Lenka Čechová: On the coincidences that brought her to Mean Messiah, music, and women in metal

Lenka Čechová is one of the distinctive, although still somewhat understated, figures of the current Czech metal scene. Fans may know her from her earlier years in the band Imortela, where she went through an interesting evolution from bassist to lead vocalist. Fate eventually brought her back to the four strings – today she is a solid part of Mean Messiah alongside Dan Friml and Matěj Meier.

In this open interview, we discussed why the bass guitar was originally just a "pragmatic choice" that eventually turned into a deep passion. Lenka described her musical journey full of coincidences that led her to the current lineup of Mean Messiah. You will also learn how she perceives the position of women in heavy music, and what she considers the best (and very honest) remedy for moments when a person runs out of creative energy.

About you personally, there isn't much information yet – what was the turning point when you decided that music would be more than just a hobby for you?

The decision that I was truly serious about playing music came at the moment I joined my first band with original material. Until then, I had played in various cover/entertainment groups, but that didn't motivate me much. In the band Imortela, my wish to create original music and be involved in the overall functioning of a band came true. I gained a large amount of valuable experience, and when the opportunity later came to join Mean Messiah, it was clear I would have to dedicate much more to it. It should be added, however, that music is still "just" my hobby, even though I dedicate a great deal of my free time to the band.

Why the bass guitar? Was it love at first touch, or more of a pragmatic choice because the band needed a bassist?

B is correct. Even as a teenager I envied my brother's band with his friends and really wanted to play in one myself. But I wasn't very skilled at guitar and I was too shy to sing. When my brother's band lost their bassist, they offered me the chance to join—but only on bass. And that's how the bass guitar stayed with me, and today I'm very glad for it.

Which bands or specific players influenced you most in the beginning and shaped your style?

Without a doubt, Avenged Sevenfold. Their songs are, in my opinion, very creative. I started getting into bass lines and wanted to learn them—and that desire is incredibly important in any form of learning. What I loved most about them was that the bass lines are always interesting, expressive, and yet not just mindless shredding up and down the fretboard. On bass, less is more, and I still follow that principle today.

How did your collaboration with Mean Messiah come about, and how did your integration into the band go?

My path to Mean Messiah was full of coincidences. I happened to attend a workshop by Dan Friml at his studio The Barn, where it casually came up that he and Miloš Meier were restarting the band and only needed a bassist. The idea that I could be that bassist felt like a joke at the time. A few days later, under pressure from people close to me and my own curiosity, I wrote to Dan asking for song materials, and it turned out it might not be such a bad idea after all. The integration went very smoothly. Dan dedicated a lot of time, help, and valuable advice to me, which made everything go like clockwork. We also clicked on a personal level, which is extremely important for a band to function properly.

Mean Messiah has a very specific, technical sound. How difficult was it for you to fit into it both creatively and as a player?

At first it was very difficult, because in my previous band I had focused almost exclusively on vocals and hadn't really touched the bass for about two years. I admit I had to simplify some older songs just to be able to play them. But it was a huge challenge that pushed me forward tremendously.

Did you contribute to the creation of material for the album In Infinite Illusion? How did the songwriting process work from your perspective? Did Dan (Friml) give you free rein?

Yes, although I joined the album's creation later, when Dan already had some demos in progress. That actually made my start easier. I was pleasantly surprised by the trust he placed in me, since he had recorded previous albums on his own. Generally, our process is that Dan sends me a demo, I prepare my bass lines at home, and then we finalize everything together in the studio.

Is there a specific track on the album where you feel you found yourself the most as a player?

The song I enjoy the most as a player is Crash Test. And I dare say not just me—the whole band really enjoys it during live performances.

Are you a player who focuses primarily on technical precision, or is groove and overall atmosphere more important to you?

Music is an art that is not built only on technical perfection. Like any art, it should convey something, touch people, evoke emotion. That's what I try to do as well. As I said above — less is more — and one well-chosen note can affect you more than a thousand chords. Of course, technical skill is still necessary to execute that note properly.

Do you have any specific habits or techniques that define your style and distinguish you from others?

I wouldn't really say that. I probably have more bad habits, for example in hand positioning. I tend to rest my hands a lot because playing a Mean Messiah set is sometimes quite physically demanding. I also do physically demanding work, and I would like to be able to play (and do other things) even in twenty years. What bothers many people, however, is that I don't play with fingers like a "proper bassist," but with a pick.

Does your approach to composing or playing bass lines differ between studio work and live performances?

Definitely. In the studio you have space to focus fully on precision, whereas on stage you deal with many other things. For the audience, both the listening and visual experience matter, so I adjust my playing according to the situation. People are more forgiving if you simplify something or even make a mistake, as long as the performance overall is enjoyable.

Besides bass guitar, you also sing in other projects. How difficult is it for you to switch between these roles? Does singing help you with rhythm on bass?

I don't currently sing in any other projects, but in Mean Messiah I do have some vocal space. But to be honest, I'm one of those people who struggle with combining playing and singing. The bass lines I play are not simple, and I often "sing against my hands." And I've never been a particularly great singer, so if I don't practice something thoroughly at home, I simply won't manage it live.

What is a stronger experience for you — creative calm in the studio, or the adrenaline of a live stage?

Both have their charm and go hand in hand. Working together in the studio is fulfilling, and it makes us even more excited to perform live. Concerts are like the spice of the entire creative process.

Can you recall a concert moment that truly defined you as a musician or changed your view of playing?

As I mentioned earlier, I used to focus extremely on precision during concerts, worrying about hand position and making no mistakes. In the end, I would stand there like a statue, staring at the fretboard, stressed out, and it wasn't enjoyable for anyone. Now I don't care about that anymore — I enjoy playing even if the performance isn't 100% perfect. I enjoy it, and I think that positive energy transfers to the audience.

How do you perceive the current Czech metal scene? Is it a scene that sticks together, or more a mosaic of smaller closed communities?

I think the metal scene generally holds together quite well—I've never noticed any major rivalry, whether between subgenres or bands. What divides it more is the listeners. Some don't accept Traktor, others Dymytry, others us. And yet we're all basically on the same ship.

Today, people often talk about "women in metal." Do you think this is still something that needs to be addressed, or are we already viewing everything purely through skill regardless of gender?

Differences between men and women are undeniable regardless of skill. I don't think it needs to be addressed, even though it naturally still is. Whenever a woman appears in a "male" environment, it attracts attention. The same applies in metal, where men are still in the majority. I think it's okay to use that attention wisely. What some individuals do by sexualizing it is another matter.

What keeps you going when things aren't going well, energy is running low, and music stops being easy?

There's a saying that in a woman's life there is no problem that good food or a penis can't solve, and I would sign that.

Where would you like to move as a musician in the coming years? Do you have a specific goal driving you forward?

Honestly, I don't have a specific goal. Every time I set one, life takes me somewhere completely different. My general goal is to keep improving, work on what I need to, and look forward to what life brings. That is my main driving force.

And finally—what would you tell your younger self who was just starting with music?

Practice, damn it!

We would like to thank Lenka for the open interview about her musical journey and her involvement in Mean Messiah. We wish her lots of inspiration, energy, and many more musical successes.