friends that, in my opinion, Poland was one of the first countries to really go mad for Moonspell. Regardless of which project I was performing with there, I experienced some of the most memorable moments of my entire career in Poland. There were difficult moments too — I remember a concert with Daemonarch during which I threw up on stage. Poland therefore holds a special place in my personal history. For me, it is a place of redemption, growth and extraordinary experiences. Today, when I listen to podcasts or audiobooks about the economy, finance and the future of Europe, of course Germany or France are often mentioned. Increasingly, however, Poland is also mentioned — as an example of economic success and a country that is developing at an impressive pace. I also know from my own experience, having met Poles all over the world, especially in the United States, that you are an incredibly hard-working and enterprising nation. I am truly full of admiration for this. I also sometimes work as a lecturer at art schools and at events organised by public institutions. I always say the same thing there as I do in interviews: you have to recognise the opportunities your environment offers and know how to make the most of them. I get the impression that this is exactly what Poland has done. You’ve come a really long way. As for the concerts, the magic has remained exactly the same. The last time we played in Poland, the war in Ukraine was already underway. We were travelling through that part of Europe and I remember it being one of the best gigs of the whole tour. We even played “Magdalene” and a few other less obvious tracks. We felt we could have played literally anything, because the audience was completely absorbed by the performance. Now we’re returning to Castle Party. We love this festival because it attracts a unique audience and we’ve always wanted to play there. It’s undoubtedly one of the gigs we’re most looking forward to this summer. Returning to Poland is always something special for us.
Thank you very much for the interview, Fernando, and I’m looking forward to the album’s release.
FR: Thank you very much.
