Words by David C. Obenour
Skull racks. Triumphant warriors. Pyramids that crest the high reaches of ageless jungles. And Drums. Lots and lots of pummeling drums. Following 2022’s incendiary debut Tlazcaltiliztli, Tzompantli once again summon the living culture and ancestral spirits of indigenous brutality for Beating The Drums Of Ancestral Force. Reaching deeper still, Brian “Itztlakamayeh” Ortiz excavates a time that predates and outlasts the European colonizers’ mythologized history for “the new world”.
Off Shelf: The listener’s second impression, a sophomore album can be many things – a chance to meet or put off the expected, perfect a sound or style, try new things in the studio, implement approaches that have been honed while performing. Did you think about any of that when working on Tlazcaltiliztli?
Brian “Itztlakamayeh” Ortiz: No, I didn’t really think about all that. I just kept at my normal writing process but what I did differently was be a little more patient. I write and recorded a lot of vocals whereas on Tlazcaltiliztli, I just had lyrics but no idea of how I’d place them. I went with the flow and improvised most of them. I also had my homies/band mates do a lot of the lead guitars to kinda bring something new.
OS: Did anything about the reception from fans and critics for Tlazcaltiliztli inform or inspire your songwriting for Beating The Drums Of Ancestral Force?
BO: Not really, I get my inspiration from researching and reconnecting with my roots and native history. A lot of times, it comes from within. My spiritual interpretation of it is that it’s my ancestors speaking through me and guiding me. But, I definitely felt motivated to actually attack the writing process when I saw the good reviews and feedback from critics and fans.
OS: You’ve talked before about how important it is to study the culture for that accuracy in your lyrics. Can you talk about how any of that presented itself on Beating The Drums Of Ancestral Force?
BO: Definitely, for me I like to know what the fuck I’m talking about. I’ve taken things I’ve learned over the years and made sure to always dig just a little deeper. One book that gave me a lot of inspiration was a book called Broken Spears. It’s the native account of the Spanish conquest. The first two song’s lyrics are references to the book. Tetzahuitl is about premonitions that Emperor Motecuhzoma and some priests having. Tlayohualli is about how the Mexica defeated and removed the Spanish and their indigenous allies out of the great city of Tenochtitlan but afterwards being confused and weakened with sickness from diseases they were not immune or tolerant to.
OS: Along with that, the visual is such an integral part of the metal album experience – and I would imagine pretty directly tied to what you are striving to achieve with Tzompantli. I wanted to ask a few questions about it but first, can you talk about why you choose Adam Burke for this piece?
BO: I’ve always been a fan of his so it just seemed right. I love his scenic style. I felt it would fit the record really nicely since there was a certain atmosphere we were trying to articulate.
OS: How did your collaborative process work? Was there art you referenced? Were there other source materials you shared to try and get him in the right head space? Was sharing your music part of that?
BO: I sent him a lot of references of indigenous drawings from codices and explained I want the drums, skull racks, triumphant warriors and a pyramid. He pitched having one warrior as the focal point and loved the idea and sketch he presented. Like I said, I am a fan so I didn’t need much convincing. He absolutely fuckin killed it.
OS: How do you think that art welcomes listeners into the experience of Beating The Drums Of Ancestral Force?
BO: I think it catches their attention first, but it’s also something to look at when listening to the record and it may help people articulate the sounds of the album in their head. I feel like they can feel the vibe a little more too.
OS: You’ve expanded the band with many more vocalists and musicians on this recording. Are there any folk instruments or styles of singing that you could talk to for their sound or cultural importance?
BO: The percussion instruments were a huge part of the music for a lot of indigenous nations, I wanted those to be a big stand out. We used normal floor toms, huehuetls, teponatzlis, and of course lots of animal flute and death whistles. With the vocals, I just wanted them to sound big and powerful. That’s the only approach I had.
OS: How do you like how these traditional sounds work alongside the modern instruments of metal music?
BO: I love it! I don’t think I want to make music any other way now. [laughs] But I live the layering and complexity of the sounds you are hearing. It sets a good tone for the listener I think.
OS: Can you talk about any of the field recordings that you used on the album? What they were taken from or what their significance is?
BO: They were just stock recordings of rain, water sounds and thunder. They are placed at the end of Tlayohualli because the night of the battle was described as raining, plus it’s surrounded by water. The sounds bleed into Tlaloc Icuic because he is the deity of water, thunder and rainfall. So it seemed fitting.
OS: What do you hope Beating The Drums Of Ancestral Force conveys about the ongoing culture and spirit of indigenous peoples?
BO: I hope I made indigenous people proud and is a source of inspiration to all the youngsters out there.