Signum Draconis – guitarist/composer Oscar Grace

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Guitarist/composer Oscar Grace – Signum Draconis

Interviewed by: Anders Sandvall

Thanks to Roberto at Rockshots Records for setting up the interview.
Thanks to Rockshots Records for the promo pictures of the band.

The Italian band Signum Draconis features guitarist/composer Oscar Grace. In 2010 he got the idea to make a metal opera, Inferno, from The Divine Comedy written by Dante Alighieri in English. There are two more books with the name of Purgatory and Paradise. It took him a few years to write then find a band. On the album there are a lot of guest singers such as Mark Boals, Renato Carrozzo, Ben Jackson, and Luca Paolini amongst others appear. Also on the album we have the Bratislava Symphony Orchestra. The album was recorded in Domination Studio and Grace worked with Simone Mularoni as a co-producer on the album. This is a massive album that turned out to be a double cd which feels just like a real metal opera with a start and an end not unlike, for example, Avantasia. I had the pleasure to talk to Oscar about the making of the album, as well as other things. If you like Avanstasia, Ayeron, and Timo Tolkki’s Avalon, Signum Draconis might be something for you. The album is called THE DIVINE COMEDY: INFERNO and is one of the best debut albums I’ve heard for a long time. Check it out!


Hi Oscar, thanks for taking the time making this interview today, how are you doing and how are the status regarding the pandemic in Italy?

Hi, thank you so much to all the staff and readers of Metal-Rules.com, it’s a pleasure and an honor for Signum Draconis to attend this interview.

I’m fine thanks! … seems that the pandemic is passing to the background due to the sad situation in Ukraine. I deeply regret the delicate world situation and wishing with all my heart that this madness ended as soon as possible.

You’re a songwriter and guitarist, have you been involved in other acts prior to Signum Draconis?

Of course! I started playing in bands in my teens and since then I haven’t stopped playing and creating different projects. There was a project in 2007 that received a little attention but nothing remarkable. Let’s say that all those years, projects and experiences are just a part of my learning process.

How long have you played guitar for, and what made you chose that instrument?

I couldn’t tell you a precise age when I started playing the guitar… I remember that at my parents’ house there was always a guitar, it was a gift that my grandfather gave to my mother, she played in her youth and many years later I started playing with the same guitar. I loved playing it even without knowing how! Simply making its strings sound it was already something magical for me. In my childhood I dreamed of being a soccer player, an astronaut or things like that ahaha but… a guitar player? I never would have imagined.

Who inspires you as guitarist?

That depends, if we only refer to other guitarists, Maestro Andrés Segovia is an institution for me but my two absolute favorites are Maestro PACO DE LUCÍA, whom I consider the best guitarist of all time, and Maestro Vicente Amigo; I feel a deep admiration for flamenco style and especially to my friend Amós Lora.

On the other hand, I’m fascinated by the works of Django Reinhardt, Allan Holdsworth, John McLaughlin, Pat Metheny, Biréli Lagrène, Tommy Emmanuel and many others.

But if we talk about electric guitar, I have always felt a predilection for neoclassical guitarists, the list is very long so I will tell you just one.

It so happened that I had been playing classical guitar for a few years and also listening to Metal music and I kept thinking that it would be a wonderful thing to play classical music on electric guitar and precisely for that time I heard Yngwie J. Malmsteen for the first time… It was something like a BOOM! You know? Thanks to him I started to take the electric guitar much more seriously.

Do you identify the most as a songwriter or guitarist?

I love that you ask me this question, perhaps what I’m going to answer sounds strange to you but I still don’t consider myself a composer or a guitarist… I consider myself rather a humble apprentice of Music and a lover of Art in general.

Probably if you had asked me this question a few years ago, I identified myself more as a guitarist, since I have spent half of my life playing the guitar, but after trying to put music to The Divine Comedy, it can be said that now horizons more akin to composition don’t cease to attract my attention.

I read that you sat one day in your car back in 2010 when it suddenly came to you to make music of the Divine Comedy by Dante Alighieri.. could you tell us a bit more how the inspiration came to you?

I wish I knew! I mean how the inspiration came to me. It all happened twelve years ago, I was going through something like complete chaos at all levels and that caused my life to become a ship drifting aimlessly. One day, saturated and tired I got in the car and drove out of the city, looking for a place where I could be alone. I stopped in a lonely place and there looking at the sky in silence, trying only to concentrate on my own breathing to try not to think about anything and suddenly it was something like a sensation running through my entire body with a simple and clear message:

– Put music to the Divine Comedy! -.

Maybe seems crazy but for me that at that time was like finally having a direction so I returned home and as soon as I arrived I took a copy of the Divine Comedy and began to work from that moment.

Alighieri wrote three books in his Inferno trilogy and you also went to visit his home in Florence, what did you do there and why was it important to you to see his home?

I visited Dante’s house at Florence twice, searching all the possible information, trying to imagine what Dante would be like living there.

My first visit was very exciting and it really helped me a lot as I found just what I was looking for. On my second visit and in the middle of the musical composition process I arrived at his house again, but this time with a mix of despair, anger and frustration due to the difficulty of the work that I had in hand. When no one was seeing me I sat down on the stairs of his house in silence and dejected and it only occurred to me to ask for Dante himself to help me.

Is it correct that it took you two years to write the material to the album?

Yeah that’s correct! Extracting the first sketches of the lyrics to get a rough idea of the way that the music should take later took me two years.

I know you wrote the lyrics together with Frederick Pollock, was it give the books justice?

It was really complex, really exhausting work, hours and hours of hard work; first alone and then fortunately I had the support of my good friend Frederick Pollock whose invaluable help was of vital importance. I don’t know if we did justice to the books but our intention was precisely that, to provide a tribute to Dante Alighieri that was as worthy as possible.

I read they you said Dante’s Inferno perfectly suits the musical style of heavy metal, why do you think it is so?

We are talking about a work in which the author had the courage to denounce or condemn to hell kings, popes, great lords or authorities of the time… etc etc. I think that same spirit of “rebellion” against power established or against tyranny in favor of Liberty or Justice matches with the spirit of Heavy Metal. Some passages of The Divine Comedy are really hard… in my opinion, Dante was a kind of medieval metalhead.

Beyond this it could be said that if we talk about Hell, this for Heavy Metal is like playing at home.

You also wrote music to a symphonic orchestra that was going to be featured on the album, how long did that take you?

Writing the music for band and orchestra took me four years and then another year for the arrangements. I did it all in the old-fashioned way, you know? …pen, ink, paper and sheet music and I composed only after midnight.

You really put into some hard work on the album, how long did it take you to overall get everything together?

Since I started working until the album was finally released eleven years passed but it’s true that I never worked in a hurry, I worked at my own pace, my intention at all times was to always give my best, trying or fighting to achieve the greatest artistic excellence that was within the reach of my capabilities and my possibilities.

 

Members and symphonic orchestra

The first ones to join forces with you on this ride was drummer Micieli and singer Morelli, are you and the guys old friends?

Yes, Max and me have known each other for twenty years, we had always worked separately, that is, he had his projects, his bands and I had mine, but this time and for this album I invited him to be part of it and he loved the idea. On the other hand, Francesco and me have known each other for fifteen years and he and me had already worked together on other projects and other recordings.

Later on joined keyboard player Martignano and bass player Antonelli, did you held auditions in order to find members?

No, we never did auditions; nowadays with the Internet and social networks everything is much easier.

Was it hard to find the right people to join?

No, I don’t think it was difficult, it was a slow process but not difficult.

You worked together with Bratislava Symphony Orchestra, how come you chose to work with them?

We had several options on the table. The Bratislava Symphony Orchestra was the first one we contacted. They made a process as complex or delicate as the recording of an orchestra could be something wonderful and when we wanted to realize all the work was done.

According to the info sheet the director of the orchestra David Hernando Rico been a big help to you, what did he help you with?

Yes, a few days later after sending our request to the staff of the Bratislava Symphony Orchestra its director Maestro Mr. David Hernando Rico contacted me and well… imagine… none of us had worked never before with a full orchestra, just only the idea of doing it was very intimidating but thanks to the support of Maestro Hernando Rico and all the professionals team everything was a fantastic and unforgettable experience.

Where does the band name Signum Draconis come from and who came up with it?

It occurred to me. We spent several months considering possible names for the band; we had an incredible amount of names and after subjecting it to a hard trial we decided that Signum Draconis was the best option.

The name of Signum Draconis alludes to The Order of the Dragon, which was a medieval order of knights, nobles and princes, which committed its members to defend the Church and fight against all its enemies. Obviously our purposes differ from those of the ancient Order of the Dragon, our ideals are focused on protecting art, defending culture and supporting science, regardless of race, gender or creed.

Are there any bands that have inspired you musically in the work with the album?

Yes, of course! I consider myself a huge fan of Heavy Metal and all the bands I’ve heard in my life in one or another way have inspired or influenced me to make this album. I would like to make a list but we would be here a long time to be able to name all of them.

The album THE DIVINE COMEDY:INFERNO

The album is a concept piece with different guests singing the different characters, why did you chose to build the album around various vocalists and characters?

At first I didn’t even have in mind to compose for a full orchestra but I realized that if we wanted to pay a great tribute to Dante we shouldn’t do things halfway, after all we are talking about ‘The Divine Comedy’ which is not only the magnum opus of Italian literature but one of the highest peaks of universal literature, hence our efforts to bring everything to a top level including a full orchestra and the same thing happened with the different characters, it would be very poor not to give prominence to the most famous characters such as Virgil, Beatrice, Charon, etc etc

Was it easy to pick and choose who you wanted to sing on the album?

The truth is that it doesn’t seem fair to me to say that we chose them, we never did auditions, castings… or something like that, each and every one of them are true professionals, we knew from the first moment that they would do everything perfectly and that’s how it was, the proof is there, you just have to listen the album.

Could you tell us which singers that are singing on the album and are they part of any known acts?

Sure! I am going to start with an artist who needs no introduction Mark Boals who plays the character of ‘Virgil’, our beloved mezzo-soprano Chiara Manese as ‘Beattrice’, also our beloved soprano Ksenia Glonty as ‘Francesca’. As ‘Charon’ we have Ben Jackson guitarist of the legendary band Crimson Glory. Our producer Simone Mularoni from DGM who plays ‘Nimrod, The Titan’ and Oleg Smirnoff (Labyrinth, Eldritch…) as ‘Count Ugolino’. Andrea Ranfa (Vanexa) as ‘Brunetto Latini’. Then we have Frederick Pollock as ‘Ulysses,’ Luca Paolini as ‘Pluto,’ and Renato Carrozzo as the Storyteller and… well I don’t think I’m forgetting any of them.

Were there any singers you contacted that couldn’t make it?

I can tell you that at first we did have a person who in the end due to lack of time could not attend, but I apologize by discretion and respect I prefer not to say his name.

Both Pollock and producer/mixer Simone Mularoni participates on vocals, was it an easy decision to feature them as singers?

Actually neither Frederick Pollock nor Simone Mularoni sing on the album, they play different characters making different narrations. As I said before Mularoni plays ‘Nimrod, The Titan’ and Frederick Pollock who plays ‘Ulysses’.

Is it lead singer Max Morelli who is the main character?

Yeah! He is the one who plays the role of Dante himself.

Could you tell the readers a little bit about the background history to the album?

The Divine Comedy: Inferno album is a journey that will take you from Hell to Paradise passing through Purgatory.

On this first chapter the journey begins in a dark forest and goes into the infernal abysses to go sinking deeper and deeper into the depths of darkness until reaching the frozen heart of Hell in the center of the Earth.

Parts of the lyrics are sung in Italian, why?

The Divine Comedy is the magnum opus of Italian literature, I think it was fair to leave the most famous parts of the book in its original language. I also think that this improves the album even more culturally and artistically.

Is it necessary to listen to each song on the album to get a grip of the story or can you pluck out one song here and there and still understand the story?

Well, if you are looking to understand the story perfectly, I recommend that you read ‘The Divine Comedy’ in fact it’s one of our purposes to incite the curiosity of people about literature.

On the other hand, we put a lot of effort when composing the lyrics, if you listen to all the songs separately each one makes a unique sense on its own and if you listen to them one after one you have the whole story summarized and described as faithful as possible to the book.

What did fans think of the single/lyric video to “Gate Of Hell (Carnival Of Charon)” that came at the end of September last year? It’s got about 40 000 hits so far, congratulations.

Thank you so much. The truth is that it was a surprise for everyone, we didn’t expect to reach those numbers in our debut album and so it was an even greater joy.

The fans received it wonderfully and I want to take the opportunity to thank all of them for their support, both the fans and the journalists and all the magazines who are showing us their support. Thank you very much to all from the bottom of my heart!

Did the pandemic make it hard for you to promote the album?

The pandemic was one more obstacle of the many that we had to go through in these years of work and both my bandmates and myself are very proud of having overcome each and every one of the challenges that came our way.

Yes, it’s true that trying to promote an album internationally with a global pandemic is not ideal, we feel like chain. The Internet remains the only reasonable way to promote the album as much as possible.

The albums clocks in on 95 minutes and are divided on two CD’s was it your intention to make a long album?

The intention was to be as faithful as possible to the original story that Dante wrote regardless of the number of themes or the total running; I never worried if the album would be shorter or longer… in my opinion it’s the perfect total running. I think it’s more important to listen the music than to be timing the songs with the clock. It’s music not the final of the hundred meters.

How come there’s 12 songs on the first album and only 5 on the second one?

The distribution of the songs between the first and the second album is due to how the different chants from Dante’s Inferno have been divided.

On the second album there are some really long songs, what are the longest ones “Ten Moats Of Damnation (interlude: The Ulysses Chant” (11.31), “Cocytus (The Ice Terror)” (8.28) and the ending “Lucifer” (7.46) about?

Ok just let me tell you a curiosity about me… I don’t like to wear a watch ahaha.

Pollock are from the UK and you are from Italy, was it hard to not have English as the first language when you wrote together?

So!… I think… That we have a bit of confusion here.

Actually my good friend Frederick Pollock is from Scotland and about me you’re not very confused, after so many years living in Italy I feel almost Italian, besides I love Italy with all my heart but the truth is that I’m from Salamanca a small but beautiful city in the west of Spain.

Having clarified these points, I will add that Frederick Pollock speaks perfectly Spanish and I speak English so in this aspect there was no difficulty in working together.

I read the definition of the album as being a heavy metal opera, personally, I think it’s a symphonic/progressive/power/heavy metal opera, how would you like to describe the album?

I agree with you, reducing this album in a single style is perhaps unfair in my opinion…. For me it’s also a tribute to Heavy Metal and some of its styles, I love to fantasize about the idea that Signum Draconis can’t be locked into a single specific metal style.

I think there are similarities with Avantasia, Ayeron and Timo Tolkki’s Avalon, have you been inspired by any of those metal operas in any way?

The simple fact of being compared to those great bands that you just mentioned is already a compliment that we would never have imagined even in our wildest dreams, so I thank you very much.

My intention and that of my bandmates was always to give Signum Draconis an own style, I mean, that anyone who listens to us can immediately recognize our own sound.

On the other hand our intention was to further strengthen the ties between Heavy Metal and Classical Music, that the relationship between these two styles was as intimate as possible.

Contrary to the operas mentioned above I think your album is more a solid and real metal opera both music as well as lyricwise, what do you think?

Wow!… Well, thank you very much, it’s a great honor for Signum Draconis and of course also for me. Details like these are what gives true meaning to many years of work and sacrifice.

Thank you! Thank you so much!

Who did the cover art to the album and are you happy with it?

An artist from Indonesia called Eka ‘Pzychopart’ made the cover art and booklet and an artist from Brazil called Gustavo Sazes made the band logo. They both did amazing jobs.

Was the one who did it given free hands to create or did you have any opinion on what the cover should contain?

The logo, the cover and the entire booklet were made according to my requirements, hahaha. I admit that I was a little tyrant in this aspect but the reason that pushed me to be so strict was that after years working on this album I felt with the obligation and responsibility that everything turned out as perfect as possible.

I read some really raving reviews of the album, are you happy with the outcome of it and do you care about what critics have to say about your work?

It’s all been very unexpected… Who could have imagined such a positive worldwide reaction to our debut album? No way!… So, of course, I’m so happy!

No, I don’t mind critics talking about our work, they are doing their job just like we are doing ours.

Have you had any reactions from fans who bought the album?

Yeah! Sure! It’s so cool when they send messages or make positive comments about the album. We feel lucky for which we are very grateful. We always find great motivation in all that support that pushes us to improve and carry on.

Do you think fans of more “regular” metal can appreciate the album?

I don’t know… The only thing I’m sure of is that there will be people who like it and others who don’t.

Do you think that Mark Boals name is going to lure some of his fans to check out your album?

We have never wanted to take advantage of no one. Mark is a friend of mine and I respect and admire him so much and the same happens with the rest of the guest stars, our true intention was to put a finishing gold touch to the entire album by having guests like Boals, Jackson, Mularoni, Smirnoff etc etc but never taking advantage of them. We want our achievements to be the fruit of our work, that is, to crown the mountain on our own merits and not at the expense of others.

I’d have to say I’m really impressed with your work, the album contains some really strong songs, some great musicianship, and some excellent work by the vocalists, aren’t you afraid it’s going to be hard to follow up such an epic album?

Thank you very much, I’m glad to hear that, thank you!

Not at all, I’m not afraid it’s going to be difficult, since during these last years and as I was composing the album ‘Inferno’ I was also developing the sketches for both ‘Purgatory’ and ‘Paradise’ so that in this way the work in its whole will enjoy a stylistic balance.

Studio, production, and mix

Where was the album recorded and how was it to work with producer/sound technician Simone Mularoni?

The recordings were made in different studios and in different countries but our central studio was the Domination Studio in San Marino.

Making this album was like walking through a desert and working with Mularoni is like finding a magic lamp with a genie inside that grants your wishes ahaha. He’s a great guy whatever you ask of him he will always perfect it. He has no limits.

Where did the guests record their parts, I guess not everyone turned up in the studio?

No, as I said before, the recordings were made in different countries, Italy, USA, Israel, Spain, Slovakia… but as I said before, our “eye of the storm” was the Domination Studio.

When did the recordings of the album start and how long did the recording process take altogether?

The recordings if I remember correctly began in September 2017 and ended in 2018.

Actually, the different recordings were made in record time, for example, the recording of all the drums was done in just two days, the recording of the choir and the orchestra in just three days… But it’s true that when we finished recording an instrument we took a while before starting with the next one.

Where did the symphony orchestra record their part?

Oh! The Bratislava Symphony Orchestra makes several studios available. The recording of the orchestra for our album was done in Studio 2 of Rozhlas A Televízia Slovenska in Bratislava, Slovakia.

Was it hard to put all the elements together?

It wasn’t exactly simple but everything was so studied and planned that it wasn’t difficult to fit all the elements. Actually, what was most difficult was organizing dates, travels, recordings, etc… with so many people working… you know? You couldn’t fail, so the truth is that it was a good charge of responsibility.

You and Mularoni produced the album together, who took on the majority of the responsibility?

I don’t think I can give you an exact percent of how much responsibility each one took on, indeed, it would seem a bit unfair not to mention Filippo (our keyboardist) he also did his part in the production process.

What did the rest of the band think of having you as a producer?

Well, this first album was born from a project of mine, so it was fair that I was also the producer.

What’s your favorite thing with producing?

I think the chance of creating something new. In the past, I have produced other works but never as big as THE DIVINE COMEDY: INFERNO album. I think I’ve always been excited about doing things in a big way.

Mularoni also mixed/mastered the album, was any of the members part of those processes?

Mularoni and me worked on the mix of the album.

The mastering was completely done by Mularoni; we simply told him what we were looking for and he came up with an impeccable job.

Do you have any fun memories of the recordings to share with us?

Fun???… this album is a journey through Hell, dammit! There’s nothing fun about Hell!… Just kidding, ahaha… Yeah! There are a few funny moments, the first one that came to mind happened when we were finishing the recordings.

In the song ‘To the Edge of Stygian Lagoon’, there’s a narration that represents those condemned who drown on the Stygian. When we analyzed the first takes of this recording someone suggested: “Well, everything is ok, except for the voices of the damned… it doesn’t seem like people drowning”. So we decided to record this voices again but adding more theatricality. Before I realized I found myself in front of the micro recording the narration while Filippo tried to drown me so that my voice would simulate the voice of a person who is drowning. Meanwhile Filippo kept repeating: “We have to record one more take! It’s not perfect yet!… One more! One more…”. And meanwhile I remember Max watching the scene, trying to contain his laughter.

Even today I’m not sure if he actually tried to kill me.

Label

Was it easy to find a record label?

It was not difficult, since even before finishing the recording of the album we already had several proposals on the table.

Did you send out demos to various labels or how did the search go?

We sent a few demos to some labels but we did it just for curiosity, we didn’t want to waste time waiting for possible responses. Also, as I say, we already had several label offers, therefore, more than a search on our part it can be said that they found us.

Were there many labels that showed interest in signing the band?

Well, we would have to take a look at the band’s mail to know, once we signed with Rockshots Records we didn’t worry again about all that matter.

How come you inked a deal with Rockshots Records?

From the first moment they showed a faithful interest in us. They guaranteed us that we would have absolute power over the artistic direction of the band at all times.

Are you happy with the work the label put into the band and album so far?

Is it time to play with fire? Ahaha Sure! We’re the new kids in town, we don’t like to cry, we prefer to earn the attention, admiration and respect of both our label and the people.

Is RR releasing the album worldwide or only in Europe?

All over the world!

The album is being released on both download and CD, any plans on releasing it on vinyl?

Yes, there are plans to release a limited edition on vinyl. We hope to announce it as soon as possible.

The album is available on Spotify but what about other streaming services?

Well, if I’m honest, I’m not the best to answer this question, I’m an ‘old school’ you know? I prefer vinyl, cd or even cassette all that feeling of buying a new album, unboxing and discovering the treasures it contains in my opinion cannot be compared to streaming services where everything is much colder.

However, ‘The Divine Comedy: Inferno’ is available on Spotify, iTunes, Deezer, Amazon Music, YouTube Music… so, I think these are the main streaming services.

What do you prefer, CD or vinyl?

Absolutely vinyl! CD is more comfortable, but vinyl takes the sound to another dimension.

Have you any idea how many people that have listened to the album on Spotify?

Am so sorry, I have no idea.

What’s the pros and cons with being on a smaller label as RR?

I think that right now we are where we deserve to be, I mean, it’s our first album, we have fought a lot to get here, we are very proud that nobody has given us anything but we have earned it with our job. We haven’t had to pay anyone to be heard or seen more… No! We don’t want to be part of or contribute to creating a false world where false appearances dictate everything; it would be like having reached the top of the mountain without the sacrifice of effort… Let’s say that we don’t like to steal the glory but earn it.

For how many albums have you signed on for at RR?

Just for one. Above all I like to respect my freedom and always leave the door open to the possibilities that life offers us. Which doesn’t mean I’m not happy with RR, on the contrary!

Past present and future

The band got a Facebook page but there’s not much info about you there, I miss a bio, some info about who the members are etc, why so little info?

We don’t want to give already served on the table, ready to be devoured as if it were a fast food service. Everything is much more exciting with a bit of mystery in my opinion.

Why doesn’t the band got a proper website?

Currently the official Signum Draconis website is under construction.

Besides the first single/lyric video “Gates Of Hell” there are two more singles/lyric videos for “Whirlwind Of Love” and “Firestorm” are there any plans of shooting a proper video and would that be difficult when all of the singers are scattered across Europe?

No, at the moment we have no plans to record music videos for these songs, maybe in the future… Who knows? Right now we just want to focus on the ideas and material we are working on for our second album and we don’t want to divide our forces or waste time going backwards.

Gate Of Hell (OFFICIAL LYRIC VIDEO)

 

Besides Instgram and Facebook,  is the band active on any other social forums?

Not that I know. Maybe it’s possible that soon the band will be active in other social media such as Twitter for example.

Do you think the release of the album is going to increase the number of followers the band got on Facebook which now is about 300?

Actually having more or less followers is not among our priorities, if that were the case we would have sent invitations to everyone we know to follow us. As you have said for now we have 300 wonderful followers, all of them joined us freely and of their own free will, attracted only by music and we love that.

Is Signum Draconis a band or a project?

The ‘Dante 2.0’ Project that’s what I called the project that years later become the band Signum Draconis.

Later, when we were about to release our debut album, the pandemic arrived and altered our plans so much that we have considered many times whether to present Signum Draconis as a studio band (at least for now).

Now, we are trying to consolidate the band but we must not forget that my bandmates have their lives, their jobs, their projects, etc… Therefore, we must know first who is willing to work hard, sacrifice their time and put all their energies to walk with and fight for the band.

Whirlwind Of Lovers (OFFICIAL LYRIC VIDEO)

 

If the band is headed out on tour or do some shows which singers are going to participate then?

Do you mean our guest stars? … Well, maybe in the future we don’t rule out the possibility that some of the guest stars who participated in the album could attend a concert or show. It would be a luxury!

The info sheet says that the album is the first in a triptych of the complete work of Dante’s magnum opus with Purgatory and Paradise to follow, does that mean you’re about to take on to interpret the rest of his books as well?

I’m glad you ask me this question because I have to say that we were surprised to read some reviews, messages or comments, where we are presented as the band that makes the concept of all ‘The Divine Comedy’… This is correct in part! I mean, yes! we will put music to the entire Divine Comedy but this doesn’t imply that our second album is going to be the second part, that is to say the ‘Purgatory’… The truth is that we don’t want to be pigeonholed as if we were a band that only makes the concept of ‘The Divine Comedy’… We have more stories to tell.

Are you currently working on material to the second album?

In all these past years I’ve had enough time to work on different ideas, in fact I’ve been working on different demos for the second album for a few years now.

If so when can we expect to find the next album in stores and who is going to sing on that album?

I hope as soon as possible and I hope that sooner than you imagine.

I’m not sure but after seen the events of the last two years, if we continue like this it’s probably that on our next album the aliens will sing… My goodness!

What would you like to say to the ones that haven’t heard the music of Signum Draconis before

If you dare listen to Signum Draconis… I hope you are ready to go through Dante’s INFERNO!… Do you think you’re ready? Try it!

Could you give the readers three reasons why they should buy THE DIVINE COMEDY:INFERNO?

I would like the music of Signum Draconis to speak for itself and that attracted by our music be this only the reason they find to buy the DIVINE COMEDY: INFERNO album.

Firestorm (OFFICIAL LYRIC VIDEO

 

Well, that was all for me and metal-rules.com this time, I wish you and the band all the best, do you have any words of wisdom to share with fans and readers?

Thank so much to you and to all the staff and readers of Metal-Rules.com for this wonderful interview.

If you allow me just want to say that my thoughts are with all the Ukrainian people who are suffering from this madness and who with their courage are showing to the entire world that freedom is priceless.

I send a special greeting to the Ukraine metal bands out there in special our label mates THY DESPAIR and SCARLETH.

In these difficult times the entire world should know that WAR IS THE WRONG WAY.

 

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