Manøver – Insurrection (Interview)

When Münster-based Sludge / Crust / Death Metal outfit Manøver released their latest EP “Taken” in 2023, my attention instantly channeled and I jumped aboard because I was immediately hooked by the unique mixture of subgenres that this band furiously tosses into the sonical swamp. Since this EP already marked their third one in a row, discussions arose that there might be a full-length to follow. Having interviewed these guys after the release of “Taken” already, I had the chance to find out a little earlier that this rumor was right and this was also the exact moment I knew I had to talk about this release as well. So I ceased the initiative to get Manøver back to Transcended Music Blog in order to talk about the release of their full length debut “Insurrection“, the recording process, its content and everything surrounding this release and the ongoing alternations of the band constellation during the recent years.

Interview with Manøver

Hello dear Manøver folks! It’s been three years already since we talked the last time and I’m very glad that we meet again – especially regarding the occasion that initiated this interview! Your full-length debut Insurrection was released on the 1st of May (digitally) – how are you doing?

Hi Roman! We appreciate to talk to you again, thanks a lot! Despite the fact we just had to cancel the sweden tour with our friends in Frost, Pisse & Elend due to health issues, where we would have played the album for the first time live, we are doing good! As of writing this we are looking forward to this weeks release shows in Göttingen and Münster and the physical release on tape and vinyl! 

Since the release of your last EP Taken, there were some personal changes in Manøver regarding the drums. Apart from that, your lineup has also experienced some fluctuation in the past as well. Can you give us a brief insight into the musicians that went in and out of Manøver and who eventually joined you on the drums?

Manøver was formed in 2019 by Julian (the 1st), Jonas and Jannis. All 3 have been friends for a long time and played together in several bands. Jonas and Jannis played in Crust/Grind band Unrest (2010-2025) and were in several punk bands in the 2000s, Julian and Jannis played in Blackthrash band Danos. Julian is still active in New World Depression.

Jonas left Münster and concentrated on new projects during covid so we were looking for a new singer. (Manøver only had bass&drums as instruments at that point)

Julian & Jannis met Malte at a show where Danos shared the stage with Maltes former band Hitzbold.

When we were looking for a replacement on vocals, we remembered that show.

After one rehearsal together, it was clear that Malte would join – not only for vocals but also adding guitar to the band. This was a musicial turning/developing point for the band. 

When Julian (the 1st) decided to concentrate on playing guitar in New World Depression, we were looking for a new drummer, which was found in Julian (the 2nd). Within his time in the band, Winselmutter was formed, where Malte played bass, later Jannis as well. The band quickly got a lot of recognition. After realizing both bands require a lot of attention, we decided to part ways concerning the line up of the bands.

So Julian (the 2nd) would leave Manøver to focus on Winselmutter and Malte & Jannis on Manøver, while looking for a new drummer again.

Zorn was found as new drummer shortly.

He brings a lot of new influence and technical possibilites to the band as he mainly excels in classical percussion (contemporary art and symphonic orchestra).

We immediately focused on finishing the new album as the studio date was already set.

On your first EP Død, you simply had bass and drums in order to cast music that moved on the brink of Crust Punk and Sludge. What was the driving force to decide to continue with a guitar from Raids on and does this initial constellation still impact your songwriting?

We thought at one point a guitar would help the sound to evolve and when Malte joined as singer, it came in handy that he is playing the guitar as well.

We felt it would just be a very good addition to the sound. What continues since the beginning is the use of two bass signals, as a foundation for a sick tone. When adding the guitar the sound became even more sludgy and the sound impacts the songwriting. So in a way, the use of two bass signals still impacts the songwriting today as it set the foundation for the sound.

So far, you have released an EP via Mackeys Law and another one via Santa Diabla. After that, your latest EP was released via Fucking Kill Records and Santa Diabla. These are also the labels you returned to in order to release your full-length debut, which probably also showcases appreciation for their work. Nevertheless, when comparing to releasing your EPs, did you experience differences when moving towards the release of a full-length?

As a full-length is a bigger project and investment than an EP, at the same time already having learnt what it means to release on vinyl, we had more prepared before the studio date, such as artwork, layout and booking plans. This was something we only first thought about when we already were in the studio recording Taken.

Concerning the collaboration with the labels nothing changed so much!

When we talked the last time, you already announced that the upcoming full-length was no longer going to be merely about war as a subject. As can be seen (and heard), the subject matters that are addressed on Insurrection also address conflicts no longer on a pure military level but rather in a political framework. What impacted or influenced your decision to broaden the subject of your music and how did this feel to you when looking back at your output?

It felt like a natural progression to expand the topics we deal with. Many of the new songs tackle themes that effect us and people close to us personally. The overall message of the previous releases was more or less the same. The antifascist agenda is still there and present throughout all songs, just with a wider variety of topics.

One key factor that immediately captured my attention is the opening riff on your first track “Spiraling Down.” To some extent, I had to think of the title track of the Jim Jarmusch movie Dead Man by Neil Young. Where did that come from? Was one of your members listening to too much Wayfarer?

We were listening to too much disembowelment and other (funeral-) doom! We strayed far from the original inspiration though. 

So no special intend besides wanting an introsong that slowly progresses tension.

It has been quite evident on your previous releases already, but it can’t be ignored on Insurrection anymore that there is a coining influence of Noise and Drone elements in your music. This has gradually increased over the progression of your previous EPs and now seeks defining space in your music. What impacted your songwriting, its progression over the years to such an extent that these influences found their present room on Insurrection? Were there any specific artists that initiated certain decisions in your songwriting?

We wanted to display the live experience as good as possible on a release. That means no silent breaks between songs, much feedback and noise. Our passion for Noise and Drone sounds manifests in our choice of equipment (pedals!!!). Malte & Jannis exclusively use some pedals to create those noise sounds between songs.

Apart from the overtly present framework of Noise and Drone, the attentive listener might also spot certain sequences that could arguably be located in the spheres of Black Metal. Especially via the shifting of the drums, your sound is interwoven with pressuring blast beats. Can this progression be traced back to your new drummer or is it just another output of your comparably free stance of cherrypicking from numerous genres of Metal and Punk?

Our songwriting approach is usually not destined to fit a specific style or (sub)genre. We pick elements we like or perceive viable for the emotions we want to evoke. We amplify these emotions by emphasizing contrasts. 

The black metal influences have been present before but with Zorn as the new drummer we are able to lean in on these parts even more.

On “Narcissists Abyss” you address a specific group of people that can probably already be guessed by the name of the track. Nevertheless, throughout the track, you also remain quite abstract regarding the fact of possible specific addressees. The number of people that could be mentioned here is probably huge, but who eventually initiated the urge to write this song?

By living this life we think everyone maybe had to face people like this, the (leftist)DIY scene does not make an exception. When not being a victim, you probably know people who are. 

The people we thought about when writing the lyrics have either already been called out or the victims don’t want it to be public, so we won’t drop any names here or elsewhere. 

By no means do we want to imply that we do everything right all the time. But we try and learn every day. We want everyone, especially men to stay aware, learn and step in when noticing or hearing about behavior like this. 

Usually Malte writes the lyrics. But this one was actually written rather quickly when we were together during a rehearsal weekend. 

What exactly do you understand by the term of “Bomb Shell Disease” and was this an intentional purpose to bridge the subject matter of your album from warfare terminology to societal conflicts? (Since this disease is quite common nowadays as well but going by a different term.)

Bombshell Disease is one of our oldest songs. It was released on Død in 2020. We always play this song live and wanted it re-recorded with the new sound. Doing that, it was the perfect opportunity to invite Jonas for guest vocals, as he originally sang it back in the days. The song deals with the trauma of war, so in a way its bridging the topics of the older releases and fits the new one.

The album cover also transports the strong DIY character of the band because of the fact that your vocalist Malte was in charge of layouting this gathering of people together with tattoo artist Esmee. How did the idea for the artwork come up and what was it like to work on this? Did you have different ideas before having started?

The idea came up on a rehearsal weekend, where we finished songwriting for the album. We discussed several options for artwork when listening to the demo songs. We wanted it to have a political message and express how history repeats itself. As the vision became clearer, we thought that could be something done on our own. So Malte started working it out. When there was a nearly final stage we were not completely happy how the soulless eyes looked. Esmee helped us out by painting them. The result speaks for itself.

It only takes a few tracks into your album to find out that the low-end frequencies on this recording are at the absolute forefront. When going a little deeper into the recording process of Insurrection – did you have any problems of conflicting signal chains that moved on similar frequencies when producing an album that transports such an amount of pressure?

We wanted it to be as low-end as possible. By playing 2×2 signals on bass & guitar we thought about possible problems concerning frequencies and clarity. This was also one of the first things we talked about when arriving at the Tonmeisterei. Role had already thought about this in advance as well and had some ideas. He made this process very easy for us and we love how the finished product sounds.

Did the recording process and setup of sounds that you intended to record result in any necessary changes in your live gear in order to transport this sound at a live set?

It was clear to us that we wanted to record as close to our live sound as possible.

So the focus in the studio was how to catch the tone properly. Our stage sound already developed very much over the last years, so we do nothing different live that in the studio concerning the use of gear. Except a live sample pad we use since the release.

You decided to release your album digitally on the 1st of May and the physical release was set to follow on the 15th of May. Why did you decide to split these release dates?

There were some delays to be expected with the physical copies, so we decided to split the dates and keep our favorised date to make the album listenable for everyone.

Of course, 1st of May also has a political importance as well and we felt it would fit quite good!

There is at least one date that you should have in mind when it comes to live shows bringing forth Insurrection – and this is your release show at the Baracke in Münster on the 16th of May. Are there any other dates known already where the audience might be able to listen to your latest output in a live setting?

As of writing this, release show lays a few days back already. We had a blast and are happy to had it done with many friends on and off stage. Punkbar, as an well-known institution in Münster orgnanized the show, our friends in Mulch and Rană supported us on stage. All in all we could not have wished for more (except for an in time arrival of the vinyls). 

Next shows will be in early June in Gießen & Villingen-Schwenningen with Minenfeld among others. More shows for this year are and will be anounced – you can always check the dates on our socials. Always open for booking requests!

Thank you so much again for your time and also the trust of letting me help out with the press of your release. It was an absolute pleasure on both sides, as has always been in the past as well. As usual, the final words of this interview shall belong to you!

Right back at you, thanks to you! It’s always a pleasure to work and talk with you. We have a huge appreciation for what you do for the DIY underground and all the time and passion you pour into this! 

Support your local underground, go to concerts, fight fascism!

Roman Transcended

From: Gladbeck (Germany)
Favorite Artists: Lifetaker – Downfall of Gaia – Tomb Mold
Best Show: Gone to Waste Final Show@Turbinenhalle, Oberhausen (2017)
Projects: Cultkill Music, Lower Rhine Underground, Gutter Rat Promotion, Slumcult Gathering