Holly
Frances
Royle
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Interview by Joey Diabolic • Photography by TOM LLOYD
You’re currently pursuing a PhD in Metal Studies at the University of Chester (England). How’s that experience been so far, how far along are you and what have you discovered during investigative research that was completely unexpected? I’d be lying if I said I fully understood what I was getting into when I chose to take on a PhD! My experience has been really wonderful so far, and I owe a lot to my wonderful supervisors for this. That’s not to say there haven’t been any lows - I’ve encountered a lot of rejection around publishing, for example. My skin is definitely thicker now than when I started. That being said, I have some exciting publications in the works set to release at the end of 2025 / early 2026. I’ve been fortunate to connect with many other wonderful metal studies academics and obtain some fantastic presenting and publishing opportunities.
As I’m writing this (mid August ‘25), I’ve just begun my fourth year as a part-time student. At this stage, it is starting to feel very real, especially in terms of the time pressure. A big part of my thesis research is looking at everyday events of discrimination. As metal is a place for ‘outsiders’ it is fascinating, ironic and quite concerning how much discrimination still exists. As for any unexpected findings, at the start of my research I didn’t anticipate the depth of influence some mainstream corporations and wider capitalist systems have onto the metal scene. This influence also ties in significantly with ongoing discrimination.
Disconnected Souls ‘Fragments of Consciousness’ was a diverse album and a massive step forward from 2020’s ‘Warring Elements’. How much changed behind-the-scenes (with production and songwriting) between those two releases? What lessons were learned on the first album that you either steered clear of or went all in on? I think it’s fair to say that a LOT changed. Mainly, that we figured out how to significantly improve our production and songwriting. I’d say we also became more confident in ourselves as songwriters and performers. Personally, I’m still learning a lot (I don’t think you ever stop learning really). I’m still finding my voice to an extent, especially with my cleans. I have also recently started including harsh vocals in tracks - this is something I want to do more of in future releases.
We threw a lot of ideas at the tracks on the EP - and we still do that. It is a key part of our compositional style. With the album it shows, I think, that we have honed this more effectively. We are an eclectic mix in terms of the style/genre influences we enjoy and want to incorporate into our sound. Our music is intentionally a little bit chaotic. But in a good way... hopefully!
You also released the ‘Fragments of Consciousness: An Instrumental Perspective’ companion album. Was this an idea discussed during pre-production or after the main album release? If I recall correctly (it was a while ago), we’d discussed releasing an instrumental version of the album fairly early on. This is partly as instrumental releases help fill a gap once the main release is out, but also because the songs can be experienced quite differently as instrumentals. We have so much going on across the instruments in the music that I imagine many people might not have noticed in the original versions.
Favorites from the Disconnected Souls catalog include “Dissonant Whispers” and “Petrichor”. To me, they convey an alluring mix of Victorian gothic, atmospheric elements and cyber metal with a dash of medieval folk. What were the inspirations for those compositions? Do you remember what those originating musical concepts were? Any fans of DnD might be able to figure out the inspiration for “Dissonant Whispers”! It’s the title of a spell that, in our previous DnD campaign (5e), my character Sariel used very frequently. It essentially causes your enemy/victim to experience unpleasant thoughts leading to their demise. So, a truly lovely spell. We wanted it to sound very haunting with a siren-esque influence. My vocals alternate with Patrick’s, the idea being that I’m luring him to his death. We also carried this narrative into the music video (which was our first ever music video shoot).
“Petrichor” was very much inspired by the concept after which it is named. I love the earthy smell of petrichor, it’s a phenomenon that usually occurs after heavy rainfall following a dry spell of weather. Influences of nature more generally also come into it. This was one of the songs I led writing wise and I wanted to do a non-traditional structure that felt more cinematic. The opening heavy section represents a thunderstorm while the orchestration and folk instruments that follow represent rainfall leading and subsequently clearer skies.
When I was a driver out in Los Angeles, I (of course) had to curate a driving playlist. Every time “Iyashikei” would pop up, my riders would bop and bounce to the track. Was the song inspired by a particular Japanese anime or manga title? It’s an incredible composition that feels like one is, in fact, experiencing a complete anime film or manga omnibus all in auditory form. The last time I had that sort of experience was with Fantomas’ debut album. “Iyashikei” is the creation of my bandmate Patrick Lloyd. We wanted to include something a little different at the end of the FOC tracklist, in the same vein as the bonus track “Mischievous Spirits” on the Warring Elements EP. I’m thrilled to hear that both you and your passengers enjoyed it! For the background on the track, I’ll allow Patrick to explain this in his own words: “I wouldn’t say Iyashikei was inspired by any particular series, mainly the vibe these slice of life series capture. But if I had to pick a main inspiration, it would either be Anohana or Tamayura, because the track is actually about loss and grief shared between friends. When I wrote it, I was envisioning a story of four friends with unbreakable bonds, living carefree lives, until one of them passes away suddenly - the middle section of the song deals with this grief, sadness building into anger, and then to despair. And the rising ending is the remaining three friends coming together to rebuild and move on, bringing back the instruments from the start. That’s why the ending is identical to the beginning, but an instrument is missing - you can continue on from loss, but that missing piece still isn’t there. I’m glad the instrumental story was conveyed correctly - it was intended to tell a story sonically, something I’ve grown to love doing.”
We initially met through your public relations brand, Deviate PR back in early 2021 and later on that year, you joined C-Squared Music Marketing founded by Curtis Dewar and Cori Westbrook. Which artists have you worked with at Deviate PR and C-Squared? How do you determine if a project is more suited for one of the respective PR companies? Is it difficult to find a balance between the two entities? I find it quite easy to distinguish between the two entities as each one has quite a different focus and target client base. C Squared is better suited to medium-larger sized bands and those who are wanting to delve further into marketing alongside PR. C Squared is working with a number of artists from Reigning Phoenix Music’s roster especially on finding new and unusual ways to promote their music and tours. For example, we’re finding that collaborations with food outlets across a band’s tour dates work well for larger bands. Deviate is better suited to those who are more independent and underground, as well as those who are perhaps still earlier in their careers. Deviate is more focused on PR and providing advice around marketing and general best practices.
Any favorite artists (or releases) from the underground that you’d like to illuminate? I’ll recommend a couple of dear friends, if I may. Firstly, The Effigy - based in Australia they combine gothic rock, symphonic metal, and cinematic elements with stunning storytelling. Secondly, Root Zero from South Wales who describe themselves as ethereal metal. It’s very progressive and haunting. For something a little more extreme, tech-metalcore outfit Eschalon are growing favourites of mine. Anyone who knows of (the currently on hiatus) UK Tech-Fest may be familiar with their guitarist, Simon Garrod.
When was the moment you fell in love with music as both a passion and creative outlet? Who were the artists/bands that shaped and influenced you? I’ve always loved music, I don’t recall a time when I didn’t. My Dad is a huge rock and metal fan so that definitely influenced me heavily. I have also always loved various pop artists too, and then learned to appreciate the emotional power of classical music. I think enjoying a mix of genres is definitely a good thing. Some of the biggest influences as a child, who really encouraged me to pursue music, have to include Muse, The Rasmus, Lady Gaga, and Delain. It might seem like an odd mix, especially as nowadays I really dive into the heavier, darker stuff with a lot of my compositions. Matt Belamy of Muse was my ‘guitar hero’ for a long time. I remember seeing The Rasmus perform “In The Shadows” on Top of the Pops in 2003-ish and that stuck with me, and it opened the door to a world of European rock and metal. Delain was the first symphonic metal band that I really connected with. This was also the first band that made me realize, ‘I could do that’! I resonated a lot with Charlotte Wessels and her vocal style.
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From 2012 through 2013, you played guitar in Late For Breakfast and Ask Dean. With more than a decade passed, are there any cherished memories or stories from that point in your musical life? Anything that you’ve learned and taken with you into your current projects? Wow, that is quite the blast from the past! Late For Breakfast was a very early working band name for what subsequently became Ask Dean. If you’re wondering where that band name came from, I was asked by a promoter what our band name was - and as discussions for a new name were ongoing I replied ‘Ask Dean’. What I meant was, go and ask Dean (our bassist turned vocalist) what the new name was. Anyway, we thought it worked so it stuck.
I have some wonderful memories of rather chaotic band rehearsals, and performances at venues around Greater Manchester such as Islington Mill. That was a great industrial venue - literally an old mill building with Victorian brickwork, uneven floors and supporting metal pillars around the place. It was great. I also had my first studio experience with this band. It was fairly basic, but the opportunity to get in a recording studio and learn the basics of production at that time was very useful.
Tell me about Codex Lovelace (with Victorian Gothic / Symphonic Rock songstress Joan Avant). How did this collaboration come to fruition and what should we expect with your first release? Will there be any similarities to your works in Sensory Enigma? There are potentially some slight similarities, however I didn’t go into it with the intention of necessarily linking or overlapping the two projects. I connected with Joan a few years back assisting with PR for her album Dies Irae. Not too long after the campaign completed she asked if I’d be interested in featuring as a guest guitarist on a track. Anyway, we wrote an album and here we are!
It’s heavily driven by EDM - especially in terms of rhythms and synth choices, but then there are symphonic leaning aspects in there too. The Gothic literary and Victorian history elements also lean into the more symphonic quality. It’s a bit unusual, hopefully listeners will find it quite fun. That’s the aim anyway. I believe we have chosen the first single, though we are still working out logistics and choosing dates. Expect the debut album sometime in early 2026.
What’s next? Well, how do I answer that?! My main focus is completing my studies, hopefully you’ll also see a few publications and more conference appearances from me in the near future. If anyone is interested in metal music studies have a look at the International Society for Metal Music Studies (ISMMS): https://metalstudies.org. Music wise, song writing is ongoing with Disconnected Souls. One day I’ll finish the Sensory Enigma album - I swear! On top of everything, I’ve also had an idea for a deathcore(ish) project. We’ll see if I actually get around to starting that. I’m rather desperate to get back on a live stage so we’ll see what happens there too. And, in the short term, I’m working on posting more mini covers on social media - feel free to throw any song suggestions my way!