We are very proud to announce the incorporation of TREHA SEKTORI into THE COVENANT. The one behind is Vincent, a.k.a. Dehn Sora, a brilliant artist and an associate of Church of Ra who inspired OBNUBIL from the beginning. Some of our designs were born while listening to songs like "Alterah Ethi Endessiah" or "Tentureh". TREHA SEKTORI is not just music, it's dark and intense mystical atmosphere, a whispering in an unknown language, ritual drums... Dehn is also an outstanding graphic designer who draws covers for albums by other artists. Also, he already opened for the legendary Neurosis and shared the stage with Amenra. With Colin and Mathieu from Amenra, he also plays in Sembler Deah.
OBNUBIL: What’s your name?
VINCENT: My name's Vincent, a.k.a Dehn Sora.
OBNUBIL: Where does the name Treha Sektori came from?
VINCENT: I use some kind of instinctive language in Treha Sektori, and on my personal projects sometimes. Something that comes from my childhood, when I cannot express some feelings. Was hard to put on words from my mother tongue, things I cannot even understand. This language came up instinctively. It was, and is still, connected to certain states of mind. Extreme emotions maybe. I can write automatically for hours, only using this language. Treha Sektori can be translated in "the place where they fall".
OBNUBIL: At the composing time, which are your biggest influences?
VINCENT: Pretty cliché, but really honest ; what's put me down, the urge, the instant. I recently slided on a very down period. It was hard to be focused on anything specific. My head was spinning, all day. The only thing I was capable to achieve was some music. And it turned totally different than usual. Something I might never use, or release. But, still cliché, it helps. And was a watermark of a life period. What influence me is what I live. Everyday.
OBNUBIL: How is your creative process? What about the language you use for the titles/lyrics?
VINCENT: The language I use in Treha, is coming from the emotions I could not express when I was a kid, first. It came by instinct, and I use to express a lot through it when I was confused. And when I started to work on Treha, I tried to put voices with my mother tongue, french, or english, and didn't felt it right. And this language came naturally, back. It is a part of myself I have to deal with. I can write automatically with it, for hours. A structure came with the ages, but this is a language everyone can have. As for my creative process, must say, it is always changing. I can sometimes have a precise idea and go straight on it, work details for hours. Sometimes, everything's done in 10 minutes, from the idea to realization. Depends on my environment, on the conditions I want to create.
OBNUBIL: Can you tell us more about where have you been recording and the mastering work?
VINCENT: I actually do most of everything at home. I record all instruments live with my DIY way of working and gear. I do some field recordings, or go to rooms or studios to record some specific sounds, when it comes to Treha. I actually feel more and more to skip my "comfort place" for recording. To be fully connected with it. I am someone that enjoy being but can easily be stucked in my own "full circle of thoughts". Leaving a bit my shell, being confronted to other visions are good for improvement, or not repeat itself.
OBNUBIL: We've read that you only use "real" instruments for your recordings. What equipment you reach out for? Is there any instrument that specially keeps your attention?
VINCENT: Not one in particular. I am not a good technical musician, at all. I use instruments as they shall not be used, in a way. I am just constantly looking for how things will turn, when I take an instrument in my hands. I seek what's not suposed to be played. Wrong parts can turn into interesting ends. But I mostly use my voice, my main instrument is guitar. And I also dig into Banjo, Theremin, Percussions, Mandolin.
OBNUBIL: Best and worst gig you've played?
VINCENT: I don't have any best or worst. A good show, for me, is one where I totally forgot where I was, totally forgot eyes staring at me. Faded in the sound and visuals. Every show has it's little something that make them unique. So I don't feel I had any awful show. But to name or explain some memories : Being on stage with Amenra, opening for Neurosis, which was the first line on my "things to do as a musician before dying", hitting my gear table, on the rhythm, so hard that I couldn't feel my fingers for days. Feeling totally naked at the Iper open air Fest, playing for the first time at daylight, and in a hardcore festival, and see all the audience sitting down after the first minute, and remain silent the whole show, despite some beatdown band starting in the other tent. Feeling very little at the UT Connewitz venue in Leipzig, this old theatre where the place surrounds you with its vibe. Playing the Vooruit in Gent, so many eyes and hands clapping, that I felt scared by the noise that it made. All together on stage with the Church of Ra members, on the Amenra finale track in Nijmegen. Being able to play Moscow, Athens... Some countries I wanted to visit as a traveler, and being so warm welcomed.
OBNUBIL: Have you got any pre/after show ritual?
VINCENT: Pre show is kinda always the same. I feel the time is approaching, and I'm getting more and more scared. Stressed out. Always the same feeling. Knotted stomach, so I cannot eat anything before coming on stage. I can only drink water to liberate a bit my throat, knotted as well. I walk way and back near the sage, trying to remove those bad feelings from my head. Then I feel my legs shaking. Then I go on stage. I try to forget everything. When it's done, my legs cannot support me anymore. My back hurts. And I feel this strange sensation. Unique. The feeling of relief. Worth all the stress and work before.
OBNUBIL: Besides Treha Sektori you also work on other projects. Can you please introduce them?
VINCENT: I play, with Colin and Mathieu from Amenra, in Sembler Deah. We have some new tracks coming, after we released a debut album already 4 years ago. This is how we met, how we discovered each other. We will release something new very soon I hope. I also play in Ovtrenoir, with my close friend William Lacalmontie. More in the "post-metal" sphere, different way to play, different approach. I also worked, and hope will work more, on soundtracks lately, for documentaries. I'd be the happiest man on earth to work on a film score one day.
OBNUBIL: You are an associate of Church of Ra. Could you please tell our readers about this association and for what it stands for?
VINCENT: It stands, in my opinion, to be hands on the shoulders of each others. To not feel left. To constantly feel inspired by each others. To be an engine. We have all fears to deal with. Together, we can break what we want.
OBNUBIL: How important for you is the visual part of Treha Sektori?
VINCENT: This is a central part. I never thought this project without its visual aspect. I try to put a story with all the mediums I can work with. There's a place for audience's imagination and interpretation of course. I hope, some listeners was inspired to make their own work, their own story, with a second of a track. But everything is thought in this circle, from sound to visual. May be I can release only a book of images for Treha once. And I am working on the next album, which will be only a video. So, it is as important as the music.
OBNUBIL: Can you tell us something about the process of shooting your video clips and what inspires you when you create videos like "Ah Estereh Komh Derah" for example? What is the story behind this one?
VINCENT: The process itself, is always to write down lot of ideas, and try to make them happen. But, always have to deal with unexpected situations. I also play in those videos. Which include to push my body on his boundaries sometimes. Extreme weathers (almost fainted when I was in a very cold water, covered in leaves, dirt and black paint, for example), tiredness, remove the feeling of people surrounding you. This video has something to deal with the fact of carrying your burden. To touch your boundaries to reach altered state. And while shooting the videos, I put myself in those conditions. A body experience. I will still working on this way for the future works.
OBNUBIL: Besides music, you are also a graphic designer and art director. Could you tell us about your book "The Sensation Of Being One Of Them"? The whole format, the photographic work, the typographic design… is this book a compilation of your own personal concerns?
VINCENT: Even in some commissioned works, I can find personal obsessions, concerns, yes. But I tried in this book, to tell stories, to compel all those obsessions, to achieve some. I wanted to turn a page. Go on some new paths. Was a way to reach that. Was a way to write the feeling of saying goodbye from being quiet. I tried to make something humble, to put a world forever. And move to the same, with another shape.
OBNUBIL: Some years ago you worked out an art exhibition under the name "This has gone too far". We felt very amazed by your surrealistic creations. Are you specially inspired by the surreal movement?
VINCENT: I think so. My art knowledge is not the biggest on earth. I remain curious of everything, constantly watching images, and might inspire me in a way or another. Vladimir Kush is a painter I use to try to interpret, dig into his work, when I was high school student, in Arts classes. I think I have humbly some matching points with this movement. In the way of looking for symbolism in details. But I don't directly feel inspired by a movement or another to be honest. What touches me stays in my head, and make a shelter of general inspiration.
OBNUBIL: You have got a timeless photographic project called "Faces and black feathers". What is the story behind it?
VINCENT: It first started as a way to try to improve in photography, try to tame my camera. And I realize that when I put the crow beside someone, it kinda reveals it's own fragility, or true self. Some people don't care, some are really uncomfortable. So every people that comes to my place, and we shared good times, I ask them "pretend it's not here, let's just make a portrait" and I catch it. And I like to watch this line of people in the webpage. It reveals them a lot I think. I don't pretend to be a good photographer, that's just instants I tried to catch.
OBNUBIL: You designed a lot of movie covers. Are you a cinema fan? What kind of movies you look at and which ones would be your classics top 3?
VINCENT: I use to design a lot of movie covers and posters at the agency I worked at. But yes, must say that I'm a cinema lover. I grew with what we call "genre cinema". The feeling of some "forbidden" movies, that you have to make a quest to look. A feeling that kinda disappear with the easiness of streaming. But I still by a french magazine about the kind of cinema, every month. And I'm looking for the next big thing in their pages, mostly. But I love the challenge on designing such posters. Try to sum in only one image, a full story, 1h30 hour of development, a full concept... I don't know if I have "classics", but right now, when I'm writing, I think about "The Seventh Seal" from Ingmar Bergmann, "Testuo" from Shynia Tsukamoto or "Enter the Void" by Gapar Noé.
OBNUBIL: Thank you very much for taking your time answering our questions and for giving us more information about you! Is there anything that you would like to say about The Covenant and to our moulded in blackness community at the end of this interview?
VINCENT: Thank you very much for the time, and interview. I feel honored to have caught your attention. I try my best.
All photos taken by Mlle Ocytocine & processed by Vincent, a.k.a Dehn Sora.
Which of our t-shirts is he wearing in the pictures? Do you like it? It is... THIS ONE