12 01 2006
#1032

TURBUND STURMWERK
By Tyler Davis
11/98

I first heard of Turbund Sturmwerk when I received their LP from L.O.K.I. Foundation in Germany. It blew me away. I couldn’t read a single thing on the record or in the accompanying booklet but I new that it certainly did simulate my neurological components and my mind went wild- for the visual references certainly were evocative and the few words which I could decipher were inciting. It literally provoked a physiological response! I had to know more. I was lucky enough to track ML down and ask him some questions- which come across as rather antagonistic- admittedly. I wanted to avoid minimalistic responses- ha! I was more than pleased with the response and hope that if you have not yet heard Turbund’s forceful songs that you may be now convinced of their awesome power. The music is every bit as heady as his words. The LP has now been re-issued by Cold Spring from the UK and includes one extra track and a very dense manifesto.

When was Turbund Sturmwerk created and what led to it’s conception?
In 1992 we formed Organisation Tyr, released the first issue of our newsletter ‘Sturmgeweiht’ and tried to organize a mulitmedia Artwert performance focusing on the methods and styles of totalitarian propaganda, which was thought to happen in Nurnberg- the town of the yearly rallies of the National Socialist Party of the Third Reich. The event was canceled by certain instances that were obviously afraid of getting confronted with a form of artistic expression they could not understand and felt “dangerous” in any respect.
Turbund emerged from that experience as we tried to bundle the weak forces of the “counterculture” to get offensive again after that defeat. Actually things proceeded in a positive direction after we decided to release the soundwork for the planned performance of tape, supplemented with a number of contributions by befriended musicians and artists trying to express their solidarity against dumb acts of censorship. In spite of the negligible edition of about 100 copies there was some enthusiastic international feedback on that release. So we decided to establish a sonic propaganda unit called Turbund Sturmwerk.

How did you organize concepts and apply them?
First: It is important to understand that we don’t feel ourselves to be “artists” or “musicians” primarily, although we try to use the concept of “art” for strategical and pragmatic reasons, as our aims are actually to find on art a mental and non-material scale. Approaching people in this way seems to be advantageous due to the useful general settings of the reception of “art”. We were and are no formalists and believe in creativity as a concept rooted in individual talents that is to be advance and to some extent even forced by advantage from the individual skills and talents of those associated to from Turbund projections from subjects that must not necessarily fit to the personal tastes of the involved, if functional for Turbund Aesthetics.
For example, in reaction to some absurd accusations claiming we were Nazi Skinheads in East Germany glorifying violence and heroism were what we decided to use as forbidden “fascist” symbols and iconography in the artwork for our first cassette release, which was also featuring as adapted, pretty suggestive hymn to Stalin and an ambiguous interpretation of Jura Soyfer’s Dachau camp song, for example, to put emphasis of the fact that the reception of art demands stronger criteria than morals...

Why manifestos and declamations?
Because we fight the concept of “artistic freedom” and “l’art pou l’art”, and also the postmodern illusion of “anything goes”, which seems of special importance to us as we are aware of the fact that Turbund Sturmwerk is partly touching the field of youth subculture, may it be called “underground”, “extreme” or “post-industrial”. Therefore we appreciate any chance to document our development and to give a basis for internal and external discussion. We also feel the danger that our method might be understood as sheer eclecticism by people with a more intellectual than emotional approach. Basically we are interested in attracting different people by different means, therefore we prefer projections attractive to various stages of consciousness and mentality. By the way, people seriously interested in our work will learn that we mainly comment on our methods, not any concrete projection, which should of course be able to stand by its own.
What is more, to close this subject with a delicate confession, some of the Turbund declamations don’t work in the just alluded context of aesthetics as a functional product itself...

An illustrious musical history. Please tell me about it and the variations, techniques, approaches and desired outcomes.
This question seems not relevant to us as we don’t feel a valid interest to be esteemed musicians. On the approaches and desired outcomes of the cassette release and the album we have already spoken. As for the sound of the 7” we have to state that it resulted from our first contact with the possibilities of harddisk recording which turned out to be very promising, also with regards to future projections.

How is your work reflective of an outward view of life and it’s inherent possibilities?
Are there any possibilities? We sense the outside world as generally hostile- and certainly sick and degenerated. To gain and keep a sane and stabile mental condition, you have to develop the faculty we describe as “Wahrenhmungshygiene” i.e. “hygiene of perception”, what must not be confused with partial perception or wishful thinking, as it refers to a self discipline and genuine- if you want to put it this way: soldierlike- point of view which is one-sided by purpose.

Is outside influence an inevitable consequence of evolution, and conversely a de-purification process?
Not necessarily.

Are you derivative solely of cultural implications?
Not at all if we think of the profane meaning the term “culture” has today- but yes, if one is aware of the originally transcendental coherence of all culture which gets obvious by reflecting the function of religious cults for evolution.

By incorporating foreign concepts into your aesthetic portrait are you not guilty of a form of miscegenation of thought?
Let’s make clear first the term of “guilt” is not of any importance to Turbund Aesthetics. However, there exists a certain materialistic kind of racial theory- like those that gained influence in the Third Reich, for example,- that we don’t feel relevant for our work. Speaking of “miscegenation of thought” seems to imply another approach, but as we are not sure what you mean with “incorporating foreign concepts” we are only able to give a theoretical answer for the moment.
Using the term “race” for example speaks of something like a spiritual coherence, a mental archetype not attached to a single race but to certain individuals with a common state of mind that probably even grew from a common origin. If your question alluded to the presentation of Turbund Sturmwerk that similar types of warrior ethics are still latent in different races to a certain extent. this might gain special importance if you are aware of the fact that Shintoism in cult and religion contains many elements comparable to Northern paganism, even an interesting equivalent to Tyr and Thor and therefore seems to be of Iranian/ Aryan and Slavo-Finnish origin in fact.(That is what I was alluding to- B)

Turbund aesthetics mirror the resources. Of what value is this to new developments in the psyche, or the culture, when viewed panoramically?
That depends on the mental and psychic potential of those who become recipients and have to turn the resources into a forum and a workpiece of new values.

Comments or thoughts on Germany’s paranoid forms of censorship in lieu of it’s role in the Second World War?
Not really- there will always be people that stand for their opinion and their experiences under any circumstances and as such will exhaust themselves as they insist on their illusionary “right” of free speech in a very naive way which we feel is not relevant.

What cause did you have to utilize George Lincoln Rockwell’s voice on your cassette release?
We utilized his voice as one document amongst others within the general context of propaganda because we liked the effect, which seems about the most common reason to use something.

You mention that death and (re)creation are the central themes of the LP (and re-issue on CD, ironically enough). Can you explain? Thematically how does the image on the cover adhere to this concept?
For the cover we used a modification of an original drawing from the trenches of World War II, showing a German soldier with arms spread hanging in barbed wire, by artist unknown. We hoped that some people might feel the association to Hang-Tyr, the Nordic correspondence to the idea “crucified God”, which alludes to Odin’s self sacrifice “at the cold, wind chilled tree” described in the Eddas. The name “Turbund” refers to “Tyr”, too. In German mythology Tyr also stands for “Teur und Tor(door/entry) to initiation/higher knowledge, based on self-discipline which points to something that could be described as mental and spiritual rebirth. To give a key hint in the LP’s booklet we frankly added the symbol of the Tyr rune to this front scenario and declared:
“Tyr, the young god of the sword and the sun, is son of Wodan the reborn, who, after the self-sacrifice of his father, Hanga-Tyr, drops back rejuvenated from the wind-chilled tree into matter. Such the rune of Tyr indicates that all have to follow the eternal circle of life, getting ‘crucified’ into the material world, but that we are able to overcome the sting of death if we consider our spiritual origin.” The expresses the essential.

“Neurosemiotic marching tunes”?
This expression reflects the functional aspects of the Turbund Sturmwerk soundwork presented on the LP which was meant to arise a certain oscillation of the warrior soul as a psychic archetype. It also refers to the historical meaning of marching music which was thought to keep step and encourage for coming battles. Being aware of the coming fights of blood and soul already approaching on the horizons we try to offer some kind of emotional force from within...

Your document in the new CD re-issue implies that people pick up what is presented to them, to rework and re-evolve. Do you think “the masses” want to or will eventually embrace your presented aesthetics, which are in themselves nostalgic employments or sentimentalities?
Be assured that we don’t feel ourselves to be avant-garde of a political aesthetical mass movement! We don’t speak of “the masses” as a sociological political corporation but as an undefined neurological entity emerging as a complex of individual approaches to our projections, trying to describe this potentiality to mark aesthetics with the stamp of orientation. According to experiences there are people reworking and re-evolving the presented resources on a practical and dynamic level, some of them even producing an orientation of their own and presenting it on a more than individual scale. We feel the results- even if they turn out to emerge from a mental attitude we cannot say- to be consequences of the reception of Turbund Aesthetics and in congruence with our projections.
By the way, we disagree with a point of view that judges Turbund projections as “nostalgic employments” or “sentimentalities” as they mean a functional form of applied aesthetics.

Does Turbund Sturmwerk perform live?
As already stated we don’t understand ourselves as musicians- and as we feel no urge towards exhibitionism in any form there is no necessity to perform “live” at the moment.

The organic versus the synthetic?
You lose either way

How do the themes present on your website reconcile themselves into a cohesive unit?
As far as they document our interests, our influences and subjects we attach value to. In the first place it is a public collection of information we provided in the “Sturmgeweiht” newsletter. The multitude of different themes results from our far-reaching interests and aesthetical experience. We claim the right to represent all subjects and contents that appear interesting or relevant in any form according to our approach. You might even force a connection, as above all certain ways of thinking and acting against current forms of an increasing decadent but dominating western mass culture, artificial ideologies and their origins are concerned.

To what extent do you tip your helmet to these ideas and histories? To what extent do you honor the past and look toward the future?
Honestly spoken we don’t wear helmets at all... Obviously we face times of decay but want to flee from sheer sentimentalities or transfigurations of a “Golden Age” as we feel it is too late for reaction and conservatism.

Does humor have any place in your work?
It would be quite easy and actually not quite wrong to affirm this question, especially since it appears to be sophisticated and a sign of a developed consciousness not to take yourself too seriously and to be able to sometimes have a good laugh at yourself. However, in public we leave these rituals to stand-up comedians which have to make a living out of it. Our kind of humor could rather be described as “sarcasm”, although we prefer to label it “irony”. But, it is anyway seldom perceived. For those who attach value to humor we recommend joining the Church of Satan, if still existent.

Can you prophecy the future of Turbund Sturmwerk or does chance work it’s folly?
We don’t care much about categories like “chance” and therefore leave the prophecies to those who do.

!!!!!!!!!!!!!!Turbund Sturmwerk adress here along with web site info, I think.!!!!!!!!!!!!!!!!!!!!

12 01 2006
#1031

GENOCIDE ORGAN
11/98
by Tyler Davis

I don’t know anyone who has seen an interview with Genocide Organ. When I asked them if they would like to participate I didn’t even expect the question to be acknowledged. To my surprise Klaus seemed eager enough, so I jumped on the chance. Since the initial interview I have tried to explore a few of the answers to a fuller extent, but my understanding is that the rest of the band isn’t too interested.
For those of you who have never heard of this band I would say that they are one of the few truly outstanding purveyors of industrial noise and long have been. Their offering, ‘Remember’, a double LP set, is an ode to the band’s history and comes in a stunning package reminiscent of the older 78’s, housed in a thick binder.
I would think it safe to say that Genocide Organ has influenced a generation.

Why the vast silence from Genocide Organ with regards to interviews, and why the change in tactics as of late?
We stopped being interested in reading interviews of other artists. Nobody really said something interesting, it seemed that everything was said in the period of the old school industrial movement with SPK; TG... I myself prefer interviews done and presented in the style of the Re-Search books. This has some immortal feeling. We also thought about old Machiavelli’s slogan: “What is worse than the spoken word is the written word in the hand of your enemies, written words are never give out of your hands, nothing can convict you easier than them.” We now changed our behavior because we decide what information we give and the best way to get information is to give some. We never say what we think, and we never believe what we say, and if we tell the truth by accident, we hide it under so many lies that it is difficult to find out. By the way, time has changed, lots of new things came up to talk about, unfortunately we are never asked about them.

GO has a fairly large roster in terms of members. How much does each person contribute?
Each of us is from a different environment it seems. We’re quite different in attitude and output but altogether we’re one. D.A.X. is the most educated of us in classic instruments. Doc M Riot is responsible for live and studio mixing and video arts. R. Freisler is singer and performer. I am doing most of the tracks and studio tracks and I’m doing vocals and performance on stage. We all share our opinions and discuss every step. It is possible that for months it is just me acting as a musician but when the time of release comes close we meet and overwork the stuff.

How have you seen GO change over the years and has this followed a planned course or has it been directed by some larger force?
The only change I see is that in the beginning we were more open and careless with our views we told everybody what we stand for, we spread flyers in our hometown, for example. This was the very beginning, later after our houses were raided by special police forces, we used double meaning as reinsurance. Everything is as it is and nothing is as it should be. We also became more involved in live performing. We always try to do a show which has the character of a realistic horror scenario with some basic slogans and aggressive outbursts all based on life.

GO has developed into a serious cult act with records fetching insane prices of money. Why do you think this is and what does it say about this genre of noise?
We never intended to be a cult act. We’re just doing our thing. The early records were all made in that limitation because we thought there would only be 200-300 people around who are interested in us. It was more or less made for us, we also had only a few money. We were at school at that time. I always say it’s up to them if they pay that much. It’s their fault. I myself wait years to get a record I want, and then I get it for a reasonable price. I’ll be involved in the scene for the next 100 years and one day the lucky day will come.

Out of what did your sound generate and what originally inspired you to pursue creating the sounds?
Our sounds are generated out of some old analog synths and a couple of effects, sometimes inspired by ruining machines and the noise they produce. I’m a mechanic and I worked in several chemical factories and machine producing industries. I was always fascinated about the output of music from the machines. I also saw the working class as the most important part of the nations community. I saw through my work that I was cheated. Most of my colleagues are so weak and narrow minded philosophies at breakfast desk believing in trade unions and not in their own powers and might. They weren’t interested in the cause for their life. They were just interested to live. They always complain without changing something . They never resist. They’re like trained dogs.

I have seen two videos. One is full of loaded visuals and the later performance does not utilize images. Why the change with regards to live shows. Do they always take on different aspects?
We always work with a concept and normally find a good mixture of both visuals and performance.

Your label has had much trouble from the German authorities. Does this happen when you perform live?
The police needs no regular basis. If they don’t have one, they make one. We never had problems with the police during our gigs, just with the owners of the clubs.

What type of a crowd do you draw and how do shows transpire?
We don't care about the crowd. Everybody feels attracted to come. We are living in a democratorship. All shows are promoted like any other through posters, flyers, ads in mags and so on.

What was the last world event which influenced GO?
The German Holocaust Commemoration day 27.1 since three years.

The portrait on the cover of Mind Control is of whom and has what significance?
It is no one special, just a very angry looking many out of was reason ever.(?-B) We have chosen this picture because it looked very much like our first Bunderskanzler Konrad Adenauer, who was under constant American Catholic mind control. A man who steered the ship of Germany into so many self mutilation processes.

I’ve heard someone comment that the Germans are similar to Americans in that when they become interested on something it is full force, gung-ho. Comments on this with regards to the power electronics tour de force in your country?
The guy who told you that was bullshiting. We are absolutely different from the American power electronics scene in general. Of course there are some Americans different than others, doing something against the establishment. Doing art be fashion in America. It’s not serious for me, it’s posing with a nearly commercial output. It’s the total opposite in Germany most bands I know live their pay and are full force and not only generally noticed by their musical output.

Why is Germany ashamed of it’s past?
A nation can never be ashamed of something. It’s the people. And in Germany it’s the political stratum who wants to be fed with sugar candies by some bastards who never will be our friends. Who ever worked against the independence of Germany. I feel ashamed of nothing. Or do you think of a special event? What past are you talking about, the past when we send over the scum of Germany to kill the Indians in North America? The world goes it’s way, not caring about the shame of anybody. And so do we!

You have a song titled “Kill useless nations”. Which are not?
Let me think. Think...

Why are most of your samples and lyrics in English?
Although I don’t like the domination of English in the world today, it is quite easy to understand and to speak. To reach our allies in the whole world we use this language. It is partly German that helps us a lot; he he he.

Your favorite propaganda?
Media. Everything that goes around this topic. Stupid sports, mainstream music, films, commercial spots. Education is the basis! Out of education grows our doom. Education enslaves people for all time and of course the results can be seen in media.

Is the institution of power electronics much different than that of metal, with regards to what is allowed and what is taboo?
Regarding the sub culture you can see a lot of similarities. Taboo is nothing, a limitation built by society I do not accept at all. I have my own laws of what is right and what is not. And so it is with taboo. Everybody should experience his own border, and should not be told by everyone where his border is.

Comparing the 90’s to the past decades what hope do you have that things will take a turn for the better and what would that better be?
I have no hope for fast change but I wish that people will go back to basics, to traditions without being conservative and narrow-minded, to develop a new dignity, honor and pride. The cry for Patria Y Libertad! no matter where they come from. People stop destroying their and our culture. Like save the culture of Indian minorities all over the world they should save their own first, or they will be placed in zoos soon. Things will become even worse as I see in my home town- crime, scum from all over the world, filth, unemployment, hate. What we soon have is not a multicultural society but a multiculturalcriminal society and this will end in a civil war, with all the weapons on the other side.

What is most important- intellect or instinct?
As we’re not animals I think the intellect is more important. Of course it allows us to do things a animal never would, but can help us to see a way out of the porca miseria. A mixture might also be a good thing.

GENOCIDE ORGAN. Tesco Organisation c/o Kohl. Holbeinsstr.8, 69469 Sulzbach, Germany

12 01 2006
#1030

IVAR - ENSLAVED
By Spider
10/22/98

Tell me about your new album. You recorded it at Abyss?
We’re very happy with it. We’re really happy with the production, as it was the first time with a bit bigger production, in a professional standard studio.

How was that different than recording at Grieghallen?
The most obvious difference would of course be the equipment - there are more tracks and we had more equipment at our disposal. And it’s a metal studio, where Grieghallen is just a regular studio where people book time and do whatever. But Abyss, as far as I know, has only done extreme metal and Peter, the producer plays in Hypocrisy and all that. It’s a totally different atmosphere, They get into the material at once, and there are much better conditions for playing there. After we heard the Marduk albums, we thought we had to a record there - to try doing at least one album there.

I like the sound you got too, especially the ultra-flat drum sound. It’s similar to what Peter got on his The Abyss albums.
Yeah, he’s into the high speed thing, which can be a hard sound to get if you go into a normal studio. It’s strange cause at a place like Grieghallen, the engineer will listen to it and go, “okay.” He’ll record it, but he doesn’t really get the point. So that was a big change for us... we got a better understanding of what we are trying to do.

Did you use a lot of digital equipment on this album?
Yes, we used a lot of old equipment for the playing, like old amplifiers and guitars, but at Abyss Studio, most of the equipment there is digital, so you can get a more defined sound, and you can do a lot more with the things that you record. We were using classic, classic instruments... old jazz guitars and stuff like that. And we tried to use acoustic guitars in a more varied way than the normal metal way. For that, the digital studios can be good, cause as I said, they give you a more defined sound.

As far as songwriting goes, what new elements did you want to bring in on this album?
What we tried to do a better job, basically. To do it tighter and to be a bit more critical. We spent a lot of time doing details and trying to make it closer to perfection. To make an album we could be more happy with afterwards. At the same time, we wanted to have a lot of intensity, so we recorded a lot of it live this time, instead of having everyone off doing their own thing. It was live, like the good old bands did in the 70’s, with the whole band in the studio playing.

Did that work out well, as far as getting the energy level you wanted?
Exactly, that’s what we were trying to do. We isolated ourselves... Abyss is in a little village in the middle of the Swedish woods, and we didn’t do anything except be in the studio and play. We added a lot to the songs while we were there - like extra parts - and we changed some stuff. We wanted to get the feeling of a live performance on the album, but at the same time, add details.

Yeah, I was surprised by the “details.” After Eld, I was expecting even more keyboards done with that huge, historical feel. But this time around the historical aspects are more integrated into the fast parts of the music.
That’s an interesting perspective with the history. That’s a good description of how the new album compares to Eld. What we were doing then, on the first albums up to Eld, is doing the historical thing from a higher perspective. The music is long and epic, and the lyrics are dealing with the big lines. This time it’s more concrete, and we’re approaching history in a more in depth way, trying to do it in small, intense pieces. To take out parts of the big lines, out of the whole picture. We wanted to express the music in a shorter period of time, but make every note more significant.

Do you think of your albums as concept albums where all the lyrics follow one line of logic, or are the songs individual units?
There’s definitely a line of logic going through them all. Every album is kind of a concept album, but not in the way that King Diamond makes concept albums, with fairy tales and stories from books. If I were to compare our albums to anything it would maybe be the Bathory albums that he did during the 80’s. And like the word you used, logic... ways of thinking. Every album reflects certain ideas which are important to us at that time. We have certain thoughts and ideas for Enslaved that are in connection with the mythology of the past and that question the past; those ideas started on Frost and continued with Eld and Blodhemn. Those three albums- they belong to a category of Enslaved albums where the concept is more about - it sounds kind of pretentious - but more about philosophy than the first one, which is more of a fantasy tale in the Tolkein tradition where you try to take medieval and Viking things and make out new stories. But now, it’s kind of turned around. It has a lot more to do with how we view the world. How it is and how we think it should be.

On the liner notes of a Hagalaz Runedance record, Andrea Haugen wrote that she wanted her music “to rekindle the tribal spirit” in people, so they could “get in touch with the pagan traditions of their ancestors.” Are you trying to get across a similar message, about a return to some older value system?
No, not at all, actually. Of course I very much respect that tradition, but we try to distance ourselves from that. There’s nothing bad about being materialistic, but it kind of goes beyond “traditions” and all that. Then you start setting into twilight zones where you get dangerously close up to politics - about the traditions and all that. We see it much more just in the minds of ourselves and the people we want to reach. There isn’t anything in the content of our music that says “get back to the tribe” or anything like that. Cause we see ourselves as products of history, but at the same time, we are men of our age, so it’s more about integrating the values and the ideas you can find in the development of history into where you are now, in this time-space. Instead of running around being all romantic, saying “let’s bring the good old days back again.” That’s giving up to easily I think. We’d rather fight for what we believe to be right today, instead of taking an old recipe and trying to reconstruct it.

That’s too nostalgic for you.
Yeah. Being nostalgic can be a nice thing when you’re sitting around with some red wine, but it’s too far from reality for us to believe in.

The song titles on Blodhemn are about Armageddon, or Ragnorok. How does that fit into the reality you’re talking about?
The message we were trying to get across - Blodhemn is a kind of extreme title and all that - is actually like a paradox. We were trying to prove a point there: you can’t run around and try to avoid the Ragnoroks on the small or the big scale, in every day life or in the global context. And to reach new goals and to bring evolution even further, you have to let go of something, you know? Like the thing we mentioned about being nostalgic, that’s also a desperate attempt to avoid doing something really seriously. It gets too heavy too change things as they are, so people step away and try to promote the old values, or they go totally futuristic and say like, “we’re stuck with destiny” and all that new age crap. They want to leave everything up to karma and all that... like things will go as they will go, so let’s just have a good time and look at photos of dolphins and stuff. Some crystals maybe. So what we’re trying to do is promote BEING - believing in what you are and what you want to be, but at the same time, facing the fact that you have to let go of a lot of things to reach further.

When you talk about letting things go, are you talking about giving up fantasy projections? Like metal bands who go around saying “we’re gonna destroy everything!” - when in fact they’re not destroying much of anything...
That’s one possible interpretation. Being destructive - that has a lot to do with art, and it always has. Art has always had a certain fascination with the destructive forces and that’s nice when it’s part of a whole, of a bigger thing. But being all destructive and dark, it’s just a way of protecting yourself. So yeah, that’s the type of thing that you have to let go of to reach further. To me, being destructive all the time expresses a big need for attention. Need for attention is definitely one of the things you need to let go of. It’s about reaching a certain balance - to be brave enough to let some things die away, and at the same time, having enough courage to also be creative. You can’t run around destroying everything without having a plan for what you want to make - what new things you want to create and how to work towards those things.

In an older interview, you said “there is no pride” in using your art to a political end - referring to some black metal-ers of the early 90’s. Is that what you’re talking about here?
Yeah, I still agree with that. In every scene, in every kind of art, there will always be artists who try to use their art for aggressive political intentions. But that’s an easy way to avoid promoting the worth of your own work and ideas; you run around pointing out what’s wrong or what’s inferior about everything else instead of saying what’s good about your own view.

It’s easier to say “fuck everything” than make a good record, that’s for sure.
Yeah, definitely. That’s especially the problem with the black metal scene. First they start the band and go crazy, then after two weeks then they go, “oops, forgot something!” Then they run to the music shop and buy some instruments. Usually it doesn’t work out too good, because eventually people discover who can play and who can’t play. And if they can’t play, then the band has to make some statements in another way. And that’s not what music is about.

It’s complicated though, cause there are bands like Gorgoroth who can play, but their whole goal is to sound primitive and violent. The black metal aesthetic doesn’t exactly promote virtuosity.
Exactly. But their are bands who made it out quite intelligently, like Darkthrone or Gorgoroth. On their albums, there’s always some point where they end up proving they have a certain musical talent. But the rawness and the primitive production is with the “expression” rather than actual performance.

On Blodhemn you seem to be moving in that direction yourself. Like Gorgoroth, there are synth details, but very few big symphonic passages.
It’s an interesting comparison, cause I actually did some keyboards on the Gorgoroth album. It’s like what I was talking about earlier, about being realistic. We ended up at the point where we didn’t want to go further with that sound. And it’s quite popular these days - the plastic, satanic symphony sound. It’s like “Ok, let’s pretend this is a string orchestra, cause we can’t afford to use the real thing.’ So we felt a little bit ... with a strange taste in our mouths from being involved with this - fake instruments and keyboards. We thought, “Hey, this is simply not good enough. We’ve got to work on what we have that IS good enough - the guitars and the voices and instruments we have.” So we decided to focus on that, and at the same time, we used a lot of analog keyboards. When we use keyboards, we prefer to use these old analog keyboards from the 70’s with the buttons and joy sticks and all that. Using them is much more exciting cause you make up the sound yourself by setting certain parameters. They just sound more organic and they better into the context of guitar/bass/drums/singer than a fake symphony orchestra.

What’s that odd mechanical sound at the end of the album? Know what I’m talking about?
Yes. The coffee machine. Of course it’s a little joke on our own behalf cause it sounds good and all that, but we thought it was funny to use the coffee machine as an effect, taking it very seriously as we always do. It sounds good too cause it fits into the concept of the album - kind of chaotic. The good old coffee machine is one of the few machines around where you don’t know exactly what it’s going to do - a hiss here and a bloop there and yup - that’s just how it is.

Tell me about making that Desekrator album.
Oops. Well, that’s basically just having fun in the studio on the weekends, with some booze and old heavy metal records and getting in the mood. We play whatever instrument we feel like playing. It’s just suppose to be like therapy or something - “let’s go into the studio and have a good time!” - instead of feeling like “oh we HAVE to do this.”

A temporary escape from the angst.
The angst and the seriousness. It’s like with all these retro bands who get signed, get big and go into the world and try to make people believe, “Yes, we are actually from the 80’s” - like us, they were probably 6 or 7 years old when all that music actually took place. Then in the 90’s they try to run around and make money off that sound, as if it were a serious thing. We felt like, ‘if they can do that, we can certainly have a little joke on their behalf.’ But then it started getting taken seriously too. Like with the record company ... well inside the CD sleeve we all have pseudonyms, just to try to make the point that this is not a really serious record, don’t get all disappointed if you find it a little lacking in quality and thought at some points. So we used these secret names - also to try to keep the seriousness with our own bands. But not everybody can have this same sense of humor. The record company didn’t get the point, or maybe the humoristic sense is different in Holland, cause they printed the names on these big stickers and stuck them on the front of the album. Like “People from Enslaved and Gorgoroth - black metal ART!” And if there are some people who bought the album because of that sticker, we owe them an apology. But by now I guess most people know what it’s about.

Which pseudonym is yours?
Professor Powder. It’s like the sex, drugs and rock’n’roll thing and I was supposed to represent the drugs. And Grutle is, of course, Dr. Love. [laughs]

Did you also play on the new Borknagar record?
I did, but more like with Gorgoroth - getting hired in for a day or two to just do some keyboards. I officially left the band in February or March.

You just had too much to do?
Yeah, and I just felt like focusing on doing my thing - Enslaved. I went in the same trap as a lot of people do, when you start spreading out your energy on many bands, and of course, you get more attention and feel like you’re doing more stuff, but you’re actually just reducing from being 100% in one band. With Enslaved going away from the “sophisticated” keyboard thing, going back to the primitive expression, and Borknagar going in the opposite direction, it felt like I had to preserve the integrity of my music and just go back to Enslaved. It was better for both bands, I think.

I saw the video from the World Domination III tour and wondered what that rune was on the front of your shirt. What does it represent?
It’s not a rune actually, it’s not part of the rune alphabet. It’s more like a symbol used in ceremonies, or a good luck charm. Mine is a symbol of dynamics, so to speak. To draw creative forces to yourself, and at the same time, reflect creativeness out. To materialize these creative forces in the world. To take in inspiration and transform it through your art, into something else. And I thought that was a good symbol to have on your chest when you’re playing guitar.

Where do you get your armor and costumes?
The clothing we get from my father’s girlfriend. She runs a shop where they make clothes the old way: some one comes in and says what kind of clothes they want, and then they make them. It’s not a designer fancy-schmancy kind of thing - they make normal clothes for normal people. So we just give her our ideas, and she comes up with a design proposal. We buy the material and she makes it. And some of the stuff - like our boots - we get from museums and - it’s kind of ironic - from tourist shops. It’s not like there’s a big market for that kind of thing in Norway anyway. Most people condemn the Vikings in Norway when they talk about them, because of their lack of morals but then when the tourists arrive, they start running around in plastic helmets. Vikings are good then cause they sell a lot. So we have to either go to some museums or special interest shops, and we get the clothes made.

So are the swords real? Like could you behead somebody with one of those things?
Yes. They come from the museum and they are supposed to be made just like the original, the real swords that they have on exhibit. Luckily we have had no accidents yet, at any of the photo sessions.

That would be rad way to die - getting your band picture taken!
So how has it been playing with Kronheim, your new guitar player?
Very good. I’m more into the metal tradition, especially the black metal tradition from Mayhem and all that, with the speed and dramatic chords and the medieval feeling. He’s more like a classic rock guitarist; he used to play in a band called The Subtitles, which sounded something like David Bowie in the Ziggy Stardust period, and that’s always something we’ve enjoyed too. So we knew him as a friend and for years we’d been checking out his band, and during one of their concerts, he was a bit too metal to be in the band we thought. He’d be running around ‘banging on the ballads and acting wild, and everyone else in the band was looking all melancholic and being all sensitive. He was being drunk and really crazy. We looked at him and went ‘this is the guy we need for the band.’

Now what we do is we write the songs together. I write the extreme parts, but he adds a lot of melody because he knows a lot about music and the more technical sides of things. And of course, it’s great to have a real, proper lead guitarist in the band. That way I don’t have to go around using a ton of effects and stuff just to try to make it sound good. He can actually do it just by plugging into the amp; he can make the most outstanding melodies from that. So it’s really good to have one of his class - both technically and with his musical aesthetics -in the band. He knows the rules and like I said, he’s much more into rock’n’roll and rock’n’roll history. It’s a really interesting perspective to get into our songwriting process.

It’s interesting especially in combination with Dirge’s unsympathetic drumming style.
It’s a perfect combination! Now it’s completed - like with the four guys. Socially we kind of balance each other out quite good and that’s reflected in the music - with the fury and insanity of the drums and the screaming vocals, plus the more varied guitars. The combination is really good.

Kronheim seems to enjoy doing big METAL leads.
Yes. He’s heavily into Maiden and stuff like that. He’s just perfect. We feel like this new album is like the first album of a new kind of Enslaved. We built the foundation quite good with the first few albums, but now we really feel free to do anything. We have the ability and the inspiration to do whatever we want with the music.

Going back to the Blodhemn lyrics quickly, who are the Urtical Gods?
That’s actually Dirge’s only lyric on the album. He wrote the words there. Dirge shares our interest in the Viking thing, but he’s more into the universal mystic tradition with Egyptology and chaos philosophy. So that’s his contribution and it fits in beautifully with the concept. It deals with the same thing, but in a different way. That lyric is a much more direct assault on the mass movement, so to speak. Like you can take a line from that song which represents both that song and the whole album in a good way: “Drink from the waters of knowledge and see the life you breathe.” That has something to do with the whole concept of the album - to step away from listening to someone’s big profane words, away from reading a single book, or two books, then trying to live by those books. That’s a way of letting somebody else control your life. We strongly want to oppose that. It’s a way of suppressing individuality and, in our eyes, losing a lot of life quality by running around comparing yourself to some standard. The temple where you can really find comfort and really develop yourself is yourself. It’s as easy as that. So it’s trying to rip apart the idea that everything is so complicated; it should be really easy, we think.

It’s strange to watch metal people who are so outspokenly opposed to one kind of “dogma” get stuck in another kind of dogma.
Yeah. It could be described as photography. You know when you look at a photograph, then look at the negative, the color setting will be totally opposite, but it will still be the same picture. So it’s against everything that presents itself as a ruling dogma of the day. We are for anarchy in the mind, from a philosophical point of view. You may be a mess, but there’s a better chance to reach something good from that, then running around following the same lines as everybody else for thousands and thousands of years.

Are you going on tour now, or what’s up next?
We really hope to do the US this year. It’s a bit more fresh to go over there, in a way. The US is more varied, and Europe is kind of choking here, with black metal going into the charts and everything. Of course we want to do more tours in Europe, but these days it just too much. Everyone’s in band AND has some label, and there are tours all the time. And of course, the crowd gets kind of confused when they see black metal bands appearing in the Christmas issue of a magazine wearing silly red hats.

12 01 2006
#1029

SLEEP
by Stephen O’Malley & Tyler Davis
10/98

Ah, SLEEP. If you know this band you know why they just had to appear within the pages of the magazine. Although they have moved on to other projects I think SLEEP still deserves a large amount of attention.
I talked with two members, Matt Pike and Justin(know known as Monk John) Mahler. I want to thank both of them for their time. Just getting this interview was hard enough. We were hoping for some "Dope Smoker" t-shirts or stickers to materialize, or some photos of the famed Green amps, but no such luck. If anyone out there wants to part with any related Sleep paraphernalia please contact us via Descent! Enjoy...

Matt Pike of SLEEP.

I just got a copy of the 'Jerusalem' CD.
The one that the bootleg guy is putting out? That's kind of weird. I had seen a copy in the store and I was tripping out on it. I guess it's cool because it would have been shelved anyway.

So you don't have a copy of it then?
No. I have a copy of the original DAT, but I don't have the bootleg or anything. There is some other guy trying to buy the rights to it and this and that.

Are you glad to see that it is available to the public?
If it gets in the public, I guess that's cool. I don't care. It's not like I'm going to make a lot of money off of it either way. There were a lot of things that were different about that album than what Sleep did in the past. Just a lot of trippy things were going on and eventually all the stress of making that album led to the break up of Sleep. But it was at a good time. I think that was a good last mark to leave with that band.

What did you think about seeing the bootleg in a store?
It was like a mountain range or something and I was like, "Woah". I thought it was kind of cool, but I thought it was kind of weird how it just kind of came out of nowhere. That's cool. I am glad some people can get to hear it.

Everyone I know that's heard it is pleased with it.
That was the weirdest and hardest thing to remember. 72 minutes of music in your head. It makes you feel like a human computer. You freak out after a while. It's really stressful to try and remember all that. It got to the point where we remembered every little thing, every beat of the whole thing.

So you didn't improvise on it at all?!!
None. Every note was placed exactly in the precise spot. It was a fucking weird thing because we spent so much damn time working on that thing. We put four years into it. Altering this and that, changing this and that. We were just trying to perfect it so that when we did come back from the grave it would just wipe everyone out. I don't know if we did that?

There are a lot of rumors about that record. I have heard that there is another version of the recording called "Dope Smoker".
That was the development of it. "Dope Smoker" was what we played live on tour. Nothing was worked out. A lot of the lyrics changed from what they originally were.

You were signed to London for a while and they put out that promo CD. What happened with that?
Well, they put out the promo and we broke up and couldn't go on tour. No record label is going to want to put out an album without a backing of some sort, except maybe a small label or a bootleg label like that guy. It would have to be on a small basis. London can't press 100,000 albums and expect to sell them all if we are not on tour. That's their point of view. I understand that. I don't hold anything against them. They helped us out. They got us recorded.

Do you know about the rumors surrounding the recording?
No, I don't.

You guys got quite a bit of money and smoked most of it.
(Laughter). I'll put a 'no comment' on that. Yeah, I smoked a lot of grass when we recorded. I didn't smoke that much of it.

You guys have quite a reputation. I heard you are doing some music now, too.
Yeah, I've got a new band. Actually, our first show should be around September, or October, and hopefully soon after that we'll be recording an album with some label. That's what I'd liked to do anyway. It's a three piece and I'm singing in it of all weird things. I have come to find out that I am not such a terrible singer as I am quite active. It just makes me way more active. I have all of these crazy guitar riffs and then I've got these crazy vocals and lyrics and I got leads on top of that and I am busy and always thinking. With Sleep, a lot of times, I could take the back seat and play riffs and focus on that. Now I can see how Al's torture was.

Are you playing with any of the same guys?
No, actually. I don't think those guys are really involved with anything. Probably playing by themselves or being recluse or something.

What's the name of your new project?
We're still trying to think of a name. I came across a bunch of names. You know names are kind of stupid anyway. You're not ever going to find one that's not dumb.

Sleep was pretty good.
That was a lucky one. I couldn't believe that no one had had it. Actually me and Al were sitting around getting high, and Al said we should name the band Sleep. We both just looked at each other and said, "Fuck dude, that's pretty bad." That was from Asbestos Death. We had parted with our guitarist, Tom Choi, who is doing this new project called Operator Generator.

Same genre?
It's really heavy. Not exactly the same, but if you are familiar with Asbestos Death it has some of that guitar playing on it. That was like nine years ago, but his band is pretty tough.

So, you like heavy music?
I am into all sorts of music actually, but for some reason that's all God gave me. I am good at playing heavy music. You know, I can play other kinds of music but I wasn't cut out for it. For some reason I end up taking bong hits and drinking beers and playing heavy riffs.

What's up with all the religious influence?
A lot of people curse me or say whatnot about me because they went to Catholic school or something. I am not like what you would call an Orthodox Christian, but I suppose you could call me an Un-orthodox Christian. All my riffs come from Jesus Christ. It's weird how I came to be that way. I saw something. It was like a calling. It was directed at me and Chris, from the band, and it was a real heavy time. I hope no one curses me or anything. I hope they don't think I am trying to push anything down their throats. I just want to play good, heavy music that people will enjoy. My beliefs are my beliefs. If I sing about them I sing about them. I kind of have to honor that because that is where they come from.

Not from pot, but from Jesus?
Well, both. Pot and prayer. I pray and I smoke herb right before I start writing, and what comes out of it is always good. You can't go wrong with that. If it works for me... It may not work for someone else, but it does for me. I don't judge everyone else by what they think or believe or whatever.

Where did the name 'Holy Mountain' come from?
Actually I was watching "The Ten Commandments" and I just thought of it. I called Al right away and I go, "Dude, the next album is called 'Holy Mountain'." Actually that would be a good band name, but I wouldn't want to disgrace the work I did with Sleep. That was a kick ass album. That was the funnest to play. We went into the studio and it was down the first take every time. It was weird, but we would do like two songs and get $600. Then we got a couple hundred more bucks and we'd go record a couple more songs. That is why that album sounds like that, all different. Your sounds are totally changed and you have different amps.

How about drugs and music. Do they go hand in hand?
I quit doing any sort of other drugs, like speed, or something like that, for a long time, except for once in a while I'll do 'shrooms.

Go organic.
Yeah. Probably beer is the worst thing I drink. Now I have lost my composure for health. For a while I was trying to exercise a lot and get my mind like that and go on tour. It was weird the way the bottom fell out.

How much did you guys tour?
We did all of the tours for 'Holy Mountain' and then we did a United States tour. We were supposed to be playing 'Holy Mountain' and then we started on that new song all of the time. We started to get pretty good so we were getting longer sets so we'd do like two 'Holy Mountain' songs and then we'd do "Dope Smoker" and then after that we wanted off Earache. I do have a grudge against that label.

What happened?
We were locked onto them for three years.

Was it detrimental to the band?
Well, it gave us a lot of time, but then it gave us too much time in between playing shows and making records and this and that. It sucked. A lot of this stuff I speak on behalf of the other guys and the rest is just myself. All I do is work and play music and work. I am just trying to kick ass while I am still young. Dude, if you are a Sleep fan you will be way pleased with the new stuff. It's my guitar playing. It's got a lot of the same stuff. Just enough that you'll still like it, but then it's not a rip off of something I did in the past. It's a span of that. We are getting fucking tight.

Are drugs and God still pretty big themes?
Oh yeah. Oh yeah. I wrote a song about Bruce Lee recently because he is like my total hero. About like that and cars and some different shit. My mom just died not too long ago and there is kind of a death song and it's about my mom and a friend of mine that was like a brother since I was young. Just a lot of weird stuff. On this one, I don't think that I am confident enough that I am going to print the lyrics. I am just going to let everybody figure it out.

Did Ozzy's religious view influence your own?
I didn't know Ozzy had a religious influence. Well, yeah, I guess some of the Black Sabbath stuff I appreciate for that. I had that upbringing and my Mom was like one of the most beautiful and trippy people you would ever want to meet. The way that she was, by example, was an example to me. When I was a kid I was so into the devil and I was a car thief and drugs and not even caring. Just stupid shit that gets you in trouble. I was just a little more mania than your standard youth. Then I saw the thing that I saw and felt this calling that I had and it was weird how my mother had a place in that. It was trippy spiritually. I have this thing where I can understand everyone's point of view, or I try to. The thing that I really hate though, a lot of the people that are totally anti-religion, and hate me for my beliefs, even though I am not entitled to my beliefs, is that people are going to these academies for four years and getting molested and beaten by a priest and getting cracked on the knuckles by a nun, and that's what's supposed to represent Jesus Christ. Tell me what's corrupt? That is fucked up. Those people are fucked up. The people who don't even believe, because, what is God going to say about that? When you die, and if I am totally wrong, okay, never mind, but if you die and you have to look God in the eye and God existed, what would you say? Think about the way the world is now. Tell me something ain't fucked up? It's so obvious. And someone that can't see that is totally blind. I won't say nothing to no one about nothing, but if they come to me and ask then they will get an answer. There are certain times when I believe that God does deliver someone onto me like that so that they might find some way in their own heart, by their own means, so they are inspired to think about it. I am not Billy Graham or something.

I was talking with Monk John...
He's hardened, dude. That guy batters. I love that guy. With all my heart, although I only get to talk to him every couple of years. What that guy did when he left Sleep was truly, truly...well, let's say I have a lot of respect for that guy. That's hardened. I mean that in a good way.

I thought that was curious that he found God and then Sleep went that way.
When Justin left it was for his calling. And then Chris and I had this calling and then Al went gradually for some reason. One day he(Al) was just all testament. But, yeah, there is a religious influence. I don't mean for anyone to feel left out. Take the music for what it is. Take it at face value. If I was an artist the picture is there to look at for what it is, just like the music is there to listen to.

Do you guys have any other recordings?
All of our studio recordings are out. There are some live recordings of Sleep out there and if you find any you are lucky 'cause I haven't got one. We never objected to bootlegs. It's kind of cool to hear all these different versions of the same songs. That's how a lot of our songs developed. Test it out live and develop it from there and just start jamming it out. Pretty soon you start getting focused.

Monk John (formerly Justin) of SLEEP:

I am curious to know how you found this place in the world that you are in now?
When I was in Sleep and we were playing shows and recording I was going through hell. I would cut myself with razor blades at night and cry and pound my breast trying to grapple with the question, "Why in the world do I exist?" At that point, on the third day of recording our first CD I went home to my apartment and I had this screaming headache and I wanted to kill myself basically, so I just cried out if there is anybody there help me before I die. So I sold my guitar and went to Israel just trying to find something. I don't know what. And I spent a month there just walking around and talking to people and meeting people and didn't find what I was looking for. Then when I got home, to my hometown in northern California, I ran into an old monk and he invited me to go to an old monastery and I never left. It just answered all of those questions that I had. It was interesting because it articulated everything that I believed up to that point. I didn't agree with organized religion for one, and two, I didn't believe what these Christian believed- that if you are not Christian you are going to hell and all this nine yards that goes with it. Then I went to a monastery they didn't have all of these beliefs. I studied on my own in the monastery. I studied biology because I wanted to see this whole idea of us being evolved from a monkey. I wanted to see what it is. What is the bottom line, the whole truth behind that question. Number two, about the other religions in the world. I studied Buddhism and just, not totally in depth, but on my own level, these other religions and looked back at Orthodoxy and realized that it reflected what I had sort of been crying out for my whole life. I just never left the monastery.

Why did you pick Israel?
From the punk scene in Berkeley I knew this girl whose family is from Israel, just north of Tel-Aviv, and she said why don't you go to Israel. I was talking of getting out of the country before I ended up hurting myself or someone else, and I thought it was an interesting idea. I just sort of went there. I had thought about going to Germany and getting involved in punk bands there, but just choose Israel instead. When I was in Israel I spent my last bit of money on getting a boat to Greece that was going to Germany. After about four days on the boat I ran out of money and was hungry and didn't have any food. The boat ended up in Greece and I decided that if I ended up in Germany I was going to get involved in the same thing and was going to end up totally miserable. It was not going to help me. So what I ended up doing was staying on the boat- being a stowaway actually- wondering where the boat was going to go, and I was really hungry by that point, and we ended up seeing land. It was Israel again. So I got off the boat and stayed in Haifa a while and before I left I got a tattoo of a Russian Orthodox cross on my arm, before I knew what it was. While I was in Haifa some Russian girls saw it and were blown away because you don't see that. They asked me if I was Russian Orthodox, but I didn't even know what they meant, so I said no, and later on when I went to the front of the monastery cloister it was shocking but it made sense to me. The reason why I got the cross tattooed on me was a form of protection because I was living in the ghettoes in Oakland. Lots of gunfire outside my window. Chaos and prostitution and I was going crazy. I just choose this cross out of the blue.

So you left Sleep after the first CD then?
Yeah. Right after we were done with the first CD I left and I got letters in the monastery saying we just signed with Earache and we're getting $12,000 each. Do you want to come back? It was pretty alluring, but at that point it was either I stay and live, or I go and die. It was really life or death. I don't know how else to put it. I just couldn't do it. I was sort of a key member because I was a songwriter. When I left they were sort of struggling to write songs other then that last album that came out- what was it called? It had the big circle on the cover...

Holy Mountain?
It just sort of fell apart. I had to quit. We played a couple of concerts and I had some weird things happen. I felt that the music that I was trying to express myself, what was going on inside, all the music that was supposed to be helping me was harming me. Because I had all of that anger and frustration and flat out evil bottled up inside me. The problem was that I was letting it out on a bunch of other young people. And at our concerts we had some pretty crazy things happen due to the energy that we would let develop. I wasn't too proud of that. I knew the music had an effect on the people and that was pretty crazy.

It seems to me that would have been more applicable during the Asbestos Death days and then as it went into 'Holy Mountain' you were reconciling things within yourself?
It's true. But we were still grappling.

How did you decide to do this book, Youth Of The Apocalypse?
I was sitting up here in this monastery on Spruce Island, Alaska, and we live way out in the woods where there is no electricity or phones and I decided I wanted to write an article for Death Of The World dealing with a lot of the issues young people are dealing with. That article grew into a huge thing like that. After writing it we had some editors edit it. Then we wanted to send it off to see if it would be publishable. Our own press wanted to publish it and it all happened in about a month and a half. It went so fast. So now the fruit that is coming out of that is that Penguin Books contacted us and asked us to write another book. But, instead of being so direct and uncompromising it is more of an allegory, or fiction, based on actual experiences.

And you will be writing that?
It's already done. It's on their desk being reviewed.

Will that benefit the monastery?
It could, but I don't want it to. I want it to going into helping more young people instead of going to the monastery, if we see anything from it at all.

And how would it do that?
In the way of trying to get the message out there that there is hope in a hopeless world. Kind of the same thing as Death Of The World. It sounds kind of like we are pushing religion because that is the context that it comes out of, that's what we know, and that's what we live. But, religion is between the soul and God. Our first thing is to say that there is a hope. I just got a call from a kid in Canada that is just falling apart without some fulcrum or focal point. He just wanted to hear a sane voice that things will be okay. And from there there is a God. I don't care how much people say there is not a God or God is dead. He's not. He's alive. That one crucial point of the existence of whether there is a God or not is actually the dividing factor in people's souls as to whether there is a reason to live or not. It really is. No matter how much modern man kicks against that idea, that principle, it is necessary for human existence. At least from my experience of dealing with people, especially young people.

I think I would agree to an extent because "God" is a universal image and is ancient, arcane.
Yes, it's ancient. Every ancient society has always had that fundamental foundation in life. They didn't exist without it. I have never heard of a pre-historical culture that had no God. It just didn't exist.

They might have had more than one, or different facets of one, but they do have it. What will this book be called?
The Scream For Silence.

I think the sort of proselytizing which is fundamental to Western Christianity is not present in the eastern form of Christianity. Is that what was the appeal to you- the lack of pushing the faith?
If I was proselytized to I never would have become Orthodox. Because when it is forced upon you it doesn't work. When it is laid out in front of you like cards on a table then the human being can actually have a free role, rather than having it pushed upon you. I don't want to proselytize. I will never compromise that at all. When dealing with people you deal with the base, even before God, you start with morality. I am not a fan of proselytizing.

I see a lot of comparisons between the idea of what is expressed in the book and magazine- the endless sorrow and misery and death- and certain genres of punk rock. Was that your audience?
Since I came out of the punk movement a lot of it comes out of it, of course, but that philosophy is pervasive in all groups and all social cliques. It's intrinsic. It's in its blood. This nihilism and frustration at the state of the world and so on. I think it is there with all young people.

So you think that people lose that outlook after a certain stage in their life or do they see things in a different light?
There are several different ways I have seen things go. I had a friend who just went to the grave, shot himself in the head. Some people are able to become superficial, and through that superficiality weasel their way out of it and live a superficial existence, which is internally frustrating. I have seen people come out of it that way and then I have seen people sincerely trying to understand. They will read and study and search for an answer or meaning. That is not necessarily a religion, but standing for something that is absolutely true, even against the world. That will pull them out too, because there is a meaning to that. Like Martin Luther King said, " If you don't have anything to die for then life is not worth living."

Is there anything you miss?
To be honest with you, the one temptation has been the want to play loud and angry and depressing music and enter into that whole realm again. But it has no appeal to me anymore, because there is no need to play that kind of music and to enter that state anymore. The playing of music and live concerts- that is the one thing if anything that would drive me away.

But you do still make music don't you?
Yes, but it's acoustic music. I am more at peace with it because I can express myself with it.

Do you play with other people up there?
Yeah, I like playing with other people. I like playing on the top of a mountain and just talking and playing.

12 01 2006
#1028

COIL
By Tyler Davis
conducted on June 3-4 1998
basic idea lifted from ‘Pharmako/poeia’ authored by Dale Pendell.

Animal- Man is the animal. The only bad animal.

Archetype- The Wanderer.

Author- Millions now living will never die. I read to live and live to read.

Body Part- I love the nape of the neck. And beautiful small ears often do it for me too. Erotic.

Chord- Hmmmmmm. There is a good chord sequence in Albinoni’s famous funeral music (Adagio). I don’t know the correct title off the top of my head. Tim Simeon of Bomb The Bass is great with chords... hear “Man Child” by Nene Cherry.

Color- Colour- Sound. Oblivion. I write with mauve ink and I always keep my toe-nails painted Gold. My Grandad used to tantalise me with the idea of Sky-Blue Pink.

Day- May Day, May Day.

Dimension- I get a little anxious about the idea of Alternity.....the multiverse. I’m constantly flashing between a multitude of them, you see. It all seems very, very frenetic and I need to keep grounding myself in this physical plane. I’m often off on the Astral. Professionally I work in the dimension of Sound.

Element- The element of surprise.

Form of Energy- Teenage Lightning. The energy given off when two teenagers are rubbed together.
Either that or “Electricity” by Captain Beefheart who is himself a force of nature. I am so sad about him being ill and pray every day for him and his wife. The man is beautiful, man. I’d love a drawing... a doodle by him, or a signed photograph or an autograph or monograph because he’s a monolith.
When I was little my mother bought cheap nylon sheets and pyjamas and I a) used to amuse myself by getting under the covers and causing cascades of static electricity by pulling the sheets apart quickly and also by rubbing my legs of my pyjamas together so that they lit up under the bed and b) I was absolutely terrified of the strong summer storms that swept across the Heartz mountains in Germany, where we lived for a time and I refused to sleep in the bed because I thought I would be electrocuted.

Form of Ignorance- Let me count the ways. I think... FEAR because......

Gemstone- Topaz.

God- Better an old Demon than a new God. I tend towards associating with PAN. Every non-targeted, non-sigilised drop of my sperm tends to be propelled in the general direction of PAN.

Goddess- I say “thank you Goddess” before I eat every meal. She is more precisely ISIS when I need comfort and strength. Austin Osman Spare drew on Isis similarly. It was he who taught me this path of solace. Sri Mookambika Devi when I am concentrating on synchronicities. The author Rupert Sheldrake, whose wonderful wife Jill Purce is a friend and vocal teacher of mine, came across the shrine of this Goddess in India. She has since become the Goddess of Morphic Resonance. I wish I had my books here but anything by Rupert is worth finding and reading.

Historical Age- Wow. I would have loved to hear the sound of the world ringed with the rumbles, squeaks and songs of the dinosaurs. Like the Ceteans, the whales and the dolphins I think the animals of way back then were extremely vocal, communicating by deep waves of song. The whole planet would have been heard from space. The air would be thick with a resonant sludge of multi- chordal bliss. I’m very interested in the High Mayan cultures too, centered around Oaxaca in the Yucatan. And here in the UK I’m obsessed with Stone circels and especially the Avebury complex in Wiltshire. You could say I’m a Silbury Hill-billy.

Landmark- The sky.

Landscape- The chalk and flint hills of Wiltshire, England. Or Bryce Canyon, USA.

Metal- Guru.

Mineral- I would like to have an obsidian mirror. Black Aztec scrying mirror like the one used by John Dee and Edward Kelly for their Angelic Conversations. I also have an inscribed amulet made of meteoric iron. The ancient Egyptians believed that this material was the bones of the pharoahs come back to this world transmutated. That it came from beyond the stars. In fact meteoric iron comes from within our own solar system, and it is the rarer organic mixed compound meteorites that contain materials from beyond it, from the stars. So I’d better get another amulet made up.

Number- Pi.

Onomateopoeia- plop.

Planet- Janet.

Poison- see William Burroughs for interesting discourse on poisons. Sarin is pretty hip isn’t it. I prefer traditional ways out like Laburnum, Hemlock and Alcohol.

Pope- I’d hold him upside down, of course, and shake him until the key to the secret Vatican library fell out and then go and liberate all the hidden books they have. The handful of Mayan Codices that they didn’t burn, for instance. The remainder of the books from Ancient Egypt saved from the burning of the library at Alexandria. The wealth of Arab teaching they are suppressing so it seems that the Christians thought of everything when in fact the Arab cultures had already worked there things out centuries before.

Season- Perpetual Autumn.

Sense- Non-sense. I love all the senses......

Sexual Position- Vacant, at present.

Sin- Synergy.

Tarot Key- The Magician.

Taste- I haven’t got any.

Time of Day- The Gloaming. The Limnal. The dusk. The time when light and dark fuse into a mythological hypnagogic purr of pleasure and terror. When myths and legend and stories and Ancestral connections are at their most accessible. When stories were created. Where creativity can creep out and not be shrivelled by the sun or lost in the ludicrous Post- Christian fear of darkness.

Urban Myth- I used to be terrified of the one about the escaped lunatic on the roof of the car......know the one?

Virtue- Persistence is all.

12 01 2006
#1027


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DEATH IS A DIRTIER DOG THAN MY COUNTRY

Exhibition by Fritz Welch

Opening Saturday January 14th from 3 to 9 pm
January 16 – February 25

GALERIEVALÉRIECUETO
10-12, rue des Coutures Saint Gervais - 75003 Paris
T : + 33 1 42 71 91 89 – F : + 33 1 42 71 94 13
contact@valeriecueto.com - http://www.valeriecueto.com

PRESS RELEASE / COMMUNIQUÉ DE PRESSE
Fritz Welch fuses his love of contemporary youth culture and icons with his interest in sound, installation and painting, resulting in works of emotional and visual power. Growing up in America during the mass-media explosion of the 70s thought the 90s; which saw the rise of digital technology and hyper-availability of images, sounds, and ideas, Welch appropriates these stimuli into sight-specific, post expressionistic installations.

Consistently working with different materials, he draws on a broad aesthetic vocabulary to create his objects, site-specific installations, works on
paper, and soundscapes. He uses scrap wood, found objects, and other cheap or (free) materials, forcing them to coexist within the body of a single accumulated form.

Welch is often inspired by the context of the gallery, and his site-related works combine a keen sculptural sense of form with a reach towards architecture. Claustrophobic in it’s accumulation of found objects and sprawling in its connections to the space around it, the artist creates tensions between that which we can examine and that which we must inhabit: contending with his sculpture implies penetrating his fort of spatial folly and chaos.

The Gallery will present a site-specific installation of the artist as well as drawings.

Fritz Welch is one of the curators of the exhibition: “Acute Zonal Occult Outer”, Drawing Center, New York, (7th January – 11th February 2006), he recently took part in the exhibition: “Make it Now: New Sculpture in New York”, Sculpture Center (PS1), Long Island City, NY.

12 01 2006
#1026

SADEX


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12 01 2006
#1025

BEYOND THE BLACK.

Csihar Attila of Tormentor
15th June 2000
by Stephen O’Malley

For those immersed in the black, Csihar Attila should need little introduction. Perhaps most well known for his chilling vocal work on the true Mayhem’s masterpiece “De Mysteriis Dom Sathanas,” his utterances draw listeners all the way through coldness and into The Other. “De Mysteriis Dom Sathanas” remains to this day the most critical piece of true black metal and also THE GREATEST. An obelisk of visceral black matter standing firm in the mists of the beyond, the ethereal crossing to madness and the dark matter of spirit, a quality lacking in most other black metal efforts since by any act (including Mayhem.) This is not Attila’s first crown, however. He previously fronted the seminal black cult Tormentor, which hails from the politically tumultuous capital of Hungary, Budapest.
During 1986 Tormentor created their initial songs which would eventually end up on the heavily Destruction/Exodus/Bathory inspired “7th Day Of Doom” demotape. Subsequently the group became moderately well known in Hungary as a live act, headlining the mythic 666 metal festivals in Budapest in the late 80s. Live recordings of the band from this time capture the catalyst power of the music toward and from the audience, a savage satanic summoning of a vocalist possessed and his barbed and bleeding hordes.
By 1989, the group had recorded a proper album, “Anno Domini.” This work was initially be released by Deathlike Silence, but it never made it; instead, years later, it emerged on Nocturnal Art, the Norwegian label of heavily-Tormentor-inspired guitarist, Samoth of Emperor. This classic of true black metal brimmed with tales of Bathori, torture, black magic, insanity, possession and other tasteful themes. Sounds created therein sat upon the lid of the stars, ghostly spirits freezing the blood and mind, only to drain both after. This was an essential black moment which later proved inspiring to noble guitarists such as Jon Nödtveidt, Euronymous, Snorre Ruch, Ihsahn, etc. (not to mention the trickle-down effect from these guitarists to innumerable, less-notorious individuals). Sadly though, Tormentor fell apart in the early 90s due to outside interests and a typical personal relations breakdown between the members.
At this point, Attila moved on with new musicians in the guise of the oddity Plasma Pool. This is like a primitive Skinny Puppy primally infused with the evokative grotesque vocal of Csihar - a sound which is interesting, yet somehow upcaptivating. By 1995, this band had fallen apart as well (although has since reformed and is preparing new material).
From 1995 to early ‘99, Attila became less active musically, only emerging occasionally to collaborate with former Tormentor drummer Machát Zsolt in such projects as Abstract, Daemon Fog, and Himalaya. In 1999 he contributed vocals to the Italian black metal band Aborym’s debut Cd “Kali Yuga Bizarre,” as well as Emperor’s interpretation of “Funeral Fog” for the yet to be released "Tribute To Mayhem" CD on Avantgarde. Stellar. In 2000, Aborym created a second album in a freezing black metallic way, and now Attila has been added as the permanent vocalist (a mark alone which requires mandatory anticipation of its emergence).
Recently, Tormentor commenced a reunion themselves - Zsolt and Csihar convened with a new guitarist and bassist. Properly spellbinding as usual, this time with many washes of confusion, Tormentor created another signature piece that is probably beyond the grasp of most (many by choice, hahhaah). “Recipe Ferrum” is a Pan.Thy.Moniac mash of labyrinthine song structures and layers combined with rock/metal/blues a la Randy Rhodes era Ozzy. The diversity of elements brought into this highly enjoyable creation range far and wide, as it’s a concept album of soul, blood, sun, dark, power, history, night, cult, legend, fun, joke, nation, sickness, debility, and punishment of the evil child. The hard rock tag has been incorrectly applied on “Recipe Ferrum;” as with all other material issued out of Csihar's consciousness, it holds a black spirituality and macbre mental instability (or removal.) Beyond…

What makes this a Tormentor album? Obviously it’s completely different than old Tormentor because that was 10 years ago. So what is the continuing thread?

We have a different line-up now and decided to try something different with the music. I have an Italian band which plays pure black metal named Aborym, so for me it also was not so interesting to do another typical black metal band. We wanted to go to black ‘n’ roll or something like that, so this is one step towards that kind of music.

Is it a conscious change or is it the natural chemistry that came about with these musicians? It seems like an honest effort; it sounds natural to me.

This is very natural sound because we wanted to go back to the hard rock and the hippie ages, to use that kind of feeling. We wanted to make something different, and it was a big risk because everyone was waiting for black metal. But we are more odd now. With Tormentor, after ten years, we can do what we can feel. The old guitarist and bassist were not able to join because they had separate ideas about the music, you know …

It’s a long time. Over the course of two years, people can completely change.

Of course. Maybe I was in black metal scene and the drummer, Machát Zsolt - he makes tattoos and was in this kind of atmosphere too. The others were absolutely out of the scene. So we decided not to look for another black metal guitarist but rather, to try to do something strange. I think if you can put together the old rock structure with the black metal feelings, it can be very interesting, but we didn’t know that at the time. We just had some visions and we wanted to realize this. It’s very hard because we didn’t want to do something too commercial; we had to do something in a very insane way, in a very obscure way.

You’ve been describing this music as strange and insane, but to me it doesn’t sound so. It sounds like musicians who are confident in what they are doing without any outside influence. Playing for themselves.

Maybe you think this because you are from the States and you can see many many strange bands. It’s not black metal but has some influences from black metal, and all the songs have different music, spiritual backgrounds, meanings and atmospheres. The second part, with the Hungarian songs, is mostly for the Hungarians, but they find it very grotesque.

Yeah, the slurping zombie…

Also, Machát Zsolt is also singing the backing vocals - he’s the high, manic voice. So it’s our insanity which came out. Also, we touched on more serious topics but maybe you can’t understand the lyrics too well.

No.

As you will see, the lyrics go through some deep meanings, from the Aryan philosophy through the ancient Hungarians, through the “Little Match Girl” based on a tale by the Danish writer E.C. Andersen.

That’s actually one track I wanted to talk about. That’s one song where I did catch the lyrics.

That is about a tale of the little match girl, who was very poor and was selling matches on the Christmas or New Years night - a celebrated night. She became alone in the street because nobody buys matches from her. It becomes a sad story because she begins having strange visions as she is getting cold and then she is dying. Her spirit is then rising to the sky; it’s a very sad tale for children.

Children’s voices are used in several parts of the album. One atmosphere I get from that is the imagination of children’s stories. The strangeness or “insanity” seems parallel to something you might read in a childrens’ tale.

We are using children’s voices at some points. Like in the song “Dracula,” in the beginning, the daughter of the guitarist is singing “Dracula… Dracula…” We also have the song “Brummadza”which has children’s voices and is very extreme and disturbing… it has no meaning initially, it’s nothing. We wanted to make the verse song, and at the end of the verse song is the punishment.

It’s very complex I think, the way the songs are moving. It’s hard to find an overall key to each song. It takes a lot of listens to decipher what’s going I think.

Yeah, maybe. For us, we wanted to do something different, to have another point of view of these things. Also, the drummer doesn’t like grind rhythms very much and after ten years, we didn’t want to follow any other bands. We just wanted to do our way, whether it works or not. It’s more of a big risk, because if you’re your making a normal black metal album you know…

I heard the response of this (“Recipe Ferrum”) so far has not been very favorable. Does that make a difference to you? The press release that came with the CD said: “…listen to their music with an open mind and with the right spirit without trying to relate it to the present day trends and ass kissing attitude! But be sure that if you fail to understand their deep message, they don’t give a damn!” Do you give a damn?

We mean if you follow the trend from the beginning, from the birthing of this style of music, then maybe you will understand why this has to happen. If you are younger and stepping in at the middle-age of this scene, maybe you won’t understand. If you look the old bands who are reborning, like Mayhem, they are changing too.

You’re on the same level perhaps.

Perhaps, perhaps.

What is your opinion on the newest Mayhem record then?

I like it; it’s completely different. I think Hellhammer’s technicality rules the album, it’s more about Hellhammer in my opinion. It’s a good thing that they also wanted to go somewhere, to expand this movement.

I think between the new Mayhem and the new Tormentor album, there’s going to be a lot of “die-hard” German black metallers who are going to be very disappointed.

I’m playing music since 86 maybe and for me I always wanted to do the new things, the free things. We took the risk, I think we went more forward than Mayhem. We went into debility and inanities. Not very popular. It’s very popular to be dark and to be in this black way, but we went more down into the knowledge into the insanity.

The primal.

Yeah. Maybe the metal fans won’t understand, but what can we say? This is what we wanted to do. But also, I’m satisfied with new Aborym because it is the black metal, with vocals a bit like “De Mysteriis…” - very black and very true without any political or human feelings. Nothing. Maybe the first Aborym album, when I appeared only a session vocalist, was more disturbed by these theologies. I think the new will be more true and more black. So with Tormentor I prefer to do something more strange. If you see in the songs, we wanted to make odd melodies. We wanted to find different view of music. If you see how it is now, if you go to a black metal festival you will find bands playing grind, the same things. No refreshment, nothing theatric, nothing more spiritual. It’s become a bit boring. Maybe each of them personally is a bit professional and very good - but maybe you need something else. That’s why we wanted to change. I’m satisfied, more or less, but of course not 100%.

So it’s a three-part concept album.

Yeah. The first song “Recipe Ferrum” is about the Aryan philosophy. It’s based on the Aryan philosophy, but it’s about the confusion of the mind of the people now... confusion of the spirit. It is told from history, from a Roman coliseum where the gladiators had to fight. Sometimes they were best friends, or brothers, but they would still have to fight one another to the death. In this world, sometimes you feel that you fight against you brothers spiritually - this is a big problem and this is the idea here. In the middle of the song, Time appears and says “I am the great destroyer of the earth. All soldiers, here on both sides will be slain.” This is just a vision, but I think this is a very actual meaning of this lyric. After, the gladiator in the song becomes more free and says he will follow his heart. It’s still open. The second song “Iron Country” it’s part of the Hungarian concept. It’s Hungarian blues about the ancient Hungarian history of death and the Hungarian feelings. But this is a normal blues song.

That’s one thing I wanted to bring up - there’s a lot of blues bass lines on the album, which don’t really exist in black metal.

For me it’s not bad because I like AC/DC; it’s a good step into the black ‘n’ roll. Nobody has played this kind of music before, which gives rock&roll the dark feelings of early Bathory. So this is the blues, but it is about Hungarian spirituality. You must know that here in Hungary now, nobody knows the right history. The history from before the last 1000 years is faded, so nobody knows exactly what went on here. The Hungarian language is different than any of the other languages, and there is much debate about who lived here and what happened. The fourth song is “Dracula” which is about a dictator, a true tyrant. I don’t believe in dictatorship, but you must know that the historical Dracula was a very strong dictator and he was a true emperor. There are very interesting stories about what he did as he was a tyrant, but also he was very true. He built an empire and it’s very interesting I think.

I’ve read a lot about him in the past.

In history he was a very extremely true emperor. I mean he was against life, he was against peace, he was against everything and also had enemies all around so he had to be very clever and political. He was slain by the Turkish, I think. It’s interesting because he was in the age of King Matthias, a Hungarian king, and they were very close friends. King Matthias also had one of the most powerful empires in the Hungarian history and has many interesting legends and folktales.

Much of the history I’ve read about central Europe seems very deep and spiritual in a strange way.

“Dracula” is not concrete, it’s just this feeling. It’s the archetype and the atmosphere. After that song comes “Cara Mia.” Much of the music was written by Zsolt, the drummer, and “Cara Mia” is his song about dark love. It’s a very bizarre love song, because we believe in love in our own way. It’s more about sexuality.

Yeah, I definitely picked up on that (a woman is orgasming).

Yeah, it’s Zsolt and his girlfriend appearing in this song. it’s a very long track with black romantic lyrics. Then comes the second part of the album, for the Hungarians. In Hungary Tormentor was always pushed down, so we didn’t want to do very cool Hungarian songs. We made very grotesque and very obscure Hungarian songs. A fuck off. “Paprika Jansci”…

In a live-show photo, I noticed you were wearing Paprika necklaces.

Yeah, these concerts were just for practicing our set, they weren’t very official. Yeah, I use the paprikas; I had the fish head, maybe you saw that in the picture too. I can’t say the name in English, but this fish is living in the rivers here. It’s a very hard fish, mefita, a very strong fish. To tell the truth, I am on the side of the nature, part of my soul is very close to nature, so that’s why I like this fish - it’s very strong, it’s very hard to catch. It’s an interesting story, actually. When I went to the market to get that fish head, I bought six other fishes which were still alive - they keep them in an aquarium in the market.

So, you have to kill them yourself if you want to eat them?

Yeah, you can kill them or the guy will hit them on their head, you know. But these fishes are so strong that they can stay alive when they are in the air. They are so nice that they are still alive, they could be alive for ten hours in the air. So I bought all the fishes before the concert and I took them back to the river. It was a very great feeling.

Ah, releasing them…

Because they were still alive and they are very strong fishes, so it was very cool. You know, all the time I am thinking very much about the spirituality of my music, so this is just a simple story, but it is very much about Tormentor.

Who is “Hany Ishtok?”

That’s the second song for the Hungarians. He is a Hungarian who is a freak of the nature. He’s a man who went into the swamp and lived like Tarzan, here in Hungary in the 17th century. He had special fingers with webbing to be able to swim in the water, and he appears in an old Hungarian novel which is very famous here. It’s all very strange for the Hungarians because it’s a bit forgotten. So we wanted to use this figure: he lived in nature, he lived in the swamp and became half animal and half man, a kind of freak. But later in the history he became a freedom fighter.

This is based on an actual man?

Yeah, this is true. The third song of the Hungarian trilogy “A Hetszunyu Kaponyanyi Monyok” is also true, but less so because this figure comes from the most ancient ancestral Hungarian tale, titled “The Son of the White Horse.” It dates back more than 1000 years, before this European culture and before the Christianity. He’s a very old figure. He keeps his power in his beard and he wants to eat marsh all the time, as he gets force and the power from the marsh. It’s a very mythological story, also very grotesque.
In the third part of the album, we went to “Brummadza” which is the worst song in our new musical history, with the punishment. After this, on the album we have another mix of “Hany Istok” - a studio jam with a good atmosphere. We were just jamming, which is a very strange thing to do in this scene. I’m playing guitars in this song and just jamming in the “Hany Istok” feeling, which is in the swamp. We made very strange lyrics in Hungarian about animals and flowers and what you can find in the swamp. The very strange insects. We are saying “lapepodes,” a strange animal, saying the names of the animals and the flowers which you can find in the swamp. The outro, “The Devil,” is also very obscure and strange I think. We wanted to make pure studio sound, like a radio play.

It’s like a performance of voices. What are those classical pieces you use on the first part of the album?

These are Bela Bartok. The first intro and also “The Iron County” are from his works. The second piece is about people harvesting the fields, a kind of marching sound.

They add another layer of complexity to the music. Trying to understand how it all fits together is very thought provoking.

It’s not typical metal album. We wanted to make Tormentor, not metal. You know, in the past, I didn’t give too many interviews because I thought the music speaks for itself. But with this new Tormentor, it’s better that I explain a bit about what we are trying to do. It’s just our ideas, it’s simple. I like to get influences from other sources and from other bands, especially from more techno in the past. From America, from Canada: Front Line Assembly, Skinny Puppy and all their projects.

Your vocals definitely seem influenced by Ogre, from Skinny Puppy.

Ogre was one of my favorite vocalists.I like and I know Skinny Puppy, quite from the beginning. In Hungary in 86/87 when we started to play everything was mixed; it was a different system and you could have underground music from around the world. At the same time, I listened to the punk, the black metal... I came from the heavy metal, of course, from AC/DC and from Iron Maiden. But also things like Swans and Current 93.

I have one tape of Himalaya, a live performance in Pécs.

You have that? I was completely drunk so, hahah….

It reminds of Current 93, I was really surprised.

I had many experiments. You must know that after the Mayhem album in 93, I had Plasma Pool in Hungary.

Of course, I want to talk about that actually...

This band was also experimenting. We wanted to follow the steps of Skinny Puppy and Frontline Assembly and maybe Front 242 from “Elected by the Music” but mixed with black. So, at the time we had very bad conditions here and we had only one demo and another demo from a concert (released together on the “I” CD in 1996 by Holocaust/Miscarriage Records of Italy -S) and now the last one (“II/Drowning” released in 99 on Scarlet of Italy -S) which is shit because the label didn’t write that this is just a live recording from 93. Unfortunately, I was not into this release. I said they could release it, but it was a mistake of the label to not say that this was stuff from the 90s, from a live show. Not new Plasma Pool.
Now we are planning to do a new Plasma Pool, as the keyboard player is still interested in the music. Maybe we can use more guitars if the guitarist of Aborym is interested. He likes very much the music of Plasma Pool and would like to join. I would like to do three projects as I’m not doing very popular music.
But in 93, after the Mayhem stories, Plasma Pool split too. I was still in school and finished my studies as an electric engineer and made my family. I was not so active in music. I was very much into religion and philosophy because I wanted to understand. And after seven years of searching and reading, I didn’t find my personal religion, but I guess I’m still the same. I can see the parallels in the religions and also the paradoxes. I was very much into the Indian, European, and Hungarian mythologies. Also, I had my family, and also I had to build our house so I very busy at this time. Now I have now two children. I have also been teaching mathematics and physics for five years now. This is my personal life, but I couldn’t give up the music.

Well, once you start, you can’t stop.

Yeah. I came back and now Tormentor is for expanding the rock music, the black metal music into black ‘n’ roll - our way. I hope it will work. For me to play live the best, to be in the studio is the second thing. I like to be on the stage, I can feel the bigger spirituality. At the same time, other people are with me and it’s the best.

Selected Discography:

Mayhem “De Mysteriis Dom Sathanas” CD/LP 1994 (Deathlike Silence)
Tormentor “7th Day Of Doom” CD 1996 (Miscarriage)
Tormentor “Anno Domini” CD/LP 1996 (Nocturnal Art)
Plasma Pool “I” CD 1996 (Miscarriage/Holocaust)
Tormentor “The Sick Years” CD/MC 1998 (Osiris)
(also containing demo material form Abstract and Daemon Fog)
Plasma Pool “Drowning/II” CD 1999 (Scarlet)
Aborym “Kali Yuga Bizarre” CD/PLP 1999 (Scarlet)
Tormentor “Recipe Ferrum” CD 2000 (Avantgarde)

11 01 2006
#1024

WITCH


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New band with Kyle & Asa from FEATHERS, J Mascis, and Dave/SUREFIRE. Killer 1973 sounding occult rock like old Pentagram meets Italian underground of the period. Not my art on the cover (Kyle made it) but I found it lovely enough to post here! They have a single out soon and Tee Pee will produce their first album in the works right now.

11 01 2006
#1023

OM


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