30 10 2004


We are proud to announce the confirmation of SUNN on NO FUN festival in NYC, Sunday March 13th 2005. SUNN O))) has the proveledge of performing together with PITA & LASSE MARHAUG as the SUNN O))) & TOTAL ACID ENSEMBLE group. More news to follow.

SUNN O))) is also preparing the following jaunt for March 17- April 2nd. all dates tentative at this point, but watch this space for news as things shape up in the coming months:


29 10 2004



29 10 2004

Interview with Varg Vikernes


From www.burzum.org, conducted last August


When You tried to escape from the prison in October 2003, there were quite a lot of publications in Norwegian newspapers about it. According to the statement of Your lawyer John Christian Elden in "Aftenposten" You "had no concrete plan except that You wanted to get away from Norway" and "wanted to go somewhere where You could live without being treated as a leper because of Your past. That is why You considered the French Foreign Legion". Though nobody has heard a word from You. So if possible can You tell people what was Your real motivation to escape the prison and what were You planning to do?

You should never trust anything reported by the media. Their first priority is to spread propaganda, their second priority is to make money. They never really care if they tell the truth or not. As for my real motivations we'll see about that later.

How do You feel now in prison? If possible describe Your ordinary day: what are You allowed to do and what not? Are You much threatened by the other prisoners and the wardens?

No, I am not threatened by anybody. The prison system in Norway is fairly civilized, by world standards, and so are the prisoners and the guards. I get along well with just about everybody.

Recently, I got to have a computer in my cell and will study computer programming the coming year. Apart from that not much is happening. In my block we sit 23 hours a day in a one-man cell and spend one hour in the yard. We have a TV in the cell and once a week we can go to the library. That's all there is to say really. If I want to do anything I have to do it on my own in my cell, or during the one hour we get each day in the yard. I take some push-ups, lift some bottles filled with water and things like that to stay in shape, and I run in the yard.

Question by Ann from France: Please tell something about Your family. How are Your wife and Your daughter doing? Are they keeping well? Do You often see them?

My father is an electronics engineer working as the security manager in a firm, my brother is a graduate civil engineer and is working in the administration of some security firm, my mother has some annoying complex education (so I don't bother listing it here) and she is working in a large oil company. My daughter is still in elementary school… I don't see my daughter very often (twice since 1993, to be exact), and in fact haven't seen anybody in my family since October last year, but that is due to "prison circumstances". After I was transferred to Trondheim prison, last month, I can take a visit every week actually. I have a good relationship to my family, although my daughter doesn't know me very well - obviously.

As for my "wife" I don't know what You are talking about. I have never been married to my daughter's mother not have I ever been married to anybody else. You could say I'm still waiting for that princess to come falling down from the sky and into my lap…

Question by Mark from Poland: What is Your great yearning while being in prison?

Nothing special. I am a rational human being and see no reason to yearn for things I cannot have. I adapt to the situation, and that's it really.

When do You exactly get out of the prison?

My best guess is August 2006, but I don't know for sure. They change the laws and rules all the time so nobody really knows.


A lot of people asked me to forward the following question to You: Why You terminated Burzum and is there any hope for its resurrection in the future?

There are many reasons for that. First of all I was very tired of listening to silly rumours about Burzum and figured the best way to shut people up was to tell people Burzum had ceased to exist and wait for everybody to forget about it. Secondly it was very difficult to continue when I was in prison. Sure, I was able to make two electronic albums, but I didn't think it was worth the trouble, so to speak. Any inspiration I had left was pretty much finished off by the many silly rumours regarding both Burzum and myself anyhow. Thirdly I didn't want to be associated with the new so-called "Black Metal" bands. They embarrassed me and I was very tired of having to explain people I met or talked to that I had nothing to do with these people, their image or anything they did. In fact I felt misused by the media and saw the whole growing "Black Metal" movement as a result of the media lies and their ludicrous presentation of, amongst others, me. Further I was rather puzzled by the fact that my electronic albums were placed in the "Black Metal" shelves in the record shops (or so I was told). It seemed that no matter what I did people would cling to the (erroneous) picture the media had made of me in 1993. So what was the point?

Finally I must say it was not very inspiring to see that tons of new bands emerged from nowhere and started to play the exact same music as I did. Why would I want to play this type of music, when tons of other bands did too? For all I know they even did it better than I ever did! So why would I bother anymore? Do we really need a million bands playing the same music? Isn't it enough with one Paradise Lost, one Das Ich, one Vangelis, one Dead Can Dance, or one Pink Floyd, one Iron Maiden and so forth? Why would we need a thousand clones?

I figured that if they want to rip off the early "Black Metal" bands that is fine by me. There are other things I can do, so I moved on.

If there is any hope for a resurrection in the future? In the case I release another album it will be something new altogether. If it sounds just like any other band I won't bother. For now I only have a few new songs, but I guess it is not unlikely that I will make more music in the future.

Question by Karlis from Ventspils, Latvia: If You are allowed to listen to music now, what kind of music do You usually listen to?

If I could listen to music now I would have listened to Das Ich ("Die Propheten"), Tchaikovskij (especially "The Nutcracker" and "The Swan Lake") and other classical music, Dead Can Dance ("Within The Realm Of A Dying Sun"), The Uppsala Jesters (that is; "Juculatores Uppsaliensis" or something like that), Goethes Erben, different house- and rave music, Jean Michelle Jarre, Vangelis, Kraftwerk, Russian folk music, old German and Soviet marches, some opera and possibly some metal music that I have an "emotional time" to - like Paradise Lost (some songs on "Lost Paradise" and their demo tape from 1989 or 1990) and Burzum.

In the recent years there has been a great raise of so called NSBM (National Socialistic Black Metal) bands which base their ideology and music upon NS, Nazi, Pagan/Heathen and Aryan ideas. What is Your opinion about them?

I don't know much about this, but what I do know is that at least these guys have the guts to be different and politically incorrect, unlike the spineless poser-bands in the "Black Metal" scene. At least NSBM has a point other than the brain-dead "sex, drugs & rock'n'roll" attitude in the rest of the metal scene.

There're a lot of rumors in the press about an album called "Sorg", which You have recorded in prison not long ago. Is it true or not?

These are the kind of rumours that made me just want to drop the whole Burzum project. I have never made an album called "Sorg".

Another great rumor is that guitars and drums for "Filosofem" were played and recorded by Fenriz and Nocturno Culto from Darkthrone. Can You confirm or deny this?

Well, who comes up with these rumours anyhow? Why on Earth would Fenriz and Nocturno Culto play the drums and guitars on the "Filosofem" album? The album was recorded in March 1993, in Bergen, and everything was played by me. I even carried all the instruments into the studio myself and recorded the album in solitude.

Talking about "Filosofem", once You mentioned that You had not heard the final version of this album. Haven't You managed to listen to it by now, just for the interest?

As far as I can remember I was very tired of answering questions about what I thought about this or that album, so one time I simply took the easy way out and answered that I hadn't heard the CD version, or something like that, so I couldn't answer his question (it looks like Varg meant by "him" a guy who aske the question - ed.). This was a stupid answer of course, as there is hardly any difference between the mastered version of the recording and the actual printed CD, but I just told him that because I was sick and tired of such questions, and I hoped he and others would see that and stop sending me such questions. I had the final, mastered album on tape in my cell, but not the CD, so obviously I could have answered his question properly if I wanted too. Apparently my stupid answers sometimes creates just as stupid rumours…

Question by Peter Vishnakov from St.-Petersburg, Russia: When You stopped playing metal-related music You explained that the reason was that metal music has its roots in negro music. That is why the last two Burzum albums were composed on synthesizer. But synthesizer was invented in St.-Petersburg, Russia by a Jew - Leo Termen in 1920. The first synthesizer was called "termenvox" (the voice of Termen). How would You comment this?

Comparing an instrument with a music culture is rather odd, I think. It is like comparing letters with languages. I can use Latin letters when I write Russian, and it will still be Russian, right? But if I write another language with Russian letters, it will not be Russian anyhow. See my point? "Eta nje harasjo pitch samnoga vodki!" (It is bad to drink so much vodka - ed.) or "Panjemaesh pa germanskamo?" (Do you understand German? - ed.) is still Russian, even if I use Latin letters! (Well, very poor Russian I guess, but You should be able to see my point). So if I use an instrument made by a Jew to play European music the music will still be European. Or for that sake: these answers are not American, even though I use an American invention - the PC - when I answer the question. Right?

I am able to see the link between classical music and some metal music, but my main objection was and is really that the culture following in the footsteps of metal music is "Negro". The "metal heads" tend to behave like a bunch of "White Niggers", so to speak, with their sex, drugs and rock'n'roll culture.


What do You do now? Have You written any new books/booklets or articles lately? Any publications in magazines? Do You still make researches in European and Aryan mythology and history?

Yeah, I still read books and try to broaden my horizon. I haven't written that many articles lately, actually the only one the last year is the one I sent You some weeks ago, regarding the "Lords Of Chaos". The last three years or so I have been very isolated, for different reasons, and has not been in a situation where I have been able to write that many articles, or done anything else sensible really. Yes, I have written some books, since 1998, but some of them are not worth publishing and others will be included in later works, after they have been translated into English. In theory the first book will be published early next year, and it will be in English by the way. You'll get to know more about that later.

You are not a member of AHF nowadays, are You? How did it happen that You had to leave AHF? What were the reasons to do this? Were You forced to do it or was it Your own decision?

The NHF was persecuted in Norway, by the Antifa/Monitor, who repeatedly wrote that the NHF was neo-Nazi and that leader was Varg Vikernes, and so forth. Even when the NHF told them that Varg Vikernes is not the leader of the NHF or the AHF they just kept on about it. Even the secret police claimed adamantly that I was the leader of the NHF when they interviewed one of the NHF guys (as he tried to get a license to own a 10mm H&K pistol of some sort). He told them I wasn't the leader, but they just ignored him and trusted their own sources instead.

After a while I figured out that it would be interesting to see what these people would do if I wasn't even a member of the NHF. Would they still claim I was the leader? It never mattered if I was a member or not, as I was in prison and incapable of participating in any of their expeditions to old hills forts, or the like, anyhow. For that reason I left the AHF/NHF, to see how the Antifa/Monitor morons and the secret police would do. In practice I have never been a member, so the NHF guys never noticed any difference (in fact I haven't even met half of them), and if I want to write articles for their magazine I can do that anyhow, whether I am a member or not.

The AHF/NHF never asked me to leave and there is no argument between us in any way. I simply left, for the above mentioned reasons.

Question by Helen from Petropavlovsk-Kamchatskiy, Russia: What books are You reading now? How and where do You get them from?

Right now I am reading "Gjennom Lysmuren" (Through the Wall of Light) by Bente Müller, and "Historien om Europe" (The History of Europe) by Karsten Alnæs. I cannot recommend any of them to anybody. The book by Alnæs is - like his other books - very poor. His reflections are so politically correct (ignorant) and boring it is hard not to fall asleep. The other one I have just started on, but it doesn't look good either.

We can go to the library here once a week and ask the librarian to order books from any other library in Norway. Apart from that I sometimes get books from my kind mother, who is a member of a book club, or from friends.

Have You ever read The Book of Veles? What is Your opinion about it?

No I haven't, but I read a review by Sverd in a Norwegian magazine (KultOrg. Skandinavio [Ooops, I have forgotten how they spell that…]) and I would like to read it (this magazine is known as "KulturOrgan Skadinaujo"; see more info here: www.kultorg.com - ed.). The problem is that I haven't found the book yet in any library in Norway. For some weird reason I have problems finding books about Greek mythology lately too…

Question by Sventevith from Kosice, Slovakia: What do You think about Slavonic (Eastern European) nations and their (future) possible place in Europe?

The possible place of Easter European nations in Europe? Have the Eastern European nations ever not had a place in Europe? Or perhaps You are talking about the European Union? If You are talking about the EU I can tell that I am very negative to it, and would never advice anybody to join that thoroughly corrupt, extremely bureaucratic, predominately catholic and utterly chaotic union.

Well, in any case I am generally positive to the Eastern European nations, both the Slavonic nations as well as the Baltic ones, and I can add that I am far more positive to Eastern Europe than I am to Western and Southern Europe. There is more aboriginal European culture in Lithuania, for instance, than there is in all of Western and Southern Europe all put together.

As I'm from Russia I'm interested in Your opinion about Russians and our neighbors - Ukrainians and Byelorussians?

As far as I know Ukraine means something like "by the border", and of course Byelorussia means "white Russia", because there are more blonde people there than in the rest of Russia, so to me You are basically the same - just like Danes, Swedes and Norwegians are basically all the same. And this is supposed to be a compliment to all these nations, as I am very positive to Russian (and Scandinavian) culture and people. Russian women are beautiful, Russian music is beautiful and history tells us that Russians are tough, strong and proud people.

Question by Durbwakh from Russia: Do You agree with the fact that Russians are descendants of ancient Scandinavians - Varangians, as the word "Russia" occurs from the name of Ross/Russ tribes? Should this mean that German/Scandinavian and Russian pagan gods are one and the same, but have different names?

All the European pagan gods are the same, we just call them by different names, like Svarog, Uranos, Wotan and Ó?inn (Ódhinn), or Perun, Zeus, Jupiter, Donar and ?órr (Thórr), and so forth. There are slight differences from one part of Europe to the other, but basically the gods are all the same - and originally they were identical (just like our Info-European languages).

Sure, many Russians have Scandinavian blood, and vice versa. But I do not think the fact that many Scandinavians, mainly Swedes, settled in Russia/Ukraine/Byelorussia in the Viking age has anything to do with the fact that we have common pagan gods. It is very wrong to believe that the Russians didn't have a pagan religion and culture before the Scandinavians came to Your area. Like I said above all the aboriginal tribes in Europe had a common pagan religion, and just like our languages developed over time, so did our paganism.

Another question by Durbwakh from Russia: European nations were descended from Hyperboreans. How do You think who were Hyperboreans descended from?

Well, I wouldn't use the term "Hyperboreans", but I guess that is irrelevant. Obviously I cannot say for sure, but it seems the Hyperboreans, to stick to Your term, came from Atlantis to Europe, when Atlantis was covered with ice, some 80.000 years ago. The ruins of Atlantis most likely lie under the ice of Antarctica (thus it sank into "a sea" of ice), and a natural disaster forced the Hyperboreans to move to other parts of the world (it must be a misprint, because Hyperborea was in the Arctic - ed.). Some places they settled in uninhabited lands, and some places they settled in parts of the world that were inhabited by other races. Some tribes were assimilated by larger populations of other races (like in America, some 10.000-20.000 years ago), others perished, and the only tribe that survived "unpolluted" was the one that ended up in Europe. This tribe is the origin of all the European (that is "white") peoples - and this is of course the tribe I am talking about when I say we all had the same language and religion in the past.

According to the modern researches ancient Aryans came to India from the territory of The North Urals and brought their belief - later called Hinduism. Then they moved to the West and explored Europe and North Africa. Do You see straight connection between Hinduism, Buddhism and German/Scandinavian beliefs?

No, I don't, and I have to tell that the theory regarding the Indo-European "invasion" of Europe is highly dubious. The Aryans were people who came to the Indus valley, alright. They had a European origin and they brought their culture to the Indus valley. After a while they were assimilated by the larger population of natives, and then their high-culture collapsed. In other words the Aryan tribe disappeared due to race mixing. We still see that the highest caste (meaning "colour", by the way!) has some Aryan blood left, as sometimes there are still children born with blue eyes or blonde hair in this caste.

What You are talking about is a theory that there was a migration of Indo-Europeans, or "Aryans", into Europe some 4.000 years ago. They base this theory on the spread of bronze weapons, that is the spread of a certain type of bronze axes (battle axes). This might sound reasonable, but it is actually nonsense. There was no "invasion" into Europe by the Aryans. What we saw was a spread of the bronze technology, that was quickly adopted by all the European (the other "Aryan") people.

The theory of the "Battle Axe People" and their invasion into Europe some 4.000 years ago is actually very silly. We can compare what happened to the spread of feudalism in the Middle Ages, and obviously that was not an invasion of a new and different tribe either - but the spread of a new way to organize society. Nor does it mean that the spread of "Microsoft" all over the world is due to the fact that some American tribe conquered the Earth in the 80-ies and 90-ies, as could be implied by future archaeologists using the same logic trying to explain the worldwide spread of what happened when all the European tribes suddenly began to produce artifacts of bronze. Archaeology is a very inaccurate science and more than often their conclusions are extremely ignorant.

What is Your modern political worldview based upon?


Question by Tetsuro Yoshioka from Japan: What do You think about modern Muslim terrorism?

That's complicated. There are so many sides of that. On one side most people would agree with me when I say that "What goes around, comes around". You harvest what You sow, right? The terrorism the USA is exposed to today is nothing compared to the terror bombing they exposed Germany and Japan to during the last world war, and they targeted civilians just as much as the Muslim terrorists do. The only difference is that the USA was certainly more skilled and competent at mass murdering civilians that these "towel heads" can ever dream of becoming.

On the other hand, what on Earth do these Muslims think they are? Their very survival actually depends on the good-will of the so-called Western world. They should be happy the Western world doesn't decide to wipe them out entirely, and considering this possibility, provoking the USA with terror isn't a very good idea. It is not like they haven't wiped out people before (Native Americans, for instance). We already see people who argue that we should carpet bomb Mecca every time one of those Muslims fart in the wrong direction. We also see people who argue that we should just let Israel do whatever they want to "down there". Why should we care what happens to them when these Muslims threaten the lives of our children? The Arabs have no rights to that area anyhow: the Mesopotamian/Babylonian, Egyptian and Assyrian cultures weren't built by the Arabs. The Arabs came to these areas from the Saudi Peninsula in the VIIth century, that is hundreds of years after the last of the above mentioned Ancient cultures had ceased to exist in the first place. At least the Israelis have historical rights down there, even I can see that. Calling the Arabs "Palestinians" doesn't change that fact.

The problem with this terror is not the threat from terror, but how governments in the Western world react to it. They use it as an excuse to suppress their own citizens, with all kinds of surveillance and other security measures. They basically introduce a police state where the freedom of the citizens are dramatically reduced. What they should do, of course, would be to remove the threat of terror completely by throwing out all the Muslims. What on Earth are they doing here anyway?

Well, I can tell You what they are doing here: they practice their religion. Islam is an imperialistic religion and they know that the only way they can gain a world domination is by moving their followers to civilized, powerful and rich countries en masse. They breed like rats and if we let them stay it is just a matter of time before they become majority, and when that happens they don't need military power to gain control. Our weak and tolerant "democracy" makes sure of that. In Oslo 40% of all the children are such immigrants already!

In my paranoid mind it seems like somebody are letting these Muslims come and stay solely because they want to hold us hostage, so to speak. Would anybody fear Muslim terror if there were no Muslims in our own countries? Of course not! They are a threat solely because they live amongst us. Now who benefits from that? Israel certainly does, as more and more of us are inclined to let the Israelis do as they will "down there", because we are afraid of or grow tired of the Muslim scum (like always, I use very diplomatic terms…). Also, the rulers in the Western world benefit from this. They are able to secure their power, suppress their opposition and everybody who disagree with them, using the terror threat as an excuse to do it.

So, modern Muslim terrorism is a scam and we can and should solve this problem by throwing out all the Muslims from their countries - and give them a bullet in the back of their head if they should refuse to go voluntary (or if they don't get out fast enough). If we should decide to we can always just take whatever we want, like oil, from this scum anyhow - like Japan did in 1941 in Indonesia and the USA in Iraq recently. What are they going to do about it anyhow, throw rocks at us? They can fight back only if we let them. Read whatever You want to into that comment…

When that is done we should throw the Turks out of Europe too, and give the area back to the Greeks… (Is that what we call "warmongering"? if we didn't know any better somebody might think I was British…).

Question by Gert Pedersen & his friend from Esbjerg, Denmark: How do You see modern Scandinavian society? If You could what would You change?

The modern Scandinavian society? It is pretty messed up, that's for sure, but all the problems are mainly a result of the non-European immigrants. There is so much to say about this I wouldn't know where to start really. As for what I would change I can tell that I would like to see Denmark and Sweden leave the European Union. Ironically it seems the Danish and Swedish population has agreed with me in this context for quite a while, but they are still members. (So much for "democracy".) The three Scandinavian countries should simply become one, Scandinavia. Norway has oil and fish, Sweden has advanced technology, industry and science and Denmark has… well, pardon my ignorance, but what do You have?... In any case, a united Scandinavia would be a dream scenario.

There is much that needed to be changed if we wish our civilization to survive. First of all we would need to get rid of all the non-European immigrants. I have no intent to insult South Europeans, but take a look at what race mixing has done to them! If it hadn't been for race mixing (and Christianity) Greece for instance would still be producing brilliant philosophers and a beautiful culture. What is left of that today? You even have to look hard to find an operational toilet when you're down there. There is so much crime down there any normal Scandinavian would fall off his chair in amazement had somebody told him just how bad it is. And we all know what a "blessing" the Turkish heritage has left to the rest of the Balkans too. I wouldn't exactly call it the most harmonious area in the world. So first of all we would need a "European only" Scandinavia. European blood and European (i.e. pagan) religion. When that had been done we wouldn't have that many other problems to solve really… the rest would have come natural.

With that said I have to admit that compared to the rest of the world Scandinavia is a paradise, even today. Like Western Europe we have a good economy and like Eastern Europe we have a rich and strong European culture - and very nice girls…


Question by Zoltan Fekete from Hungary: Are You planning to write a book of memoirs about the past, the years in prison and the future?


I know You are much inspired by European and Slavonic folk music. Do You have any plans for composing such music and releasing it in the future? Or maybe have You already had a chance to compose some new material?

Well, I have made some new material, but it is not folk music. Nor do I plan to make folk music. I love that type of music, but somehow I don't see any reason to play such music myself. If I do something it has to be something special, something I cannot get from any other band, if You see what I mean? I don't think I have anything to contribute to folk music anyhow, and they do very well without me.

This actually touches the problem with Black Metal. If only all these guys playing in the bands had been satisfied by listening to Black Metal instead of having to form their own bands too. Why do everybody have to play themselves? Isn't listening to music enough? If you don't make something that is different from the rest there is no point in making music… or so I think.

What are Your plans for the nearest future?

Apart from the computer programming, translating books and things like that I plan to buy a small farm somewhere in Norway and live there when I get out - in two years time, I guess. By doing that I will have a place where I can write books, make music if I like, enjoy nature, get some peace and quiet and so forth. I like manual labour, so maintaining buildings and stuff like that is really my cup of tea. Live a health life, basically. Nothing special I guess.

If anybody would like to ask you about anything personally, how can he/she get in touch with you?

Well, if anybody would want to ask me about something personal he/she could write me a letter. The address is:

Varg Vikernes
Trondheim Fengsel
Nermarka 2, N-7047
Trondheim, Norway

I only reply to serious letters though, and if they start with some "Hail Satan" comment or anything like that, they just end up in the trash bin right away, before I even read them. And I guess that if anybody have any questions they could ask You to send them to me, but that would be up to You. What do You mean by "personal" questions anyway?... I thought some of these questions were kind of personal… (it looks like Varg misunderstood me here: I didn't mean questions about his personality, but questions that somebody would like to ask himself/herself - ed.)

Varg Vikernes
Trondheim, Norway
12th August 2004

28 10 2004





27 10 2004

ENSLAVED: The Greatest in Norway!



A reporter from the Norwegian newspaper Bergensavisen recently accompanied extreme metallers ENSLAVED on a fishing trip in Norway.

Fishing is ENSLAVED's favorite leisure activity.

"My personal record is a 113-kilo (appr. 230 pounds) fish," stated drummer Cato Bekkevold. "It took me 20 minutes before I had it in the boat."

But that is a record to be beaten in January when Cato is scheduled to go fishing in the Atlantic Ocean. And the goal is to catch a 200-kilo tuna fish. Bekkevold is also a regular contributor to fishing magazines.

ENSLAVED guitarist Ivar Peersen is also a notorious fisherman.

"When ENSLAVED needed a new drummer and Cato's name came up I must admit that I knew that he was not only a good drummer, but also an excellent fisherman," Ivar said.

"We are not into the whole image thing anymore, so beeing portrayed as fishermen is really OK," said ENSLAVED frontman Grutle Kjellson.

27 10 2004


"Picture of the Week" in Life, May 12, 1947.

It's caption read:

"On May Day, just after leaving her fiancé, 23-year-old Evelyn McHale wrote a note.

'He is much better off without me ... I wouldn't make a good wife for anybody,' she wrote.

Then she crossed it out. She went to the observation platform of the Empire State Building. Through the mist she gazed at the street, 86 floors below.

Then she jumped.

In her desperate determination she leaped clear of the setbacks and hit a United Nations limousine parked at the curb.

Across the street photography student Robert Wiles heard an explosive crash. Just four minutes after Evelyn McHale's death Wiles got this picture of death's violence and its composure."

27 10 2004



CAVEMAN SKULL mix MP3CDRs emerging soon containing the full 16+hrs playlists of our last 2 aktions. 100 sets available at cost from AB with a silkscreened patch.

26 10 2004

left panel from “0))) (indicating enormous sound pressure)” (2004)
Matthew Greene
0))) (indicating enormous sound pressure) (2004)
painting, acrylic, collage, graphite on canvas
triptych, each panel H, 116 x W, 48 inches, total H,
116 x W, 144 inches

Matthew GREENE: she who casts the darkest shadow on our dreams

Dates: October 30 - December 18, 2004

Opening: reception for artist, Saturday, October 30th, 2004, 6 to 9 pm
Gallery Hours: Wed - Saturday, noon to 6 pm

Rotten and Blissful: The Forests of Matthew Greene

From Blake's visionary world, to Baudelaire's opium-induced dreams, to James Ensor's monster-clouded spectacles, there are endless examples of artists and writers who have derived creative inspiration as a result of their hallucinatory breaks from consensual reality. The notion of the waking dream isn't new. But to say that it's old, a well-traveled road, might imply that the poignant-and crucial-possession of an interior fantasy life, and the impulse to make art that expresses it in some form, is something that goes in or out of fashion. Matt Greene doesn't care about fashion, and neither should you. Zizek asserts that what distinguishes people from one another more than any other quality is their fantasies. Greene's manifest as phantasmic windows, built up in Byzantine layers of color and glaze, to reveal a casually linked cosmos of dripping, macabre and voluptuous woodland scenes.

Greene culls from many sources, including music (the heavier the better), botany, mycology, horror films, the wide world of fetish fixations, and an expansive vein of literature. Like the Symbolists, he delves into themes of mysticism, androgyny, decadence and morbidity. In the Baudelairean sense, this cosmos features a shifting cult of images, which promulgate a subtle but radical line of thinking: A realm where death, life, gender, rot and reverie are tangled together like tree roots. His paintings are an ethos and an entheogen-a fantasia that elicits very real reactions. They might give you nightmares, or make you high. In the Rothko school of visceral contemplation, Greene's paintings pulse and then linger, flooding a viewer's mind like trace die.

Each of Greene's landscape compositions is a unique permutation of his quasi-kaleidoscopic system of multiple horizons and nonlinear perspective. Giant trees (or sometimes mushrooms) are foregrounded, figures dwarfed in prodigious walls of earth and forest, a twisted take on the strategies of German Romantics like Caspar David Friedrich and Albrecht Altdorfer. Alternatively, elements are agglutinated into organically intermeshed orbs, with glints of trompe l'oeil that are quickly snuffed out by too many depths, bursting and receding like diseased and proliferating organisms. The effect: vision tessellated into non-cohesive components, pleasantly impaired.

Greene has an unkillable gift for drawing, and in many of the landscape paintings, figures are first drawn on paper, then pasted onto the canvas like decoupage-a term that seems apt given the artist's use of botanical imagery (and particularly plants with trance-inducing properties or mystical significance). Like the orgiastic maenads in Greek mythology, Greene's nymphs engage in various acts of coitus, playfully attending to themselves and one another. (As Paul Thek wrote, “To fuck someone helps to mold them.”) In 0))) (Indicating Enormous Sound Pressure), girls shower under a Moreau-esque waterfall; I can't help but think of Alan Warner's Morvern Callar, who hikes into the woods, buries her boyfriend's severed head, takes a skinny-dip and then suns herself on a rock listening to Can's Future Days. Dressed in bustiers and garters, teddies, bikinis, or diaphanous and lacy peignoirs, Greene's wide-eyed ultra-femmes resemble glam rock starlets, or Warhol's drag retinue-they populate in a broad spectrum of genders, a lusty tribe that went camping on the island of Lemnos and decided to stay. They preen and pose, some bending over and spreading, an act that seems not louche, but a wholesome and healthy sort of exhibitionism. Sweet (but self-possessed) surrender.

We Beheld the Holograph of our Second Selves (Why Did You Eat Us?) is an updated version of the classic Victorian fairy painting, opulently colored but without the esoteric froufrou of the genre. Greene's toadstools, the poppy-red, white-spotted caps of amanita muscaria, hover as bright and weightless as the phosphenes that appear behind pressed eyelids, or the solarization effects in late '60s sci-fi films. Fungus, a key element in the artist's matrix of ideas, is neither plant nor animal, but a unique life form that gives us bread, and wine, and comes in 36,000 genders. A. muscaria apparently tastes like liquid fire; it's also a hallucinogen. In We Beheld the Holograph, figures emerge dreamlike from a darkling field: a topless (and headless) woman floats in a white cotton apron, an uncanny resemblance to the bare-breasted figure in Jean-Jacque Lebel's 1964 collage Miss America, as if the father of Le Happening sprinkled sand on a younger generation of originals. In the center of the canvas, a leggy female figure wears a red polka dot shift, the same hue and pattern as the toadstool caps. This fairy has traded in her bell-shaped dress for a garment that ends at the top of the thigh. Here and elsewhere, Greene's rendering of garters and stockings sing praises to the Pierre Molinier church of leg worship.

Greene is interested in creating a synesthesiac/phenomenological nexus of music and color and form. A guitar neck juts from the central tree in Lair of the Hessians (a title that refers to the convoluted lineage by which the name given to German mercenaries who fought with the British against American revolutionaries was adapted as a moniker-Hessian shortened to hesher-for small-town stoners). In the center of By the Lust of the Basidiomycetes is a transparent, tetrahedron, its lines painted a lurid red. This motif reappears from painting to painting-ghostly, monolithic shapes half-melted in mist, like the churches in Caspar David Friedrich landscapes. But Greene's delineations are a different sort of architectonic tradition: Marshall Stacks-the de rigueur hundred-watt rock setup. Amplifiers are the vessel through which sound flows, and Greene considers them perhaps the feminine counterpoint to the masculine, if not overtly phallic, electric guitar. What he's listening to while he paints is a guiding influence as he builds up organic structures on the canvas, and the results are images that seem imbued with infrasonic effects-homages to the transformative power of music.

Greene ideates on a world where phyla are no longer crammed into a Linnaean hierarchy with humans at the top. Fungus might even be the ruler in this kingdom. Life is not prefaced over death or decomposition, mushrooms spawn people, and everybody-plants, animals, toadstools-mates. In JK Huysman's Against Nature, Des Essientes dreams of terrifying flower-women engulfing him; he visits the greenhouses on the Avenue de Chatillon and returns, “exhausted, his purse empty, filled with wonder at the vegetative follies he had seen . . . magnificent and outlandish beds of flowers.” But like Baudelaire, who asserted that nature is nothing and teaches nothing, Des Essientes perceives artifice and adornment, precious gems and interior decoration, as the true nobility of the human soul. Which is where Matt Greene splits off from the Symbolists. He shares their predilection for artifice, illustrated in the vast array of meticulously drawn shoes on his fairies' feet: stilettos reminiscent of the models' heels on early Roxy Music album covers, or the glam platforms in artist Luciano Castelli's series His Majesty the Queen. But Greene merges glamour with an awe for nature, for old growth forests, the complex schema of ecosystems, curious and enchanting fungi that thrive on darkness and decay. Perhaps if Des Essientes had accepted natural beauty on its own terms, the flower women might not have threatened to engulf him. Or if they did, he would have enjoyed it.

In 1963 Henri Michaux made a film produced by Sandoz Laboratories (where the first LSD was famously synthesized), with the goal of depicting a visionary world with the elastic dimensions of a mescaline trip. Michaux was horrified by the results. In a public denouncement he said, “It is impossible to make a film about mescaline visions . . . [these images] should be more dazzling, more unstable, more subtle, more labile, more ungraspable, more oscillating, more trembling, more torturing, more swarming, infinitely more charged, more intensely beautiful, more dreadfully colored, more aggressive, more stupid, more strange.” Michaux's descriptions of what the film failed to convey seem to uncannily describe not only his own drawings, but the artworks of Matt Greene. Greene's polytechnic methodology deranges sense data into a fixed plasm-an anachronic, anti-Cartesian womb, where evanescence and mordancy, Adam and Eve, spleen and ideal, Leonardo and Led Zeppelin, sacred and profane, runnel and leak over exquisite (and horrible) terrain. If the sensibility here is dark, tonally or emotionally, it is a refuge against the worst kind of darkness: the dark night of nihilistic consumerism, pointless efficiency, and a life devoid of transcendence.

Greene's susurrating message, a potential cure for those who can hear it: Drink me.

-Rachel Kushner

Matt Greene (b. 1972) lives and works in Los Angeles. In the spring 2005, he will have his European debut at Modern Art Inc., London. Recent exhibitions include “Drunk vs. Stoned” at Gavin Brown enterprises, NYC; “Obsession” at Diana Stigter Gallery, Amsterdam; Axxxpresssunizm at Vilma Gold, London; Noctambule at Fondation Dosne-Biblioteque Thiers (D'Amelio Terras), Paris; Scream at Anton Kern Gallery, NYC (traveled to the Moore Space, Miami); and, “lovesongs for assholes/the sixty-edged sword of the androgyne” with Banks Violette at peres projects, Los Angeles. In January 2004, Dennis Cooper presented Matt Greene in the First Take section of Artforum. His work has also been reviewed in The New York Times, FlashArt, The Village Voice and various other publications.

Fully illustrated catalogue US$20. Please contact info@peres-projects.com for more information.

Click here for a gallery of images from this exhibit (29 images)

26 10 2004




RIP to one of the axis of real music in the world. There really is no comparison at all.

Thanks for the CARCASS Peel Sessions at age 15.

Legendary radio DJ John Peel dies

Veteran BBC broadcaster John Peel has died at the age of 65, while on holiday in Peru.

Peel, whose radio career spanned 40 years, was on a working holiday in the city of Cuzco with his wife Sheila when he suffered a heart attack.

He was BBC Radio 1's longest-serving DJ and in recent years had also presented Home Truths on Radio 4.

Radio 1 controller Andy Parfitt said Peel's contribution to modern music and culture was "immeasurable".

'Hugely missed'

He added: "John Peel was a broadcasting legend. I am deeply saddened by his death as are all who work at Radio 1. "John's influence has towered over the development of popular music for nearly four decades.

"John Peel stayed true to what mattered most in music"—Pete, Nottingham, UK

Hopeful bands all over the world sent their demo tapes to John knowing that he really cared.

"His commitment and passion for new music only grew stronger over the years. In fact, when I last saw him he was engaged in a lively debate with his fellow DJs over the state of new music today

"He will be hugely missed."

Mr Parfitt told Radio 1's Newsbeat that Peel had been on a holiday of a lifetime when he died.


He added: "He had gone on holiday with Sheila to a place where he had always wanted to go."

BBC director of radio and music Jenny Abramsky said Peel was "simply irreplaceable".

"Everyone at BBC Radio is devastated by the news. Our hearts go out to Sheila and his children," she said.

Radio 1 DJ Jo Whiley, who presented coverage of the Glastonbury Festival with Peel, paid tribute to her colleague and close friend.

She said: "John was simply one of my favourite men in the whole world - as a music fan and presenter he was simply an inspiration."

Mainstream music

Peel was born in Heswall, near Liverpool, and after completing his military service in Britain in 1962, went to the US where he began working for a radio station in Dallas.

"It was because of him I got to hear some of the most obscure but influential music I ever heard"—James Dean Bradfield, Manic Street Preachers

He joined Radio 1 at the launch in 1967, and established himself with the late night programme Top Gear.

He became one of the first DJs to give exposure to punk, reggae, hip-hop, before they crossed over into the mainstream.

Peel's programme built up a reputation around the world, and in addition to his Radio 1 programme, he could also be heard on the BBC's World Service.

James Dean Bradfield, lead singer of the Manic Street Preachers, paid tribute to Peel.

He told BBC News Online: "It was because of him I got to hear some of the most obscure but influential music I ever heard.

"He was a lifeline to hearing music I would never have heard otherwise. The service he provided was getting to hear music that you couldn't buy in Cardiff. He was a portal to a whole new world."

"He always had his finger on the pulse of the music industry"— Michael Bradley, Undertones

Gruff Rhys, of the Super Furry Animals, said the band was in "shock".

"He was very inclusive of all kinds of music, very open-minded, and introduced a lot of diverse music to the public.

"He championed Welsh language music and for years was the only DJ on national radio who was willing to embrace it.

"He was very wary of trends such as Britpop, he was introducing people to drum 'n' bass and techno, things that were going on outside of the media."

Favourite record

After announcing Peel's death on Radio 1, the station played his favourite song, Teenage Kicks, by the Undertones.

Michael Bradley, bass player for the Undertones, spoke of his shock on learning of Peel's death.

He said: "He was a very funny, very warm man and we will always be grateful for what he did for The Undertones.

"Personally, I find it incredible what he did for the band and we always got huge pride out of the fact that he said Teenage Kicks was his favourite single.

"He always had his finger on the pulse of the music industry and the fact that Radio 1 played the Undertones, the White Stripes and the Strokes today showed just how relevant he remained throughout his career."

Obituary: John Peel

The broadcaster, John Peel, was the champion of British rock music. For nearly 40 years, his late-night Radio 1 programme led the way in promoting new acts, from David Bowie, through Joy Division to the White Stripes.

John Peel was, at first sight, the antithesis of many of the bands he loved. Balding, bearded, softly - if hilariously - spoken, he was more like a favourite uncle than a rock fan.

Yet Peel's uncompromising encouragement of new talent transformed the face of music all the way from hippy to house.

He was born John Robert Parker Ravenscoft in Heswall, near Liverpool, in 1939. The son of the owner of a cotton mill, his childhood was blighted by his distant parents and he was brought up mostly by a nanny.

He attended Shrewsbury public school, which he hated, an ordeal which was offset by the moment when he first heard Elvis Presley singing Heartbreak Hotel.

"Everything changed when I heard Elvis," he later reflected. "Where there had been nothing there was suddenly something."

After National Service between 1957 and 1959 he went to America. With Beatlemania in full swing, John Peel and his Liverpudlian connections proved irresistible and he soon became a DJ for WRR radio in Dallas.

Returning to England in 1967, he joined the pirate station, Radio London, before transferring to the BBC's new national pop channel, Radio 1. He was to remain there for the rest of his life, the only survivor of Radio 1's first line-up.

Changing styles

Right from the outset, Peel changed the rules. He played every track without interruption, to the delight of those wishing to tape his show, while providing a witty and knowledgeable running commentary, seemingly a million miles away from the transatlantic platitudes of many of his colleagues.

In the early days Peel championed acts like Marc Bolan, David Bowie and Captain Beefheart, as he did throughout his career, by giving them studio-time to record legendary "Peel sessions".

But, in the mid-1970s, John Peel moved away from the mainstream rock of Jimi Hendrix and The Who to a new and radical sound, punk.

Bands like the Sex Pistols and the Clash paved the way for new Peel discoveries like Joy Division and the Undertones, whose Teenage Kicks was his all-time favourite single.

The 1980s brought further joy, most notably in the form of The Fall and The Smiths, both refreshing counterblasts to the increasingly bland fare of the charts.

More recently, Peel had branched-out, presenting BBC Radio 4's Home Truths, an eclectic programme about family life, and provided typically droll interjections for BBC TV's Grumpy Old Men.

And he continued to remain at the cutting-edge of popular taste, featuring 'world' music and rap alongside good old-fashioned rock 'n' roll.

A lifelong fan of the Archers and a dedicated follower of Liverpool football club, he lived in Suffolk with his wife Sheila, affectionately known as The Pig.

from BBC.com

25 10 2004


Daniel Menche Japan Tour December 2004 Dates

12/12 - Aoyama CAY, Tokyo
Daniel Menche, Chop Shop, Bastard Noise, Hair Stylistics, Hospital, Guilty Connector, 2000 Nenmondai

12/17 - Doog Cafe Independent, Kyoto
Daniel Menche, Bastard Noise, Chop Shop

12/19 - Shikaku, Gunma
Daniel Menche, Bastard Noise, Magmax

12/21 - Shinjuku DOM, Tokyo
Bastard Noise, Daniel Menche+Kiyoshi Mizutani, MSBR+Government Alpha

<< previous | 1 | 2 | 3 | 4 |


ideologic.org | ©2019