One-man extreme metal band is one of the more unusual concepts we’ve come across, but in Liverpool-based Crejuvent we’ve discovered something that truly is different, yet also entertaining and intriguing.
Frontman, and bassist, and guitarist, and producer, and mixer (you get the picture) Federico Spera (Freddy), is a character I can’t help but like. When asked to summarise his music in three words, he responds: “Arousing, Grandiose, Depressing. Coincidentally that’s also how sex with me has been described, in that order.”
Freddy released the debut Crejuvent EP Time last month, and it’s an intense five-track blast of full-on metal from the outset – kicking off with the 1:32 opener interestingly named Fuck This Shit. It launches straight into wild screamed vocals supported by rolling drums and increasingly manic guitars, then descends into madness with creepy keys and growls of “Fuck this shit.”
Next up, Code Orange opens up with short bursts of guitar that gradually build towards a heavier guitar intro with funky finesses to tie of the phases. Wild, angry vocals are present throughout, leading into an almost gothic feeling section. There’s fun bursts of guitar throughout, and wild bursts of heavy drums keep it interesting throughout.
Malicious Chords does pretty much what it says on the tin, with an intro of big guitar chords followed by a high-pitched guitar burst that continues through the heavy verse. The song is wildly random, but hugely enjoyable and mixes it up with a synthy noise over the top of choppy guitars as the song draws to a conclusion.
Next is the EP’s title track Time, which opens up with fast-paced guitars and big ambient noise before diving into a cool mini riff of palm muted chords. The verse sees call and answer between guitars and big shouted vocals, then the mini riff returns for a big layered chorus. There’s all sorts going on here that can only be appreciated by listening to it yourself, but we think it’ll leave you fascinated and certainly makes you give it another listen. Check out the lyric video below:
The EP ends with the interestingly titled Word Vomit, which opens up with repeated samples of Marge Simpson saying “Lisa needs braces” then a funky metal riff that launches into an almost death metal opening verse. A little bass solo breaks things up, before the big chunky riff returns and is soon joined by haunting high-pitched vocals and driving drums, which eventually flow into a big extended solo and technical high-pitched guitars. If you love big instrumental metal mosh-outs, then this is the track for you.
In Freddy’s unique words: “The EP has five face-smashingly great tracks scientifically proven to enlarge penises through the rock hard powers of musically induced erections*! *It will NOT, however, improve your sexual prowess or duration. That technology is being reserved for Crejuvent’s second release.
If there’s one word that describes Crejuvent, it’s probably unique or different. Freddy explains: “Mainly what makes Crejuvent unique is my innate desire to prove people wrong and give them a giant ‘fuck you.’ I enjoy incorporating elements into extreme metal that can be considered slightly… left of centre? I’m not doing anything ground-breaking or whatever, I just don’t hold back musically with Crejuvent.
“If I want to have pretty vocal melodies underlined by grandiose chordal synths then I’m doing it and I don’t care if it’s ‘not br00tal’ or not metal or whatever. I wanted to try and write something undoubtedly heavy and extreme but also pretty and slightly experimental, something that the whole family can enjoy! A lot of bands, especially small and local bands, try so hard to sound like their favourite artist, or to fit in to a cookie cutter niche that they become the snobby metal-elitists that we all know and love, and that shit just pisses me the fuck off.
“Metal has too many of these close minded morons that keep thinking it’s the 80s or whatever, and I really wanted something that wasn’t…that. I’m not saying every single song written HAS to be a ground breaking musical phenomenon, but when your local metal scene consists LITERALLY of bands trying to sound like same 4 bands it can get old quite quickly. I’m not doing this to be cool, I don’t do this for other people, but purely for myself, and I think it creates an interesting musical paradigm that I’d like to think is unique, especially in this genre of music.”
I love Freddy’s outspoken meets care-free take on things. “I’ve said this before and I’ll say it again, as soon as Crejuvent gets me laid that’s when I can pack up and call it a day,” he tells us. “It’s inevitably all going to go downhill from there.
“I’ve been playing music in some form for about nine years or so, I just had a surplus of things I wanted to do on my own. I wanted a project where I didn’t have to answer to anybody and could just do my own thing, musically and administratively. As soon as the idea for the EP came together, I had direction and something to focus on, so that’s mainly what kickstarted the whole thing. Plus it’s nice to have a project where I can try all sorts of things and see how they work out: I’ve never released a lyric video so that’s going to be a first, I never designed artwork entirely on my own, never thought to get PR for a project such as this, all sorts of things. I’m learning so much and it’s great!”
And he’s equally positive about the general challenges of life as a musician, as he explains: “There’s something about waking up in the morning and thinking ‘Maybe I should just give up, this is exhausting and it’s not like anybody cares’ that REALLY drives me to push myself in ways I never knew was possible. Like I’m on a constant mission to prove myself wrong and exhaust myself in the process, it feels almost cathartic and is incredibly rewarding. That, and the unavoidable swarm of poon-tang. I’m joking of course. Everybody knows bass players don’t get laid.”
For the creation of one man, Crejuvent is big, loud and heavy, and we love what we hear. It’s clear that the freedom of doing what he wants is working for Freddy, and we’re looking forward to hearing more of it.