Scare the Children is a horror metal band that blends chilling
storytelling with theatrical performance. Between haunted melodies and
grotesque visuals, they bring real immersive nightmares to life on stage.
Based in Beijing but made up mainly of expatriates, the band made a name for itself on the local metal scene, before exporting its terrifying universe beyond the country’s borders. Enter their nightmare – Scare the Children awaits…
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Good
evening Scare the Children (yes, let’s imagine the night is almost there, so
that we settle the atmosphere – and if you are actually reading this in the
evening, that’s even better). Let’s start in a very original way: can you
introduce yourself ?
Sadako:
Good evening. Welcome to our nightmare.
We are Scare the Children, a horror
metal band based in Beijing. I am Sadako, the voice beneath the veil, the one
howling our story behind its mask, between shadow and light. The stage is where
I give life to the strangest tales.
We blend the metal genre – from metalcore to extreme – with horrific atmospheres inspired as much by cinema as by folklore. Each of us plays a character on stage. We create a mix of music, theater and ritual. We want every concert to take you to a strange, intense world, where monsters have things to say.
You’ve
recently had some major line-up changes. What impact has this had on the band ?
S: Like in every great horror movie, some characters vanish … while
others make their entrance.
The line-up change was a challenge, but also a rebirth. The new members brought fresh energy, fresh ideas and an even more powerful dynamic. We are tighter than ever, and musically, you can hear it: it’s more aggressive, darker and more precise.
You
are mainly made up of expatriates in China. How did you get involved in the
local scene ?
S: By doing what we do best: creating something different. The local
scene is very lively and diverse, but we arrived with a universe that didn’t
yet exist here. It was a gamble – and we were surprised by the response. We
worked hard, we played everywhere, from small clubs to festivals, and above
all: we respected the scene. Today, we are proud to be part of this family.
How do Chinese audiences react to your imagery and music, which are heavily influenced by horror aesthetics and quite uncommon in this scene?
S: First there was surprise, sometimes fear, and then … curiosity. Horrific aesthetics aren’t as prevalent here, but audiences love the stories. And we tell tales. Twisted little tales, dark, almost poetic at times – with monsters, curses, symbols. That’s what it’s all about: storytelling.
Our songs are like short horror films, each with its own setting, atmosphere and message. The Chinese audience, once immersed in them, follows the thread. And they often come back for more.
Musically, I’d like to describe your music as horrorcore, since there are so many influences (from metalcore to extreme metal, all in a horrific setting). How do you manage to blend all these influences?
S: We don’t set ourselves any boundaries. Each of us has his own roots: death, black, metalcore, industrial, punk, prog… And rather than choosing, we build songs like stories. The intensity of death can be mixed with a gothic melodic line, a metalcore rhythm, a scream from a nightmare… Everything is at the service of the emotion we want to convey.
Let’s stay with horror. Your nightmarish palette ranges from Asia to the West. What do you see as the main differences between Chinese – and more broadly Asian – horror and Western horror?
S: In Asia, and particularly in China, the supernatural is still deeply rooted in popular belief. It’s not just fiction: spirits, curses, wandering souls … these are things that are taken seriously, respected, sometimes actually feared.
In the West, the supernatural has gradually moved into the realm of entertainment. It is used mainly in movies and games, and sometimes in rural folklore or traditions, but is less present in everyday life. As a result, in Asia, horror is more subtle, more silent, more charged with symbols that we dare not challenge. Whereas in the West, it’s more frontal, more aesthetic, more liberated – sometimes more provocative too.
We like to play on this tension between the two worlds.
More
generally, what inspires you?
S: It really depends on the moment. For Tales, we were inspired by horror tales such as Tales from the Crypt – little scary stories, with strong characters and dark twists. It was very narrative, almost theatrical.
The new songs, on the other hand, are more intimate. They’re based on my nightmares, our fears, and that psychological side we all experience: doubts, inner voices, mental fractures.
In the end, that’s what horror is all about: what goes on inside our heads.
What
role does China play in your influences?
S: China clearly influenced our universe right from the start. It was when we saw how much audience here loved the theatricality, the dark little stories, the visual symbols … that we came up with the idea of using costumes and pushing our imagery further.
The folklore here is very rich, and horror is present – whether in beliefs or even in the movies. We often see local horror films in theatres, and supernatural themes are often treated with great respect.
In fact, we are currently working on a concept around the supernatural in China for future pieces. There is a lot of material out there, and it’s very inspiring.
I
have never interviewed a masked band before. I would like to know what drives
musicians to don masks? What do they symbolize?
S: The masks and costumes we wear represent characters from the Tales songs. They are creatures, symbolic figures linked to our stories, that come to life on stage.
But beyond that, it’s also an outlet. The mask frees us, allowing to become someone else. You get into a role, an emotion, and it creates a distance from everyday life.
And for the audience, it always arouses a kind of curiosity. Who are we? Why this mask? What role does it play in the story? It adds another dimension to the experience.
On
your latest album Tales there is a “cover” of the nursery rhyme Brother John.
Why did you choose this one for a more terrifying version?
S: We thought it made sense to take a lullaby, a familiar song, and make it darker. Brother John is universally known, and in China there is even a different version of the song, called Two Tigers 两只老虎 – children grow up with this melody, so it’s part of the folklore.
This contrast between the sweetness of a nursery rhyme and the terrifying side added to it creates an interesting tension. It is this mix of innocence and fear that fascinates us, and which we hope will capture the audiences’ imagination.
How can it be received by an audience that wasn’t brought up with it and doesn’t have its original cultural context to understand it? How can we convey both its original meaning and its nightmarish scope?
S: We start with the main melody played on a xylophone, and often the audience sings along in the language they can relate to. Then all of a sudden, it goes off quite violently. The reaction is always incredible to observe from the stage, as if the listener is moving from a moment of gentleness to a brutal immersion in horror – and it’s fascinating every time.
On your latest track, the electronic influence is more present, with more pronounced ambient effects, reminding me at times of Devil May Cry, with this atmosphere more “gothic” (in the broadest sense) than horrific. Is this the new direction for Scare the Children?
S: We don’t think too much about a specific direction, we don’t like to repeat ourselves. The way we compose is more like a soundtrack that fits the lyrics.
On this track, we really wanted to capture that feeling – a festive, slightly stressful electronic music that matches the intensity of the hunt described in the song. This electronic side blends with the tense atmosphere and fits in perfectly with the theme.
S: As far as concerts are concerned, we are starting with a first leg of the tour in China, followed by a second leg. We are thinking of returning to play in Japan, and we’d like to try Europe next year.
As of the music, we are still exploring psychological themes, but more along the lines of disturbance and discomfort – the kind we all encounter – but transformed into horrific tales. Still based on nightmares.
You have the last word!
S: Sleep well … if you can.
And above all: don’t be afraid of the dark.
That’s where the truth lies.
Thanks for the interview.
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Questions : Morgan
Traduction : Loucach
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