in order to castle of my drea ms cided to leave the de yet unsure I e, o, tim ag e at th tim Some I was restless at e. els ere wh y autumn me nn so while until a su start a new life take me. It took a uld ching for wo rea ey e, rn M jou e ip. where th passage on a sh a ok bo to up t go morning when I ut terly wide. adventure and the thout g wh ich I had, wi . Ni ne days du rin ys ber da em ne rem ni I if ok w to My voyage side. A bird – a cro my at ion the an on s mp co ps behind. It wa noticing it first, a ly always a few ste s ul wa I ref y, ca fl it me g ng in hi well – fol low flew off. Watc e tow n, as the crow uld fly th wo e I for y, fl be ll uld hi t co I las very ed that if th envy and rea liz above, nothing suddenly fi lled wi at this world from k loo uld wo I re. he m ath me – selffro ne ay be s aw ed away – left for the de rn sco d an y er ck but sentinent mo cles. ed draw ing my cir righteous and satisfi tion: reached my destina low ing the crow, I fol ll sti y all nt me , And thus rizons. my ship to new ho – Herr F.
Mournful Congregation | 3
MENACE RUINE
24
i don't want to know what we do, i just want to do it.
PERSISTENCE IN MOURNING 40 confessions of an american industrial doom cult.
TOWERS OF FLESH
16
adversarial spirituality from the satanic midlands.
SWALLOWED
finish tales about the loss of limbs, mental blood and lunar vomit.
ODPÖROVÄT 1968 AURVANDIL
34
a soundtrack for a globetrotter's winter hike.
30
46
prague spring, subversion and passion for low frequencies.
TOTAL RUST RECORDS
54
israeli label for extreme and honest doom music.
MOURNFUL CONGREGATION
6
down under a funeral doom.
Mournful Congregation | 5
some bands simply don't need any introduction. lay down your souls to the masters of funeral hymns. herr f. & herr b.
Chapter i: Descend of the F lames Many readers may already be familiar with the name Mournful Congregation. For those who are not, I would like to ask you to lose some introducing words about your band. Australian Extreme Doom Metal exponents since 1993. I am always into the concept and the thoughts behind music. Therefore, I am particularly interested in your band's name. What does Mournful Congregation exactly mean – especially to you personally and the reflection of your work? First and foremost it evokes the right visions for the music. Both words had not been used by any other band in metal at that stage to my knowledge. It represents the collective sadness of man.
In this context, I would like to focus on your slogan »Macrocosmic Doom for Microcosmic Beings«. How is it to be understood and what deeper meaning lies behind it? Is it a link to our untangible fate of being unable to recognize the signs of our own downfall because we are living in a glorified world? Nice explanation. I like it. I don't know if this even should be explained further – the reason for a »quote« or »axiom« is that in a simple few words or lines, it can speak volumes, and I don't want to write a volume. Let's leave it as a quote for anyone who wishes to ponder upon.
Mournful Congregation | 7
Chapter 2: T he June Frost It is about two years ago now, since your last record »The June Frost« has been unleashed on the audience. Since then much water has flown down the river. What is the title all about and what does it symbolize? The first month of Winter in Australia is June. It is a herald to the coming of Winter.
that I think »The Monad of Creation« had, and the next album will fi ll some holes that »The June Frost« has. If the tree stops bearing quality fruit, the tree gets cut down. I don't think the tree needs to be cut down just yet. But the origins of »The June Frost« go back before »The Monad of Creation« was even recorded. This is usual for us.
What do you think looking back on this record and its origin? Are you and the others guys in Mournful Congregation satisfied with your work and the result? We have been looking to the fore ever since its release, as you do. But looking back, we are indeed satisfied with it. From it we have learned where we wish to go next. »The June Frost« fi lled some holes
The whole record is very close to a perfect match. The songs as well as the artwork seem to be wellthought and compliment each other in the best possible way. Is this coincidence or pure calculation? I would say everything that we do is calculated to the best of our abilities. But there are always incalculable elements in music creation and recording. This is the hidden mystery
8 | Mournful Congregation
of music that we all love though. In the earlier days it wasn't so much so. Well, it was to the best of our abilities then, too. But now, we have more experience with which to calculate upon. Alas, as it is with the human experience, nothing that is first envisioned in the mind ever seems to be as grand once it comes into physicality. So we must just do our best and this is what we do. You wrote almost all lyrics and nearly composed all songs by yourself on »The June Frost«. How do we have to imagine your way of working? To what extent were the other two members – Adrian and Justin – able to take influence on these songs? I labour over the songs for years in my own personal surroundings. To
imagine it, you have to realize, as I'm sure a lot of other musicians do, that I think about this band every single day. So generally I will at some stage bring a song to Adrian to work on drum beats, and either whole songs, or certain sections will be presented to Justin for him to write extra melodies over. This is how we work now. I think all three of us have very distinct styles/feels/sounds ... so it's not hard to hear all of our personalities in most songs. Although »The June Frost« has some songs that are just myself and Adrian performing ... but on the next album every song will have Justin performing I think. It really depends on what the song requires ... sometimes I write enough individual guitar parts to take it where I want it, but sometimes it needs more.
Chapter 3: T he Concept of Creation How strong is their influence during the creation of new material and how much of their ideas can be refound in the finished music? The foundation is usually laid by myself, and then coloured by the other members to varying degrees. A song like »The June Frost« for example was simply an acoustic guitar piece to begin with, yet the electric guitar work from Justin makes that song. I would say we all have an understanding now as to what is needed to create a song for Mournful Congregation. We aim to utilize our individual techniques not for egocentric reasons, but purely for the greater good of Doom Metal!
The lyrical aspect of a band or a record has always been very important to me. Now, I would be interested by your interpretations of the lyrics on »The June Frost«. To me, this time they seem to be a little more personal than on the last album. Are they based upon a strict concept – a red line like on »The Monad of Creation«? Each lyric is fairly individual on »The June Frost«. There is no running concept really. For me, lyrics generally have a three-fold aspect. Firstly they are an attempt to verbalise impressions first dwelt upon within. And secondly they are an attempt to just sound somewhat aurally poetic, with the impression appearing much later sometimes. And thirdly they are an attempt to perhaps envelope some philosophical/
spiritual meaning. Of course Chuck Keller penned the lyrics to one song on the album, »Descent of the Flames«. So this lyric was utilized purely by receiving the impressions it evoked in the minds' eye, without ever knowing the original source of original inspiration. Accoring to Metal-Archives.com you used excerpts of Madame HP Blavatsky's »Book of Dyzan« and Homer's »Iliad« on »The Monad of Creation«. Do the lyrics of »The June Frost« also have a philosophical or sophisticated background? Definitely. Paticularly »White Cold Wrath Burnt Frozen Blood« and »Suicide Choir«. In fact the lyrics for »White Cold ... « were written in 2001, and »Suicide Choir« in 2004. Both before »The Monad of
Creation« was recorded. So they are not that far removed from this era of writing. I can say that the next album has a couple of distinct lyrical themes running through it ... but you'll have to wait for this. How much do you busy yourself privately with philosophy? For the last few years I have not read as much of this sort of stuff as previously actually. And then it was mainly the ancient spiritual traditions, and mystery religions, rather than straight philosophy. There's a point where one must turn theoretical knowledge into practical knowledge, and this is where I have been focused in the last few years. But of course these influences are never far from the mind and take lifetimes to study. Mournful Congregation | 9
Which topics and works inspire you again and again? Any favourites you can recommend us? I am equally intrigued with the peak of mankind (ie. Yogis, saints etc.) and the lowest rungs of mankind (ie. serial killers, criminals etc.). I think this equilibrium of total despondency, and on the other hand total purity, is reflected very clearly in Mournful Congregation's music and lyrics. But also I would say lately I've been following some great researchers who have been discovering some great truths, and we are indeed living in great times which shall reveal some great truths of humankind. What I personally like very much – on all your releases – are these beautiful melodies and solos the 10 | Mournful Congregation
lead guitar plays. They contribute a lot to the wonderful atmosphere that your songs – at least for me – evoke. Within songs born in sadness, despair and hopelessness, these melodies are able to evoke a touch of warmth and hope. Therefore I would claim that your music has a rather more positive impact on the listener than the one from other bands within the genre – it seems that there is still something pleasant in this worldly life: Strength through sorrow? Like I just wrote, the lowest and the highest are equally intriguing, and this is reflected in our music as much as the lyrics. But it is ultimately the nature of nature ... wherever there is hopelessness, there is hope. Wherever there is depression, there is happiness. It is
the dual nature of man. We must make the best of a bad situation. It is not an ideal situation to be human. But there is hope ... I hope!? Well, the guitar is capable of great things, and I don't see why lead guitar should be limited only to forms of music other than Doom Metal. How do you see that? Am I totally wrong with that? Who knows? All I can say for certain is that every man feels sorrow, and there is nothing wrong with that. In fact it is very, very right. Especially in this age.
Chapter 4: A slow March through old Europe You have toured the old continent of Europe for a couple of concerts in early 2009. Please, let us share some of your impressions. Well, being in Europe for me fi lls a void that otherwise is only imagined and pondered upon. So to see the architecture, feel the history and experience the varying cultures of Europe is truely awesome. The lands of my ancestral past ... .
How was the tour in general? I am sure you have some decent anectodes for us, don't you? The tour itself was put together totally professionally and rather amazingly by Adrian »Harry« Butler of Lugga Music. It really went very smooth considering how many dates we did and countries we traversed in a short span – 16 shows in 18 days. To tour with Mourning Beloveth and Longing For Dawn was simply great aswell. Of course there's many anecdotes ... but let's just say that the combined smell of Frank from Mourning Beloveth's boots, mixed with the trio of fine French cheeses that Jean-Yves from Ostra Records gave me at the start of the tour made the back of the van smell rather interesting by the end of the tour!
Unfortunately, I wasn't able to join any of these dates. But Herr B. attended your performance in Hamburg/Germany and judging by what I was told then, it had to be very colossal and impressive. Playing with three guitars on stage makes me think of a massive wall of sound. How should I (and all others) imagine a live gig from you – feel free to feed my imagination. Yeah, we aim to sound colossal if at all possible. A punch in the guts at times, and at other times, a transportation beyond your immediate surroundings. I did notice time and again alot of people in the crowd with their eyes closed which was interesting. Perhaps more interesting was the fact that some people still managed to headbang!
How much differs the mood on stage compared to composing and recording your music in the studio. Do you think that you succeeded in reaching the audience? Playing live with Mournful Congregation has actually been a more rewarding experience than I expected. In the past I never cared much for playing live with Mournful Congregation. But now that we have, I can realize the fruits of such a venture. Recording music in the studio, you are piecing it together for the purpose of the end result. But playing it live, you are experiencing the end result at every moment. So it's like a meditation on the power of energy and harmony. I think if people don't feel our »vibe« live, they probably don't have the patience for slow music at any stage. Mournful Congregation | 11
Was it very difficult getting necessary line-up together? No, not at all. The two extra members we recruited both committed as soon as they were asked. Given that one of them, Ben Petch, formed the band with me and played and wrote a large portion of our early songs was a great help. It was like he was coming home again after all these years. Australia and Europe are geographically very distant. Yet, these two continents are linked by a narrow strip of common history. What are the similarities and the differences you recognized on your trip – especially in relation to the people and their mentality? I did notice the further East we got (Estonia, Latvia, Russia), the more appreciative people seemed 12 | Mournful Congregation
to become. As in they would want photos, autographs, handshakes etc. Whereas this is not so much so in Western Europe, which is more like Australia I would say. But it is also amazing to see so many cultural differences within short distances in Europe, whereas in Australia, there are only quite minimal differences between the different cities and states, even though they are long distances apart. You met Julien of Ostra Records who released the fantastic vinyledition of »The June Frost« and even slept at his home after one gig in France. How did you guys got along with each other? Yes, I met Julien ... he is eccentric. But Jean-Yves is now responsible for Ostra Records, and he took care
of »The June Frost« record. He also is eccentric! Haha. A great fellow with a totally true metal and musical spirit. I am eternally grateful for those great smelly cheeses and wine he passed onto to me as a gift! We will work together again, and I can't wait to see these eccentric dudes again next time. Did you have time to enjoy yourselves in cultural aspects of Europe or was there too less time left for such things? A little yes, I did stay in Europe for three weeks after the tour exploring certain mysteries ... . What do you prefer personally: the wide, unspoiled nature of Australia or the urban area of the european metropoles?
I would say the more desolate country areas for living. The European metropoles are purely for shorter visits, explorations and researches. But I should point out that a lot of Australia's nature is actually spoiled, in the inhabited areas that is, in case you get the wrong impression. I would not be in any opposition at all to dwelling amidst the lush forests and mountainous peaks of Europe. I grew up living in a small town alongside a river, I now live in a city. I would much rather live again near a river!
© Darkside.ru
Chapter 5: Suicide Choirs Congregation, Stargazer and Cauldron Black Ram. Everything else is past bands or studio bands. So everything comes at its allotted time, not all at once. Just for the record, I only played session bass for Portal on the »Lurker at the Threshold« tape and the »Outre« album. The Cave Distro was started as a way for me to sell my own bands releases (my royalties), and has just grown from there. But it's great because it's a way for me to continue as in the old days – writing letters, sending packages, making contacts etc. There are a few other projects and bands I have recorded within the last year or so yeah. But perhaps we'll keep this as more of an Mournful Congregation interview. Where does you musical talent come from? Has it already been
placed in your cradle, have you enjoyed a strong musical upbringing or are you an learning-by-doing autodidact. And how did you get into heavy metal music? No one else in my family plays a musical instrument so I don't know? But my whole family appreciate music and appreciate what I do, and my older Brother is a music enthusiast, so I think I learned a lot from him in the early days. Always helps. One could say that Doom – and Funeral Doom in particular – is one of the most personal music genres around. Where else – aside from Black Metal perhaps – are so many sad, desperate and personal thoughts brought together to a musical and lyrical form? How do you see that?
© Darkside.ru
Damon, it seems that you are some kind of workaholic, aren't you? Besides Mournful Congregation you are still active in dozens of other bands including such gems as Stargazer or Portal and you are running the The Cave distro/label, too. Are there any other projects you have your fingers on and how do you manage it all? Do your days have 48 hours or is this all just a question of organization? Most of my time and thought is taken up with music yes. But I am not as busy as you might think. I mean, none of our bands are signed to big labels demanding a release each year and loads of touring ... . I probably do so many bands because of the lack of busy-ness of my bands. No, but my main bands are Mournful
Mournful Congregation | 13
Looking back now, I distinctly remember an incident when my mother had picked me up from school, and dropped in to the local dairy to get a couple litres of milk – this is now illegal in Australia by the way, for dairies to sell fresh milk directly. And she had left some classical tape playing in the car while I was waiting. I still have no idea what the piece was, or the composer ... but it was so fucking emotive and sad to me, I was having thoughts of my mother not returning, being abandoned! And this sad music was just having some grand effect on me. I was very young, and this was my first memory of the profound effect of sad music. And how did you get into funeral doom – or doom in general? What was your personal trigger? 14 | Mournful Congregation
I got a taped copy of Candlemass's »Epicus Doomicus Metalicus« when I was 12 or something and instantly adored it. Then Cathedral's »Forest of Equilibrium« was next in 1990, and this is pretty much the time the seed was planted to start writing Doom Metal for me I believe ... and also before this Celtic Frost's »Into The Pandemonium« which has some very sad, but also very grand and epic songs. But Cathedral demonstrated the possibility of total Doom more consistently. But I think sad music dates back to the dawn of man, found in folk and traditional songs from all cultures. Obviously classical music, blues (the very meaning of the blues!?), rock, Heavy Metal ... definitely not limited to Black Metal and Funeral Doom.
It seems to me that at this moment doom music is finally gaining its popularity it deserves after all these years of stagnation and presence in the deepest underground. The nowadays highly developed musical standard of the genre makes it interesting – even for people who would not care of it otherwise. Do you see this actual interest as an opportunity or a risk? The early 1990's is when it first became popular, but only the real underground bands seemed to have continued with it from that era. All the big Doom bands of that era lost it. And I don't need to name names (Well, I guess you're aiming towards Great Britain, aren't you? – Herr B.). Then I think the Funeral Doom style re-emerged in prominence around 1999 onwards.
I thought in the early 2000's it was gaining that popularity it deserved, but now it's 2010 and it still hasn't peaked. Although there's much more attention, it has still never reached much further than the earth's crust, as far as breaking out of the underground is concerned. For me, this is a complete advantage, and demonstrates the integrity of its creators and followers alike. But I still think the musical standards are quite low unfortunately, apart from most of the longer running, more established Funeral Doom bands, and a small handful of newer ones. Personally, I look at this rather skeptical as more listeners and more people mean – exactly – more listeners and more people.
To become more concrete: more people who often make themselves more important than they are, get lost in fundamental debates about things they aren't familiar with or simply have nothing lost in the discussion of music as an art form. There is also a glut of new bands – which on the one hand all have their right to exist. But on the other hand this fact doesn`t make it easier for the consument to find the real few pearls which shine out from the murky waters. I am interested in your personal opinion about this topic as you are affected as a musician who is able to look back over some years of experience. I sort of summed up my feelings on this in the last part of my last answer. The overall quality is still
pretty low coming from most bands in the last 10 years. Which shows I guess that a lot of people have perhaps jumped on the trend without the skills or passion required. Coming to the end of this conversation, let us obligatory focus on the future. Looking at the amount of your current activities I am sure that you already have a lot of new plans to be realized sooner or later. What will the next decade bring – for example for Mournful Congregation? We are already rehearsing all music for the next Mournful Congregation album. Once again this album's content was written over a long period of time ... some material dates back to the 1990's, and some is as fresh as 2010.
I am only really gazing forward into 2011, not much further beyond to be honest. Not on the musical front anyway. As always, we will simply »go with the flow«. The clouds hold the answers, yet still we search ... . Thank you very much for your time and your efforts. I hope we will meet on your next trip to Europe. The last words are yours. Thanks for the interest. Doom is a three-fold affl iction.
www.myspace.com/ mournfulcongregation Mournful Congregation | 15
Many greetings to you and welcome in the venerable halls of the Soleil Tryste zine. I hope you guys are going fine, aren't you? Hello! And yes, we are doing very well at the moment. I doubt whether all of our readers are already familiar with Towers of Flesh. Therefore, please take us on a small trip through the band's history. When did it all start? Well, the band originally began in 2008 from which we immediately began writing music for what would eventually become »The Perpetual Paradox«.
We had previously went through various motions trying to ascertain a full line-up for the band. However, this was unsuccessful. So myself and Tom Hinksman decided it would be better if we shared out instrumental duties between ourselves. Is anyone of you involved in other bands, too? Yes, we are all involved with many different acts – I am the full-time drummer for Necrotize (Death Metal) and Mindless Torture (Death Metal) and also appeared as the drummer for the new Requiem Laus (Black/Death Metal, Portugal)
the search for hidden treasures in the depths of the underground usually turns out to be very tedious and disappointing. all the better if you come across an amazing blackened death metal horde as towers of flesh. their first sign of life »the perpetual paradox« strikes many current as well as stale releases by far. give it a try!
album and in addition to this am currently getting ready to record the debut album for The Solemn Curse entitled »Gateways to Eternity« and »The Disembodiment EP« for both of which I will be handling all instrumental duties and am also working with our live bassist on an as of yet untitled Grindcore CD. Tom Hinksman is a Guitarist in Left to Bleed (Melodic Death Metal), Mindless Torture and Hellsworn – an old Swedish styled Death Metal act who are currently getting ready to release their debut CD. Jack Welch is a member of the UK Black Metal Act Funeral Throne who
recently opened for Watain and Von at Armageddon Festival in London and a previous member of the now US based Black Metal act Hazium. You have released a very strong debut »The Perpetual Paradox« during the end of the last year – an unexpected and malignant epos crawling from an hidden nothingness. Your mixture of Black and Death Metal reminds me of several great swedish acts like e.g. Watain with small adds of darkening american-styled Death Metal played by bands like Immolation or Morbid Angel.
However, let us not hold back that you managed to combine this all with your own original note. What were – and maybe still are – the musical aims that you want to realize with Towers of Flesh? I think to verbally define what we are trying to realize musically with the band is very limiting as it can't be fully articulated by any word or phrase but to put it simply I'd say the goal is to create truly dark art which is charged, evocative and symbolic of the spirit behind the band. But Towers Of Flesh is still very much in its youth and we will continue taking the band on this path and we are
herr f.
far away from making the perfect album at this point. Although opinions may differ and render people at odds with regards to how far off or close they believe we are to the above to put it simply: We will know when our music has reached its full potential. Which bands and works have substantially influenced you – musically as well as ideologically? I think the big influences on us musically would have to be Dissection, Vital Remains and Watain. All of them for different reasons varying from technicality and musicianship to atmosphere and emotion. Towers of Flesh | 17
Ideologically – I think definitely when we were younger we were all enticed and inspired by the underground metal scene and this acted as a catalyst for that fatal attraction that one can develop for the dark and dangerous aspects of spirituality. From there you just begin to delve deeper and find out more about the hidden arts and teachings and as you learn you begin to develop your own perspective and feel little need to imitate others who have came before or who even inspired you to search in the first place. So, I'd say there is no band that has any particular ideological hold over us. You already mentioned Watain: What do you think about the hype that the media made about them in the recent past? It is important that bands like them exist and its great when they receive the attention they deserve. Watain was always a band which was serious in every ascpect of their work like artwork, music etc. – so is this hype more a gift for them 18 | Towers of Flesh
to spread their message to a much broader audience (not only in the so-called Black Metal-scene) or will they become just another number in their label's roster – in this great beast called music-business? With regards to the industry – it all depends on your approach. Ultimately the only intention of the major labels is to generate profits and they simply don't care for art or the opinion of the artist. However, you can either act in accordance with the machine that is the music industry or you can choose stand in defiance to it. I mean, I am in contact with many industry people everyday of which I do business with and work alongside etc. but I would never see them as friends or allies. Ultimately, their goals are diametrically opposed to mine. They are more concerned with profit than they are with music. But ultimately people are only used in this business if they allow themselves to be. Giving »The Perpetual Paradox« a try, the listener's ears are quickly struck with the well-done produc-
tion. The sound is extraordinary good and very professional for a debut – modern and heavy but yet not too sterile. Thank you for the compliments on the CD. If my information is right you have recorded the album at two different places. Yes, the guitars and drums on the album were recorded in Swindon and the vocals were done at Hellfire Studios in Birmingham. Afterwards the whole stuff has been mixed by Anaal Nathrakh's Mick Kenney. How did this come? The album was only mastered by Mick from Anaal Nathrakh. It was a pretty natural turn of events as we see members of the band around Birmingham bars and have shared the stage with some of them through our other bands etc. we concluded it would be good to have him on board and he gladly assumed the position. Besides, I have heard rumours about major problems with the
Elitist from the Satanic
Esotericism Midlands Terror Unit
recording-process (for example the drum-tracks) – what happened? Well, to put it bluntly: The raw drum tones weren't paid enough attention to at the point of recording. This left us in a difficult position as by the mixing stage as there was no option of using the actual live sound. So we ended up running it through the infamous Drumagog and there were persistent problems with picking up the fi lls and general digital triggering problems. But after a painstaking process it finished up quite well with only a handful of problems.
Yes, as stated previously there were some due problems there – all I can really say there is that the overheads were sort of injected into the mix as to avoid the otherwise mechanical overtone that would have overcome the drums. Their overall sound and position in the mix was defined by the mixing and mastering of the CD which is now a long finished process. But we definitely understand such criticism.
Looking at the sound and the whole result of your work: How satisfied are you with »The Perpetual Paradox« now? Well, we are not delighted with the overall sound of the CD. However we are very proud of the songs and the overall atmosphere that we managed to conjure.
First, you have released your debut – including a patch and a button – on your own. Meanwhile it was put out by Dissected Records again. What is the link between Towers of Flesh and them? Dissected Records is my self ran d.i.y. label of which a distribution contract has been signed with Plastic Head and Code7 allowing all of its releases to be made available on order from HMV, Play.com, Amazon and many more.
In my opinion, percussions like hihat, cymbals etc. are a bit too loud and have not the optimal sound. What do you think about this?
Are there any differences between the two versions of your debut? Well, yes. The big difference being the independent pressings were
hand made and the new copies have been professionally printed with a CD booklet etc. and are available through Dissected Records and all major retail stores on July 26th. The CD's artwork – which is great in my opinion – was also done by you. It is the cover which I like most, although I find it hard to define what it really shows. So, please tell us more about it. The cover art was designed by a great artist and musician we know named Joe Hill and our vocalist Jack Welch. Without divulging into too much detail here as to leave the beauty in the perception of the piece – personally the artwork represents the dogma of modern day organized religion and the eventual fall that it has brought upon itself and on the polar opposite side to this it conveys the true perpetual energy source from which the bands music stems from. Is there a connection between the artwork and the lyrical content of the record? Towers of Flesh | 19
Yes, it definitely holds significance with regards to the lyrics however the cover-art possesses a very dramatic and satirical edge. Well, that's just the next point to have a little talk about: the lyrics which – to my disapointment – are not printed in the booklet. Personally, I think it is a pity as the written word often has a nearly equal
importance for the final artistic result – the music itself. Well, as you were one of the very few who obtained an independent pressing of the album – it was not financially viable to place a lyrical booklet in there. However, the new and official editions which are available from all online retailers have been properly printed and come with a full lyric booklet. You are taking your creation very serious and want to carry it beyond the borders of pure entertainment. What do you mean by that exactly? When it is said that our art transcends the boundaries of entertainment – what I mean is that I genuinely believe in the energy source behind the music that we make and through the sonic embodiment of this power it becomes more than simply music. Are your lyrics very personal and how important are they for the band as a whole? The lyrics are definitely very important and were used as a very powerful form of expression for me
20 | Towers of Flesh
and represent an imperative aspect of the band itself. Do you care a lot about other bands' lyrics? I do care about other bands lyrics if they themselves also do. You can easily tell when you are reading bullshit lyrics as they tend to have no real direction or conviction within them. They are just meaningless words to accompany meaningless music. But I say just let them get on with it as they obviously have something to prove. To themselves at least but please remember: You can only pretend for so long. Let us focus on the lyrical aspect for some more time: What topics does it include? Is there a deeper sense or a sophisticated concept upon which they are based? The lyrics obviously vary from song to song but they all collectively take shape to represent the system which is known as Adversarial Spirituality. There is not simply one topic or idea which is expanded on but many from »The Becoming« to »Forbidden Gnosis« – they all are
respectively separate in content but accumulatively are synonymous with the same ideal. However, the lyrics shouldn't be seen as simply concepts or notions as they represent what we believe to be the truth of the world itself. What do you believe is the truth of the world itself? What do you mean with that? Please, tell us a little bit more about this subject! Well, it is my personal belief that whilst we are on this planet there are energies available to us. We can choose whether or not we want to utilize or work with these forces. How you define what is beneficial all depends on the type of person you are – and when you answer that question you will find your own truth. So, are you a spiritual person? Yes. What are your personal thoughts on concepts like gnosis, theosophy and stuff like that? Has mankind lost its spirituality – are we too enlightened to believe in a higher power – and with that I don't
mean the major religious groups? Do you agree – and what do you think about this topic? I think to say mankind has lost its spirituality would be an overstatement because I don't think people ever really had any sense of forces exterior to their own egos in the first place. It is only in the elect few that this desire to further ones sense of being is born. But I think you will probably find a lot of people believe that there is a higher power or a creator of the universe however most of them will be too lazy to ever take the steps to discover it. But they are
often discouraged through their daily dose of social conditioning as society generally doesn't appreciate its members embarking upon genuine spiritual pursuits but instead prefers if you subscribe to the slave system of an established religion. But with regards to being too enlightened – that's definitely not the term I'd use to describe the mind set of most human beings. For example of the trend of the modern day is to trust everything which is fed to us through science and if we don't chose to believe an accepted theory we are some way backward and are divulging towards the Towers of Flesh | 21
atavism which has constrained humanity's development for centuries however we don't believe this to be true. Ultimately people should never be afraid to step outside of themselves and seek self discovery. Please tell us something about the »Elitism Esotericism« slogan which is printed on the back of your debut, too. What does this mean? Is it maybe your own label, meant to distribute your debut-cd on your own? Or has this a deeper meaning? Well, you can refer to it as a label or a tag if you like but we just feel that it sums up our music quite aptly. The full term is now »Elitist Esotericism from the Midlands Satanic Terror Unit«. Regarding the statements on your official MySpace-site, it seems that you don't feel very comfortable within the actual music scene. After the huge rise in the early 90s Great Britain fell a little bit asleep when it came to extreme music. However, your country has some 22 | Towers of Flesh
serious killer acts to offer again at the moment – just take a look at Grave Miasma, Cruciamentum, Imindain and some more. What led to the re-awakening in your opinion? Regardless of the bands you mention I can't recall any significant reawakening of the UK scene. Things are still pretty stagnant from where we are.
How do you judge the extreme music scene on the isle in general? One word: Shit. Do you have many contacts or don't you give a fuck at all what others do? Well, unfortunately in this day and age if you want your music to truly spread and be heard by a wider audience then you have to deal with promoters, distributors, industry people and various other professionals. And from this you will end up making a lot of useful contacts. But our relationship with these people like it is with most bands is purely business and we don't see them as genuine allies or friends if you will. Hopefully, they won't read this, dude. Can you recommend any hidden treasures to us? I can't recall any at this current time! Towers of Flesh has a constant and full line-up now and will hit the stage in October 2010 (D'oh, this one is pretty old. Sorry for that. – Herr B.) for the first time, right?
What awaits the crowd? Yes! They can expect fi lth, madness and most of all fury! Also, we may be releasing it as a little limited bootleg CD release if it all goes well so you may also get the chance to hear it. How is the underground audience on the isle in general? Generally, it's the lack of an underground audience in the UK that tends to be the problem as extreme music is almost a taboo in the country and is something which isn't taken very seriously by most people. Also the fact that most live shows are riddled by poor attendance and a shit sound doesn't help the case either. I am aware of the fact that you are already working on new material. Are you able to make any statements about it yet? Well, I have just came from a near 4 hour writing session for the new CD and am aware that Hinksman has also begun composing material for the new album also. Songs are in the process of being completed
already and as a rough estimate I'd say there are around 6 song ideas being worked on at the minute. As after the recording of »The Perpetual Paradox« in 2009 we had both grown very tiresome of each other and needed distance before we could begin writing again but now we are fast moving forwards towards the new release. Not too much detail can be disclosed at the minute except it seems to be much more mature than its predecessor with regards to the compositions and musicianship. With regards to the lyrics they haven't been written yet as they are only added once the songs are finished. What can we expect from Towers of Flesh in the future – musically and lyrically? Ultimately, we are on our way to finding our own sound with this release as before we wore our influences on our sleeve – we are now trying to reach for our musical identity but there is no need to threat – as we will guarantee that if you liked our previous CD you will no doubt be a fan of the upcoming one.
Am I right that Dissected Records will release also your next output or are you open to test other labels, too? It is unknown whether we will release the next CD through the label. But to be honest we are very disappointed with the current state of the music industry with the nonstop influx of d.i.y. deals and all the other cons that have been invented by these money hungry vermin we find ourselves asking what is the point in even holding out for a record label in the current climate within the industry. Thank you very much for the time that you put into answering these questions. I am looking forward to listen to your new material. May the last words be yours. »The language of fools is words.« – Austin Osman Spare
www.myspace.com/towersofflesh Towers of Flesh | 23
Hello S. de la Moth! Maybe you don't believe me now, but I envy you: The temperature in Canada is not as high as it is here in Slovakia, where we have more than 30 °C above. So, how are you? S. de la Moth: Hello Lukáš. Interesting that you think that Quebec is cooler, we just had two weeks of dogdays with 35 °C as I answer this. And right now you even are a few degrees below us. Slovaks win the grim and frostbitten contest against us.
S. de la Moth: Being a metal music fan, I am always pleased to hear that devoted metal listeners like yours are interested to hear what we do or have to say. Menace Ruine is sincerely influenced by some underground Black Metal bands but by no means could be categorized into a metal subgenre. Menace Ruine was formed in the year 2006 – not that long ago. Were you active in any other bands or projects before? What was the reason for composing such strange music as you two do?
normally, this place features an introduction about the artist but this time i would like to express my gratitude to lukas of equimanthorn zine who made this interview available to us we appreciate it a lot, lukas. dakujeme vam.
Although this interview was originally made for the Equimanthorn fanzine, also many of our readers are mostly dedicated to Black and Death Metal. Which aspects of Menace Ruine's sound might be able to attract them to your music?
herr f.
S. de la Moth: I've been doing music with Geneviève for the last 14 years and during this long period we usually started every project by sharing musical ideas then discussing them, but never planned or decided anything precise in the first place. Although I don't think that what we do is strange.
Where you aware of the kind of music that you where going to produce with Menace Ruine right from the start? Or where the soundscapes constructed by discussing musical definitions with Geneviéve? S. de la Moth: I believe that to have decided »Let's do something strange and harsh« would have been the worst idea ever. What was the primal reason for creating such strange music as you do? In other words, what is the band´s ultimate essence and what do you get from playing together? S. de la Moth: Geneviève and I have the conviction that we can and must achieve some of our common goals and ideas through this musical project and his many aspects: music composing, sound shaping, performing, packaging etc. This brings us immediate contentment and profound fulfillment. Geneviève: Again, our music is not strange for us. We do it sincerely, and Menace Ruine is the result of our peculiar combination. What is the connection between Geneviéve and you? Is she your girl-friend? Could you define her and vice-versa? S. de la Moth: Geneviève and I are extremely close and deeply involved with each other but no, she's not my girlfriend. Menace Ruine | 25
Geneviève: Our roles are very different, but also complimentary, just as we are together in the real life. Your music is strongly connected to Black Metal which you mix with your own original ideas of musical combination – noise sounds with downtempo, some kind of ambient and martial music. What genre does really suit your creations in your opinion? Black Metal/Drone, Psychedelic Black Metal, Experimental/Noise ... ?
think, or maybe it is just me that don't think enough. I understand that people want to classify things to make life easier, and to feel safer, but I think that music suffers a lot from it since tags prevent some people to listen to it and enjoy. I am so tired of all this. Menace Ruine is labeled metal but honestly, I don't hear a lot of metal in what we do, not much of Neo Folk either, and we don't try to make P.E. I think our music is quite accessible for many different kinds of people, I mean, it is
“Menace Ruine is sincerely influenced by some underground Black Metal bands but by no means could be categorized into a metal subgenre.” – S. de la Moth S. de la Moth: Black Metal is a form of impurity so it must be nearly impossible to contaminate it I guess. Geneviève: The way you try to deconstruct our music makes it sound like we use a recipe or something. The thing is that we do not really 26 | Menace Ruine
melodic and quite traditional in the composition. Even if it makes things more difficult when we come to the point of describing our music to people, i don't want to know what we do, I just want to do it.
Thanks to your latest album »Union Of Irreconcilables«, I just got in touch with your music recently. I haven't listened to your previous stuff completely yet. Please, could you give us a brief information about the two previous albums »Cult of Ruins« and »The Die Is Cast« as well as the demo »In Vulva Infernum«. Both albums were released in 2008 – it seems that it took only six months to release a second album. Did you have too many songs? Or why did you decide to put it out in the same year? What do you think about your decision now – was it maybe a bad idea? S. de la Moth: It may seems shady that we have released three albums in 2008 but that's just a matter of labels releasing albums after discovering the music then putting it on production. If you read the notes and credits of each album you can understand the chronology and see that each one has been realized in a reasonable lapse of time. We put lots of effort into everything we do, it's technically impossible for us to release three albums a year. Geneviève: »The Die is Cast« was an urge of composition I had right after finishing »Cult of Ruins«, free of all constraints and mostly driven by the lyrics. »Cult of Ruins« has more to do with the first album we did at the beginning of 2007, »In Vulva Infernum«, out the following year on Tour de Garde. It was fed by the same current of energy. We did not think about whether it was
good or bad to put out our albums in the same year. Our concern was more about the difference between »Cult of Ruins« and »The Die is Cast«, the latter being less aggressive and my voice very present and melodic. But not in the making process, afterwards a certain apprehension of the reception. I think that in the end, this album made a bigger impact, more emotional, proving that people go further than tags or genres and that we were free to go in different directions. And what are the big differences between your old albums and »Union Of Irreconcilables«? Geneviève: »Union of Irreconcilables« is a blend of everything we experimented with before. Maybe there was too much of myself on »The Die is Cast«. On this one the balance is more right. Menace Ruine is both of us. »Union Of Irreconcilables« was released by Aurora Borealis, hailing from Great Britain. How did you get in touch with this label and why did you decided to leave Alien8 Rec., who released your previous stuff? S. de la Moth: I believe that with underground music part of the fun is to meet and work with different dedicated people. Working with Tour de Garde, Alien8 Rec., Transcendental Creations and Aurora Borealis have been great, though I must precise that the latter is the only guy we
haven't actually met in person. Maybe we will, next year when we tour Northern Europe. As I already said, your music is a minimalist mix of various genres. However the new album »Union Of Irreconcilables« contains at least some more (Black) Metal elements, while Geneiéve's ethereal vocals merge with the other ingredients. Unfortunately, the CD doesn't mention, who plays which instruments. I don't believe that your work is based on synthesizers only: Which instruments are you using in order to create your musical soundscapes? Geneviève: My background is as a guitarist. But in the context of Menace Ruine, I use my guitar amp and pedals with a synth and S. de la Moth is playing synth through his bass gear. We love it because it is open to vaster sound possibilities. When we talk about our instruments between us, we say guitar and bass, but the project is totally electronic. It's funny to read about our guitar sound in many reviews. We also use a beatbox when some percussive rhythms are necessary. How does the process of composing looks like and how did you create this frustrative and claustrophobic whistle-melody in the song »Not only a Break ... «? Geneviève: I won't go in too much details for the compositional credits, because the Menace
Ruine sound is a blend of S. de la Moth and I. But I am the composition core of the unit and S. de la Moth is more a sound explorer or arranger and he is technician of the pair, in charge of the mixing. Some of the pieces come out of jams together, and in that case, we are both at the source of them. »Not only a Break ... «, »Collapse« and »Primal Waters Bed« came out this way on the last album. But usually, we start playing the songs together after they are fully composed and recorded, in order to make shows.
Geneiève, do you think that your vocals are able add an extra dimension to Menace Ruine? I personally consider them as very good and I can hardly imagine another person in your place. Do you think your voice is the perfect tool to enrich the sound of your band? Menace Ruine | 27
Geneviève: Thanks for the nice words! I don't dissect the Menace Ruine dimensions. My vocal is in integral part of it, never been something we felt I had to add to it. For sure a human voice is more accessible and inviting to the music but it was not deliberate to make it more accessible. I always sang, in every context I made music so far. It is what I like the most. Can you tell us something about your favorite female singers? In the last song »Primal Waters Bed« I think that sometimes I can figure out some influences of Lisa Gerrard – do you like this artist? Geneviève: I have great respect for Lisa Gerrard. She has a perfect voice. But I would not mention her as an influence. I do not have a lot of female influences. Strangely, I have always been more inspired by male singers. But I must say that Nico and Shannon Wright are some favorites of mine. Let's talk about your unique lyrics: Who wrote the ones for the songs »The Upper Hand« or »Nothing Above or Below«? Geneviève: I am responsible for the lyrics. Could you tell us more about them? Especially for the ones of us who aren't native speakers and have difficulties with all the abstract aspects. 28 | Menace Ruine
Geneviève: What can I say about them – always a blend of my interests, readings and personal experiences. »Union of Irreconcilables« is, at some place, guided by Jung, and I used the alchemical terminology which is very inspiring for me, but also, it was inspired by some creation myths, and the idea that the Earth could be flat, an impure marriage of many things, dissolved altogether and finally giving something I hope is quite united and, as more importantly, that contains a personal hidden meaning. It is very important for me to inhabit the words and not only steal from here and there. To make it straight and simple, »The Upper Hand« is about redeeming, voluntary death to be born again stronger, and »Nothing Above or Below« is about hope and disillusion. But it is much more complex than that, each of these songs having personal references. I consider the last three on »Union of Irreconcilables« as love songs, but the imagery makes them open to a vaster range of interpretation. In the song »Nothing Above or Below« you are singing about our earth which is only inhabited by the void and nothing more – literally nothing above and below. What exactely do you mean: heaven and hell? Geneviève: The earth and the sky. Basically saying that you should put hope into yourself in
order not to depend on the outer world to find your salvation. The booklet shows an animal, a kind of a dragon: What is your view on demonology and things like that? What exactly does a lion swallowing the sun mean? Is it your own drawing? I only know that the painting on the cover of »Union Of Irreconcilables« is your work. Is it a hidden concept? S. de la Moth: For »Union of Irreconcilables«, most of the images are partly made from existing medieval alchemical illustrations that have been deconstructed and modified by us in order to fit the particular themes and ambiance of our work. Explaining them right now would only serve to limit their meaning and evocative strength. You pay a lot of attention to your visual concept and image, and not only on the musical aspect. Menace Ruine are quite mysterious and that's not just because of the minimum of photos. What do you think about – how important is the visual aspect and your image for you? S. de la Moth: From the early beginning of this project Geneviève have been writing evocative lyrics that were inspiring us to complement with images, so the visual aspect of the project quickly took a great importance. As for the limited number of pictures of ourselves available,
I wonder, who would need to see more and most importantly, why? According to your Myspace page you should have been supporting a tour with Merzbow which was canceled. What exactly happened why was it canceled? Geneviève: We were not touring with him but only opening for his show here in Montreal. But, since I was not really into playing shows in this period, I provoked the epidemic of H1N1 and Merzbow got scared to go in quarantine at the Tokyo airport and canceled the show. We are sorry the vegan collaboration we were supposed to do with him did not work out but that's that. In spite of this fact, do you have many experiences in playing live – for example with Hyena Hive? How does a live presentation of Menace Ruine look like? Do you use any special visual effects? S. de la Moth: We played live several times, you're right, but maybe not as much as you seem to think because we had many periods of composition and recording over the years that were taking most of our time and focus, and we get a greater satisfaction by composing and recording than playing live. When inspiration kicks in and there's a lot of work to do, one is better to cope with that before things get too complicated or the mood dispersed.
But, playing live is a complete natural thing for us since our material is meant to be played. Geneviève: Live shows add to intensity of our music I guess. This is the end, I really don't know what else to say. S. de la Moth: This is pretty hilarious! S de la Moth and Geneviève, let me say thank you! If I forgot something, please add it.
“You should put hope into yourself in order not to depend on the outer world to find your salvation.” – Geneviève S. de la Moth: It was a pleasure, thanks to you. Meet you in Slovakia in the future.
www.myspace.com/menaceruine Menace Ruine | 29
Hi Samu, you started Swallowed in 2007. Looking at the beginning, what was your intention in forming this band – simple boredom or were there deeper reasons? We started the band with Topi because we were full of that modern sounding and boring Thrash Metal every band in Finland was doing. We just wanted to play raw Death Metal. The first sign of life was the self-released and little spread demo »Putrefaction« which came out in late 2007. Two own songs and the Nihilist cover »Carnal Leftovers« marked your way of Death Metal: Raw and unpolished but still groovy and in every each second old school to the rotten bone.
next we have three fine young men from finland. swallowed is for all you doom-ridden old school death metal maniacs out there. an ugly, putrid and raw bastard of vomit and rotten flesh. ladies and gentlemen, the stench is fucking awfull. perkele!
30 | Swallowed
herr b.
A bare year later you were able to release your second demo »Epitaph of Nauseation« through Detest Records. With 250 white tapes done by this belgique label and further 50 black ones done by you it had a good circulation. And again a cover song appeared on it, exemplary for the style of the whole recording: »In the grip of winter« from Autopsy. With »Epitaph of Nauseation« you definitely moved towards an ancient and more doom-ladden sound. What was the cause of this development – was it planed or did it happen naturally? Things were dissolved and things were coagulated. If you happen to know about the line-up changes at this period, then you can also understand it from this perspective. But Swallowed has never really had any discussions on how we should sound, except maybe a bit nowadays. We are cerebral in the work.
How did you get in touch with Jerry from Detest Records? Well, it was Jerry who contacted us via mail in 2008 and asked if we want to release a demo tape with him under his label.
Emptiness Productions was for releasing this particular 7" of ours but after that, I have put out some releases by the bands I am into. So it's not just for our projects.
During two bleak days in December 2009 you recorded three further songs at the Hip Studios in your hometown Helsinki. They were released on selftitled 7" vinyl cult under the banner of Emptiness Productions who were completely unknown to me to this point. It seems that this is your own small label to bring out the music that you guys are involved in, right? These were two days in a studio used by some-such people as the finnish popgroup PMMP. A place which felt like a studio, not like our rehearsal. There was no morbidity in this place as you might imagine, except maybe the aura of that PMMP guy who used to be in Thergothon – maybe he helped. In the room where we recorded there was a window and outside it was raining heavily of snow and the cars were passing by. The playing was done live on the first day. The second day we did guitar tracks and vocals. Swallowed | 31
Detest Records gathered some fresh and promising undergrounds acts like e.g. Miasmal in their rows. Therefore they have an excellent reputation in the world-wide Death Metal underground scene. Regarding the sickness and morbidity spread by Swallowed's music, I really can't imagine that there was such a great lack of interest from other labels. So, what led to the decision to release the vinyl on your own and not with Jerry? Because Jerry didn't ask for another release and I wanted to try to put out a vinyl. But we are doing the full-length Swallowed album with Detest Records and Me Saco Un Ojo.
Its correct in a way that we discarded one song that we had done post »Epitaph in Nauseation« demo. But that's as far as I'd go to say that we took our time, since we actually felt a bit rushed because we had gotten a deal from the studio for a cheaper studio time, and we took that offer. Some parts of the songs were only finished in the studio. And as a whole, our goal of a 7" release might have been a bit naïve for our music. How would you describe your music in your own words and without refering to other bands? Loss of limbs, mental blood, lunar vomit.
There is too much old stuff to listen to the new Let us have a closer look at your music now. Your demos were great and surely important for the development of Swallowed as well as the musical skills of each of you. But to me it seems that you took the time to your EP until you were finally able to find your niche. How do you see that? 32 | Swallowed
samu
With the release of the vinyl you also changed your logo into an even more sick and putrid bastard. Is this change a synonym for a new start within a sound finally found? Its a logo I just drew and we started to use it. Far better than the old one. The decision to use that logo was not because of the sound of the 7".
The songs are rough as fuck, totally disgusting and wrapped into a dead and morbid atmosphere. In reviews, you have always been compared to other bands: First it was Nihilist and later Autopsy. Does this piss you off or do you see it as a compliment? It doesn't bother me if someone compares our demos to the music of those bands. But when someone listens to the EP and says »Yeah, that was a total Autopsy worship!« it makes me a bit pissed off because I can't hear too much of an Autopsy rip off on it. We have been labeled as that and we just have to live with it. Well Samu, but there is a huge difference between worshipping a band or ripping off their sound. However, what other influences do you have? I can fi lter out some Asphyx-like vocals here and there, right? I kind of get a vibe of some Burzum. Really? Damn, you finnish guys seem quite weird to me – okay, just kidding. What inspires the lyrics of Swallowed? Nature, over-sensory experiences, human biology and the arcana.
Your band-photo on the back of the EP immediately hit my eye. I hope I am not sounding rude but you guys don't look older than maybe 20 to me. So, I am wondering where your affection for all these old school sounds comes from. You didn't experience the rise and the golden aera of Death Metal, did you? Because, being is being and so mote it be. You are right about the age. What were your first contacts with metal music? Black Sabbath. Are you guys open to other and current sounds too or are you die-hard underground and old school maniacs only? There is too much old stuff to listen to the new.
There are plenty of Death Metal bands around again who sound old school as fuck: Repugnant and Autopsy were just re-animated or Nauseant who you also great in the booklet of your 7" – just to name a few. Is Swallowed a part of this scene and do feel comfortable with the actual situation? The first time I got a feeling that I was part of a scene was at Kill Town Death Fest. In Finland it feels like I know all the people somehow and it doesn't feel like a scene. I don't think it's important to feel like you have a scene.
Yeah, I am looking forward to hear more sick tunes from you guys. Keep the flame of the morbid metal of death burning and feel free to spit your gallows out for a last time. Thanks. Fuck. Oh, sure. Hey Samu, you little fucker, you owe us one for that, haha.
Do you have any concrete aims for future which you want to reach with Swallowed? We'll do this one last gig with Electric Wizard and then we'll concentrate fully on recording our first full-length album.
www.blackphlegm.com www.myspace.com/swalloweddeath Swallowed | 33
i came in con tac tw ith jb fo a tape of h g n i is b ld o l h ac as k w m i d o o t a n d e i nt d er eci d i
! joy en
th at
34 | Aurvandil
herr f.
time later, ort e. sh issu st tly so excited a fir bo tan u ins ti as t iw g bunch of p a g win es . llo
ight after the r me r elea i t st se o r i f rvandil in my u fo a e nd ha ur th a b n r l d im f h o a h r s. th et wit ef ei w o v
Hallo! First, I would like to welcome Aurvandil to the sacred pages of Soleil Tryste. What are you doing right now? Hail radiance. I am currently shimmering with unlight and contemplating genocide. Although you are able to look back on several years of existence including some fine releases, Aurvandil still might be a new name for some of our readers. Therefore, I would like you to give us a brief overview on the band's history. What prompted you to start Aurvandil? Aurvandil was created as an insight in juvenile psyche, which evolved overtime in a sort of cathartic process. A handful of mediocre and stumbling demonstrations were crafted and – thankfully hardly – released in the course of MMVI and MMVII. Despite its decidedly apt title, the »Futile« demo could be considered as the actual, meaningful beginning of Aurvandil. However anecdotic this release might be, it really is brains and feeling straight to tape, as a friend put it. Sans filters, sans reflection. A split cassette with American Black Metal act Dead as Dreams emerged, outlining the foundation of new horizons, and following a year-long journey into Hordanes Land, »Ferd« was shed in an organic fashion similar to »Futile«, recorded throughout MMIX, documenting the voyage. The long-due debut album was recorded in the last days of summer of MMX in the land of Australia; it heralds the original intent behind Aurvandil, being a rearranged recording of old tracks. It is titled »Yearning« and will hopefully be released this year.
Other recordings were made, and more are planned for the months to come. Expect naught but spite. The term »Aurvandil« comes from Norse mythology, but is only a side-element in stories. It would be great if you could give us a small insight in the mythological aspect of »Aurvandil« and the story behind. What does the name mean for you personally? Why Aurvandil? Did you just wanted a Nordic-sounding name for your project or is there a deeper sense of personal reason behind it? do you dealing privately with Nordic mythology? Aurvandil is not a prescription drug nor a toothpaste brand, but a rather secondary character in the Prose Edda. Little is known of him, save that he is wedded to a witch – a »wise woman« – named Gróa, and that he lost a toe following the crossing of the Élivágar ice river, which was placed into the sky by Thor, so as to become the North Star. The original name intended for the band was Heosphoros, the Greek name of the light-bearer, Lucifer. My growing interest in Norse mythology (mainly through the reading of Snorre's »Edda«) led to a change of name, but not of figure. Interestingly enough I later discovered the Old English poem »Crist I« which hailed Earendel, albeit as a Christian reference; I would not have been interested if it didn't evoke Aurvandil as John the Baptist, which happens to be my first name. Merely an amusing coincidence. What is Aurvandil to me? It is the untainted light in the darkness of the everlasting sky, it is a herald of doom for the Meek and a guide for the wanderer. A guide toward total isolation, spite and hatred. Aurvandil | 35
Your latest release is »Ferd«. It will be re-released by the German label Eisenwald Prod. as a digisleeve-CD during these days. Originally, it has been released as a tape on your own label Cold Void Emanations (more on that later). Why this re-release? And how the reactions on »Ferd« so far? How did get in contact with Eisenwald Prod.? Overall, the reactions are so far more or less positively uniform. I originally got into contact with Eisenwald Tonschmiede for trading records, and Nico later expressed interest in »Ferd«, and he backed it up with much passion and support, which led me to accept his offer of editing the EP on CD, originally released as a rather limited tape. I fully support Eisenton's work, born from genuine passion instead of the necessity of profit, as observed recently in the so-called under(over)ground.
it. And in one's mind suddenly extends a white, snowcovered landscape through which one walks alone – with the wind to the stripped ears as the only art companion. What do you think of this little interpretation? Was this your intention or do I simply take too many drugs? Your drug-induced gibberish interpretation is not too far from the truth, Herr F. If you're quite accurate on depicting the effects, you're wrong on the motives: I have no intention on sending anyone on a journey along. »Ferd« is mine, and mine only. The listener might empathize to an extent, but this is by no means an invite to the journey, merely an insight of my own. And yes, you're quite right, »Ferd« was meant to be a stroll in unforgiving landscapes and blizzard, between rock, ice and wind, a soundtrack of sorts for a misanthrope's winter hike. Mine.
“Ferd was meant to be a stroll in unforgiving landscapes
On »Ferd« and – as far as I know – also on all other recent releases, you are using a drum machine. I have heard that this might change on the next release which is already planned. Give us some information on this upcoming record, as well as on the choice of the drummer. Is he a new full-time member in Aurvandil or just a session musician? As previously mentioned, Aurvandil's debut album »Yearning« was recorded late August MMX in Austrasia, with the significant help of the local Goat. It features Nachts' Wiedergaenger on drums. He is a session musician but may appear on further recordings. At any rate, his creative input was very valuable and his drumming definitely brings a lot to the album.
and blizzard, between rock, ice and wind, a soundtrack of sorts for a misanthrope's winter hike. Mine.” – JB Once more, the term »Ferd« comes from the Norwegian language – translated it means something like »journey«. Looking at the tracklist while listening to the music, it seems that you want to send the listener on a journey with 36 | Aurvandil
This compendium compiles the earliest tracks of Aurvandil, making it a very genuine and honest picture of what the band was like in its early life. It displays a kind of monotone, juvenile Black Metal where atmosphere is the paradigm. You have also participated in some split releases. I find them always interesting because you get the opportunity to drop onto new bands on one single record. How do you see this? I view split releases as a way of materialising a strong bond with another entity. After which criteria do you judge if a band could probably be a partner on a split with Aurvandil? Was pure friendship service connected or a calculus behind your splits? Some mistakes were made, but overall it was neither friendship nor scheming that was behind the splits released so far. The split with Halla arose from the necessity of forsaking all boundaries and all the futility present in the occidental »scene«. Halla is an everyday blasphemous struggle against Islamic surrounding; Indar actually fights for something other than killing boredom or earning »cult points« in this big game that the funderground is. The Aurvandil tracks were not a musical progression, making this record a rather dull one. The split cassette with Dead as Dreams was motivated by common views in crafting outré Black Metal. »To Drift in Waterless Seas« came forth as a cathartic inevitability. The split 3'' with While sad Spirits around me stroll was merely a way of jointly releasing unpublished material that
strayed from our usual creations. The Aurvandil tracks are instrumental, minimalist melancholic rock tunes, Black Metal embryos for jaded arseholes. The limitation and the concept behind it make it a rather anecdotic release. The upcoming unions – respectively with Thrall, The Austrasian Goat and Fluisteraars – will feature a much deeper connection in the creation, as well as a common purpose. To be honest, your style of creating Black Metal is not necessarily innovative. There are countless bands out there that play this type of Black Metal, too. But you manage it to sound yet very refreshing, as your work has a high quality and brand recognition, which in my eyes seems to be the exception. Innovation is not something I eagerly pursue. Novelty for the sake of it is not interesting. However, it is an obvious purpose of Aurvandil to make its own strand of Black Metal, regardless of what trends and fashion dictate. Your use of the marketing term »brand recognition« is clumsy but accurate in picturing what I am after: to drift from common roads. Many new releases sound dead, lifeless and uninspired – what is your opinion on this and why is it so? You want to know why most releases sound dead, bland and boring? Yes, can you give me a plausible explanation given for this circumstance? Quite simply because there is no passion behind it, no craving for a higher state of hatred, no actual yearn for Death. Aurvandil | 37
Most of the recent so-called »Black Metal« is driven by the will to get some kind of social status once sported by rockstars, through label deals and a marginal fame amongst inbred, internet networking fans. Petty and despicable. They relish in clean, expensive studio sound and trigged instruments, or fancy home studios and soft wares. There is no soul, no flesh, only the loathsome emptiness of their shitty suburban lives. Fuck this. The only plausible explanation I can give for it is the occurrence of human beings; mankind is weak, unoriginal, rid with a constant flock mentality that disables its individual thinking and prevents it from doing anything worthwhile. Thankfully there are exceptions.
Satan and to a lesser extent Aurvandil, as well as Prog/ Kraut like Klaus Schulze, Aluk Todolo … some Doom/ UFOs as well, the latest Austrasian Goat. Most people go through mood swings and listen for a specific genre over a specific period of time, I don't. I can just listen to »Master of Reality« and then switch to Napalm Death's »Peel Sessions«. Just to clarify something: I am not open-minded. While I do listen to a wide range of different music, I tend to express fascistic and prejudiced statements on most things. Don't be fooled and go on telling me about that »sick depressive/ orthodox/avant-garde/Cascadian band« you just heard of. It will most likely be crap anyway.
You are going to participate with Aurvandil on a planned Joy Division tribute which is planned be released through Soleil Tryste in 2011. I guess, you don't listen to Black Metal at home only but do enjoy many other types of music as well. Let us share the view on your personal musical library – and your current playlist. I tend to listen to any good music that is dark, atmospheric and made with honesty and integrity. And then some other things. But as I stated before, I don't think it's very interesting to dissert on my music collection. Nonetheless, I'll humour you ... I listen to Black, Death, Doom, Thrash and Heavy Metal, as well as some atmospheric Noise/Drone/Ambient/whatever, some Folk, Progressive Rock, 70's Krautrock, old Hardcore Punk, Käng, etc. Lately I have been listening to a lot of recent good Black Metal, such as Katharsis, Diamatregon, The Arrival of
What I am always interested into, is the question of how each of my interview partners came to music. How did you get into it – as a customer as well as a musician – and to what extend did it made you to the one who you are now? I guess, I was already into music as a child, being brought up with 70/80's Pop/Rock like Pink Floyd, The Police and that kind of stuff. As a young teenager, I started getting into heavier rock music, and one thing led to another, and there I was, feverishly purchasing my first Mayhem and Immortal records, learning to play guitar like any other youngster and ending up recording mediocre demos. Good times, though not defining in my perception of things.
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You have spent some time in Norway. Currently, you live in France again. As much as you told me only temporarily, this time it pulls up for some time to Spain.
How does this come? Globetrotter passion or a must due to professional or personal reasons? Personal parental reasons made these kinds of geographical translations quite frequent as a child. I lived in China for 1999-2002, in Australia for 15 months (2006-2007) and then my own professional and study programmes made me move to Norway for a year in 2008, and now in Spain for a few months. Whatever one may think, this constant abrogation of stillness was really insightful on many levels, and very rich in experience, albeit not always good. Oddly enough (or maybe in reaction to that), I am quite a homebody person, I don't like to move that much, especially since recently, when moving became increasingly difficult with the increasing number of records, CDs and tapes. I don't plan on moving in the future, unless economical matters dictate that I do. What are the differences, especially in relation to the mentality of the people, you maybe could make with your intermezzo in Norway, compared to the people of your home country? Norway, albeit gifted with a stunning and empowering Nature (that most people foolishly take for granted) is just another americanised country, with a long and glorious bloodstained history dampened by McDonalds, 7eleven and social-democracy. The people here are slightly more introverted and individualistic that in France, but it really is very subtle. Where and why do you feel at home, how would you the terms »home« and »homeland« define for yourself?
While I do feel a chthonic, heathen attachment to the grounds, fields, forests and shores of France, I have no reason to feel close to what it has become, its decaying culture and especially not its people. By now, I would hypocritically say »anyplace is good/bad/the same«.
“Most of the recent so-called Black Metal is driven by the will to get some kind of social status once sported by rock-stars.” – JB Is it in our globalized and fast moving world in general still possible to find something of a home? All in all, there is no such place as a home for me. But being rootless is both eerie and exhilarating. Thank you for your time and your answers. Thank you for your time and questions. The last words are yours! Hagl gamle ilden, der forbruker alt kjødet! – Done during the first months of 2011. www.loomofthevoid.net/aurvandil Aurvandil | 39
persistence in mourning deliver cold and industrialinfluenced soundscapes of extreme funeral doom. melody lovers beware: this one is really uncomfortable to listen to and one of those acts that you either love or hate. a. lippoldt is persistence in mourning and persistence in mourning is a. lippoldt. Hi Andy! Although the name Persistence in Mourning is crawling through the extreme underground since some time, not everyone might already be familiar with the music itself. How would you describe Persistence in Mourning to someone who never listened to it before? Hi Herr B. and thanks for the interest. Persistence in Mourning is a pretty specific style of music. It's not a genre that many are familiar with – and that
herr b.
even fewer like – but the ones that do tend to be pretty loyal and enthusiastic about it. It began as a reaction to bands I had heard and been drawn to. Moss and Worship as well as Skepticism were probably the bands that had the most impact on me in this style and I think the early material reflects that. The later material from Persistence in Mourning is pretty unrecognizable from the early stuff though.
How about the following description: »The Funeral Doom version of Godflesh«. Herr F. dropped on it, making its rounds through the internet. What do you think about this one? This is the first time I've heard that. It's flattering. I have an immense amount of respect for Justin Broadrick and company, though I must admit Godflesh isn't a band I listen to often. An incredibly talented and influential group to be sure though and one that is able to remain relevant some 23 years after their formation. I became interested in electronic music at a very young age, I was – and am – a huge fan of Michael
You started Persistence in Mourning in 2006. What were your intentions in starting it back then? I don't know that I had any specific motivation other than wanting to write and record music that I wanted to hear. I don't ever remember expecting it to be anything that would generate much interest. I never really thought more than a handful of friends would ever hear it. Did the attitude change since then? No. I still write and record music that I want to hear. It's nice that people seem to like it, and it's nice that all of my albums sell but in the end that's never been something
Since the beginning, Persistence in Mourning was and still is a solo-project of yours. What is the reason for it? Are you such a big control-freak, is the whole thing too personal or does this circumstance have other reasons? A bit of everything I suppose. I wrote the first album with a friend, a bassist that I had been working with. He's a good friend and a talented musician but it really just worked best as a solo thing. I don't know that I'm a »control freak« but I definitely have pretty specific ideas of what Persistence in Mourning should sound like.
musicians in a »band« type situation. I usually have at least one on every album. Every guest I've ever used has been someone that I admire as artists. Most of them are friends of mine but I wouldn't use someone simply because they were a friend. They have to be a certain caliber player or writer, definitely. How strong is their influence in the songs they are taking part in? It depends. Some of them are given pretty specific direction from me and some are not. SH from Ganzmord has more influence on Persistence in Mourning material than any other musician besides me. I'm in another
“I love reading negative reviews of my stuff because they're more fun than the positive ones. They're honest.” – A. Lippoldt Jackson's early solo work. Most people are surprised when I tell them that I credit most of my interest and influence in electronic – and industrial – music to that and the early work of Fear Factory, who I also still love.
I really care about. I love reading negative reviews of my stuff because they're more fun than the positive ones. They're honest. No one's opinion but my own has ever affected a single note I've written.
As you use to work with selected session musicians on your releases: Which qualities are necessary for them to share your path? I enjoy using session musicians because I miss working with other
band with him and consider him a partner of sorts. No one has ever had as much creative freedom as he has with my stuff, but all of them are given certain liberties within the parameter of what I am using them for. Persistence in Mourning | 41
Hopefully I am not offending you, but I have to point out that Persistence in Mourning sounds anything but typically »Doom«. The mood you create is a rather cold, machine-like one and delivers an uncomfortable listening experience, then being melancholic and melodic. I guess your aim is to take people onto an audial horror trip through the human psyche. Are you conform with my interpretation or is my view totally wrong? That's probably a fair statement, yes. I am any thing but offended at not being pigeon-holed into one specific genre. My favorite pieces of art – be they music, film, literature, etc – have always been pretty dark. I imagine that horror movies and stories are a strong influence on what I write, even subconsciously. You are using many sounds which are quite untypical for the doom genre like distorted and pitched vocals, plenty of samples and electronic interludes. Therefore, I would find it interesting to get a close look at your musical background. How and when did you first got in touch with rock and metal music?
I started getting serious about music when I was about 14. I started playing guitar around that time and was very much interested in Metallica, Megadeth, Slayer, Cannibal Corpse etc. There was a long period of time that metal was all I listened to but as most musicians my interests are much wider the older I get. I've always been intrigued by electronic instrumentation as well and there are definite industrial aspects to what I do as Persistence in Mourning. I play bass more than I play guitar now but all of my classical training in music has been on the guitar. Which other genres are able to please your ears? Listening to Persistence in Mourning, I can definitely make out a serious industrial influence, right? Yes, definitely. I touched on this in the previous question but yeah, I like a lot of industrial instrumentation. Oddly enough, there aren't many industrial bands that I like much, but I love the instrumentation and structure of the sounds. Fear Factory's »Demanufacture« – as
well as »Soul of a new Machine« and »Fear is the Mindkiller« – was a huge influence on me and part of that was the cold, machine like quality of the album. It doesn't sound human, and that struck me pretty hard as a kid.
but I actually lost interest in going to see all but a few of the artists I'm into. I buy a lot of records, tapes and CDs and I tend to talk people's ears off about bands and albums that have a strong impact on me.
Which actual acts do you enjoy listening to? I listen to tons of stuff but I tend to listen to Cannibal Corpse, Carcass, Saint Vitus, and The Cure (Oh, but I bet that my Cure collection is larger than yours, haha – Herr B.) the most as well as a lot of Mozart, Liszt, Wagner etc. I really like stuff from the romantic period but I seem to dislike most baroque music. Some folk and country artists as well, including Leadbelly and Hank Williams Senior among others.
Let's take a look at the concept behind Persistence in Mourning, now. Everything in it – from the soundscapes to the name itself – is so bleak. Are you a depressive person expressing an inner negativity through music? Or shall we view at Persistence in Mourning more as sort of an abstract art-project? Definitely the latter. This is art, and I think separating art from artist is crucial. I'm a pretty easy-going guy.
You told me once, that you avoid going to concerts nowadays. What other possibilities do you take advantage of in order to support the acts you respect? Yeah, I don't go see live music very often at all. I have a young son that makes it tough to get out of the house (Well, tell that to Herr F. – Herr B.)
I am also interested in art therapy a little bit. In some book, I have read that really depressive people are unable to create anything during the maximum of this illness. This would mean that nearly the whole doom genre – or extreme personal art in general – can only be made post-experienced as a ventile for past impacts, a catharsis. What do you think about this theory?
I don't know how much stock I put in that theory. There have been some absolutely miserable, very mentally ill people make some timeless pieces of art. I don't know if that is because of their illness or in spite of it but that theory, to me,
suggests that sick people are defined by their sickness. I disagree with that idea. I think that an artist's art is more a defining part of his or her life than their mental health status is. Does it make everything we stand for a joke?
This is art. No more, no less. People are just as welcome not to like it as they are to like it. I think bands and artists that carry the grim image all the time are definitely deserving
of mockery though. Their whole identity is a joke that they weren't perceptive enough to get. Persistence in Mourning | 43
After this detailed insight into your musical background, I would like to focus on your works next. Your debut »The Undead shall rise« came out on At War with false Noise Records in 2009. It is limited to 250 copies on black vinyl. Unfortunately, you don't deliver any lyrics with this releases. Therefore, I can only guess the themes you refer to from song-titles like »Suicide as art« or the handwritten suicide note which is enclosed with the album. This all leaves a quite bitter taste behind. Is death the only subject Persistence in Mourning deals with? Not really. »The Undead shall rise« LP is part one of a trilogy. That one is a zombie story. The next one, »Dying in the Darkness«, deals with werewolves. As I stated, I am an horror fan. This monster trilogy is my take on that. the Evil Dead movies, the classic werewolf stories, etc. Most Persistence in Mourning releases are concept albums though. For example the new CD that Goat Eater Arts is releasing is called »A Tongue of Bone« and it focuses on the short period of time I spent in the jungles of Brazil. 44 | Persistence in Mourning
I have the impression that you mainly take care of the music. How important are lyrics for you? That's very perceptive. Lyrics don't mean anything to me really. Most of them are improvised while being recorded. You just explained that the debut was the first part of a trilogy which will be continued on your second full-length »Dying in Darkness«. This one is going be released again by At War with false Noise Records in late 2011. I am one of the few people who already listened to it and I can confirm, that you will be able to gather new followers without scaring the old fans with it. Although it is slightly catchier, it has a larger artistic aspect on it. What suites me well on both releases, are the occasionally placed acoustic interludes. They create a nice contrast to the remaining cold and disturbing sounds. It makes these records more dynamic and vivid. Is this the future of Persistence in Mourning – romantic music to hug the beloved one?
Thanks very much. I'm proud of the new album and am excited to see what the response will be. I've spent a lot of time studying classical guitar and I enjoy putting minimalist pieces influenced by that in all of my stuff. I have no plans to ever do anything even remotely romantic. as Persistence in Mourning evolves it tends to get more electronic and noisier. We will see if that trend continues. It hasn't been a conscious decision that's just the way it's gone. I find the acoustic parts more melancholic than romantic. They're sparse and emotive, but they have a quality that eludes more to loss than to love. While »The Undead shall rise« dealt with zombies, »Dying in Darkness« will deal with werewolves. How do these classic monsters go hand in hand with the doom genre? I'm not sure that they did really. As I said I am a big horror fan. Writing about them seemed like a logical step to me. »Undead« is an homage to the Evil Dead movies so much that it probably borders on plagiarism.
Andy, can you already give us an hint to the concept of the third Persistence in Mourning album? Maybe it will be about something paranormal like haunted places or ghosts in general? The final piece in the trilogy will be titled »Swallowed by a soulless Sea« and is about sea monsters. It's a pretty generic composite of stories sailors have shared about sea monsters for hundreds of years. The entire trilogy will eventually be released as a triple CD box set. Apart from full-lengths, you keep yourself busy with participating in split-releases. You already shared records with well-established acts like Rigor Sardonicous or Worship. What criteria has a band to fully to be able to share a split with you? I have to like the band. That's it. genre is unimportant, it just has to be a band that I find interesting. Most of my splits have come about from me approaching the other band – interestingly the Worship and Rigor Sardonicous splits are the only ones in which the other band contacted me about it.
Last, I would like to discuss a sentence which is printed at the bottom of the thanklist on the split with Rigor Sardonicous: »We are few, but we are legion!«. Do you see yourself and Persistence in Mourning as a constant part of the whole doom scene or do you prefer a familiar communication within an even smaller circle of selected individuals? The dedication in the split with Rigor Sardonicous was meant as a nod to my contemporaries and friends. It isn't really about a scene, it's about a mutual respect between myself and artists I admire. I think the old »strength in numbers« adage misses the mark. I'll take a handful of people that are loyal and enthusiastic in their support to hundreds of casual fans. Okay, I think that's it. Thank you very much for your time and take care. Thanks Herr B. I appreciate the interest. Any questions or comments are welcome, just email me.
On a personal note, I do a lot of mixing and mastering work for bands and labels all over the world and I would like your readers to know that I first got in touch with you through being hired to master your own new album – o.68's »Elend«. I strongly recommend
any fan of extreme metal or experimental rock follows o.68 closely, as the album I just mastered is one of the strongest debut full-lengths I've ever heard (Andy, you are just crazy. Thank you so much for your kind words ... – Herr B.). Thanks for your time.
persistenceinmourning@cox.net www.persistenceinmourning.com
it's always difficult to interview a band, to which you also have a personal relationship, be it friends, siblings – or, in this case – one of, if not even, the best friend.
First of all, a big cheers to you, D.. How are you doing today and what is keeping you busy at the moment? Hi! I am okay so far, thanks. On a private view, I am argueing around with some annoying and burocratical – but more or less necessary – stuff right now. This shit really steals my time and ruins my nerves, fuck it. To speak for o.68 only, promoting and spreading the debut full-length »Elend« is still an actual topic.
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nevertheless, i think i succeeded in presenting you an entertaining interview that grants you a deep insight into o.68 and its mastermind. what remains for me is to say thank you for everything over the last few years – cheers! If my information is right, you started o.68 in 2004. What was the reason for it? I am hardly able to name a specific date where a concrete decision for o.68 was made. The concept as well as the first musical fragments took a longer period of time to evolve. Looking back, most of this happened quite subconsciously, not aiming towards starting a band or a musical project. After a while, I realized that I was dealing with more than a few riffs from jamming around and pieces of paper with some words. These were song fragments and lyrics, both on a very personal level manifestating the birth of o.68 as something official. I released the first recording »Distortional Self-Injurence Machinery« in late 2005. So, it can be said that the main foundation were grounded back in 2004, yes. I am not running o.68 just for the sake of having an own band. Merely, it is an inner urge – it is me and my ideals put into a musical and artistic form.
herr f.
You have been musically active before o.68. If I remember well, you played bass-guitar in Sufferage for example. Please, tell us more about your musical development. I have permanently been in bands since my late teens but most of them never made an effort worth mentioning. My experiences were pretty similar to the ones of other musicians: Jamming with friends, dropping, forming a band again, helping out here and there and so on. In my opinion, these times are important for developing your own musical identity as well as your skills. I was mainly doing vocals but also ended up playing bass-guitar and drums. Yes, I was part of Sufferage – a Death Metal band from Hamburg, Germany – for a small period of time. But I never played bass-guitar for them, I was doing the vocals. I have dropped because I had to deal with some serious health problems then. We only did one gig together. However, they are fine people and I have absolutely nothing bad to say about them. They took their way and I took mine which was concentrating on my own musical ideas after leaving them. Furthermore, you have gained experience in running a label/distro, too. I just cannot remember it's name anymore … Well, I was running Bleiklang Distro for couple of years. It was hardly a label really, more the sort of d.i.y. bedroom thing doing a lot of trades disappearing into one's own collection.
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Meanwhile, it is not a big secret that o.68 is the short form for Odpörovät 1968. Somehow, this term reminds me of the finish language but in fact, »Odpörovät« is of czech origin and means »Resistance«. »Resistance 1968« evokes impressions of the Prague Spring of 1968. What is your intention in choosing this name – especially, as you are of czech nationality. So, its your turn now. You are almost right, »odporovat« is czech for »to resist« – I have added the vowel mutation, the o and the a with dots, just to make it look more metal. Basically, its the same what Motörhead did. In the beginning, I chose the short form o.68 to make it look even more obscure. But people started quitting it with a zero instead of an »o«. This is the main reason why I am using the complete name now – it was not my plan from the beginning to reveal it once. It is an encryption, very similar to mz.412 what was Maschinenzimmer 421 before. I always enjoyed band-names which don't limit the artist by giving hints to a certain genre. You're also right with the interpretation of the number. However, I would not limit it to the Prague Spring only but to several other incidents which happened during that era, too. But it would be too easy to interpret this as a political statement. Its more about using your own head and tearing down walls – institutional, religious or in some cases individual – which limit you in your personal development. And its about resisting fake morals or media manipulation as well, sure. It isn't that Punk as some people might think of it – this is a personal interpretation. It is just about individuality – that simple.
I am sure that you have some fine stories left from this time. Go for it and tell us at least one. It wasn't a big deal though. However, I enjoyed it and got to know many other active people from the scene. I am not quite sure what insider-story you are hoping for. Sure, I have seen some strange situations and got to know very nice folks as well as some idiots, too. But that is quite natural when you are listening to underground music for almost twenty years and have been actively involved for – let's say – nearly fifteen. Just to please your hunger: Most of the curiosity Although I am aware of the fact that such happened while I was doing merch at concerts. Afbackground information is entertaining, I ter I have left Sufferage, I still used to travel a lot with still have to point out that all this is absolutethem managing their sales for some time. These ly of no relevance for o.68 or the concept betrips were really intense, especially Olli and Jasmin hind it. Neither there was ever a line-up nor used to get completely wasted. One time, I must any names were given to public. My name have been that drunk, I didn't even notice some just plopped up due to the internet and the fuck almost tore apart a Vinterriket digipak and put contacts people have. it back into my stuff including his half-empty beercan. I don't think, I made any plus on this evening.
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You are the only person behind o.68 and just released the debut full-length »Elend« through Ominous Silence Records. How are the reactions so far? So far, the reactions were overall quite positive – well, if this is the right word in this content. The material still feels quite actual to me, I am yet missing a certain distance to it. However, I am glad that the record is finally finished. The recordings took very much strength. Except the mastering, I took care of everything by my very own, plus it is very heavy material with an extreme lyrical content. Is there anything which could have worked out better or even worse? Sure, you always realize some things afterwards, that's natural. But I am okay with that because I view on each o.68 recording as a reflection of the period during which it was written and recorded. What others might define as failures is in fact part of the whole result. Nowadays, I would't record material like on e.g. the »Distortional Self-Injurence Machinery« demo anymore. But it still sounds true and honest to me and was a personal necessity back then. To be honest, o.68 never was perfect hi-fi and hopefully never will be. Although I appreciate a certain quality of the material itself, I still like this slightly raw and unpolished sound. It is something like a small trademark.
Answering to this, I have to point out that I didn't knew a single person interested in such a sound – o.68 was lot more influenced by Industrial in the beginning – when the whole thing started. It has always been just me since then. I have tried setting a full line-up during 2010 but it didn't work out properly because the people I chose lacked of enough skills. Sure, I could have asked someone else but I don't want o.68 to turn into another sideproject while everybody else except me has his main band. I am longing for passion and dedication.
How important is it for you to keep full control of o.68 – have you ever thought about involving other musicians and making o.68 a complete band?
Are you afraid of confrontations? I wouldn't go that far but yes, I prefer keeping a quite big amount of control on everything I do. Logically, this doesn't make a cooperation necessarily easier. Being alone on your own makes playing gigs hardly possible. Are you interested in performing live anyway? I was strictly against performing with o.68 in the early days. Now, I am more laid back. If it ever happens it would be fine, if not it wouldn't be a great loss for me either. But in any case, I want to be able to hold a certain level in quality as well as in the overall artistic appearance. Have you received any offers in the past yet? Yes, I had to turn down some gig-offers in 2010.
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Sometimes, I am a little bit annoyed about the use of a drummachine – not just in o.68 but in 90 percent of the bands which work with one. It simply lacks of natural dynamics which can easily be provided by a real drummer. One the other hand, it can be pretty helpful in creating a cold and industrial atmosphere. What are your views on this? Will your upcoming releases include a real drummer? Well, I am seriously thinking about this. o.68 is a constant evolution and in my current point of view, it is more and more developing into organic soundscapes where a drum-machine might sound misplaced.
I am referring to Rock Hard's »Arsch bombe des Monats« (german for: »Assbomb of the Month«, an infamous column which features the worst record released recently). At least, this has always been an hint to check an album out, wasn't it? Sure, it was. They featured a lot of Black- and Death Metal stuff in the early and mid 90s. I can still remember how they hated Cannibal Corpse, Bestial Warlust or Belmez first. Okay, Belmez' »Siechtum« was indeed a masterpiece in boredom. I have sold or traded my copy of it years ago.
Concerning reviews of »Elend«, would you prefer a »Arschbombe« or a new hype? As far as I can remember, the »Arschbombe« column always has been very entertaining. So, I would favor this one. Hypes are trends – I can't find anything trendy in o.68.
Basically, you're right. In reference to o.68, you have to take a view at the early days where o.68 was some kind of Industrial Doom/ Drone. Even if I have had the opportunity to use a real drum-kit, I would't have done it. As you already pointed out, it fitted to the overall cold sound. The process of »Elend« started more or less right after the »Distortional Self-Injurence Machinery« recording. Therefore, it was quite natural for me to continue working with a drummachine. In the end, »Elend« musically turned out more organic than o.68 was before. Therefore, I can understand the critics that a real drum-kit maybe would have been better. On the other hand, this is what o.68 sounds like. I like this distant – or how Stuart of Ominous Silence Records defined it: claustrophobic – atmosphere.
The reviews of »Elend« which I have read were consistently quite positive. Although they included some suggestions for improvement, mainly referring to the drum-machine and the sound, none was really damning. Do you appreciate this or does it evoke doubts whether the author was able to immerse deeply enough into the material? o.68 is for my own satisfaction. But of course, I appreciate it if somebody can refer to it, too. I look at it as some kind of compliment. However, I don't share your theory that a positive review automatically lacks of depth.
How satisfied are you with the result regarding the possibilities? For me, there is no limitation in using a bassguitar instead of a little tiny usual one.
Can you image o.68 with guitars in the future? I think, using them is possible but the fundaments will remain bass-guitars.
So, o.68 is »pure bass-guitar holocaust« only? Regarding the material written until now: definitely. The effect of catharsis is bigger if your body is able to feel the music's strong vibration. Odpörovät 1968 | 51
It is hardly recognizable, but you are using multiple bass tracks on your records. Many people think of the usual down-tuned guitars but that's not the case. Why? Why not? Playing and listening to it feels more intense – the vibrations are much wider.
If I remember well, »Elend« was intended to be mastered by someone else first. What's the story behind this? First, Stuart came up with the idea of Osman Arabi, a sound artist from Lebanon. Immediately, I gave him my okay. His work is fine and Lebanon struggles a difficult political situation. Therefore, I wanted to support Osman. This would have fitted well the subversive and revolutionary idea behind o.68. Sadly, the contacts between him and Stuart faded. I don't know what exactely happened. There where rumors circulating about trouble with the police state, censorship and so on. Pretty fucked up. After a while, Stuart suggested Andy to do the mastering. It was not a decision against Osman but a decision for »Elend« to be finally finished. Still, my support goes to him. He is active again today – so, I hope he wasn't in that big trouble.
Where there any troubles? No, not at all. In the beginning, he had some small difficulties with the material because I messed up some of the recordings. But it wasn't his fault. »Elend« is a d.i.y. recording. Regarding this fact, the result still blows me away – it sounds so wide and really heavy.
How satisfied are you with the final result? In my opinion, Andy did a fantastic job on this one. Some people may find the sound a little bit too raw but it was my decision to keep it this way. It is the best and most warm sound o.68 ever had anyway. His work is very professional and he is damned fast. Furthermore, he never moaned around like »Oh, your ideas suck, I would love to let it sound like this or that … « – he totally respected my wishes and immediately understood the vibe of o.68. Thumbs up.
»Elend« was mastered by Persistence in Mourning's Andy in his home studio Gorgon Head. How did you get in contact with him? Stuart of Ominous Silence Records was doing the contact. He released a split tape of Persistence in Mourning and Vomir just before »Elend« and was quite impressed about Andy's work.
I don't want to lose too many words about your lyrics here – they are all printed in the album's booklet anyway. In my opinion, everyone should read them on his or her own because the interpretation may vary very often. However, I would like to receive a statement to the slogan »Infiltrate – Nihilate – Negate« which is printed next on the album's cardboard. Is this representing the content of your lyrics? In my opinion, all o.68 lyrics released so far aren't very difficult to understand. Yes, it could be said that this slogan is the core of all of them up to and including »Elend«.
Looking at your artworks, you are everything but a newbie and your regular work is in communication design. Furthermore, you are interested in different forms of art like film, music, photography and fine art. Where does your passion for this variety of arts come from? I have enjoyed drawing since my early childhood and was always attracted by arts in any form. My father studied violin, maybe that's a reason, too. However, he never played it at home – he prefered rock guitar. Well, why is someone interested in cars, animals, traveling or sports? It is just, what makes us unique.
What do these three words mean to you? It is pretty much about the process we are going through – or at least, should go through if we view at things with a clear mind. We are born into this world and we are raised and educated to be a part of it until we realize what is healthy for us and what's not. You can't deny something if you don't know it well. It is universal, no matter whether it is society, politics, moral issues or religion. The sentence printed on the CD sums up the concept of »Elend« pretty well, too: »A propagation of the decline of western society's worldly values«.
Which art form is the best one for you to express your emotions? I can relate to every form of transgressive expression. The highest form of catharsis can be achieved through subconscious acts which often excludes writing for me. Making music or painting is quite similar to me. It is not a big difference if I lose myself in a heavy riff or in the flow of colors. However, I have to separate between art executed for the moment itself and the one made to achieve a certain result like e.g. artworks.
Generally, how important are lyrics for you and which role do they play compared to the music itself? Music and lyrics are equally important, so is the artwork. Once again, this is encoded in the triangle printed on the CD: »Sonus, Imago, Vox«. Every great record of an artistic approach combines these three components executed on a maximum level. 52 | Odpörovät 1968
Are you fully satisfied with your musical and fine art results or have you every thought about filming or literature, too? Writing lyrics and writing poems isn't too different, is it? Filming would be exciting as well but takes a lot of time which is rare nowadays. But I am open towards everything, sure.
I know that you are very interested in the work of Hermann Nitsch and Viennease Actionism in general. What in particular is gaining your attention? That's nearly a philosophical question but I would say that I both like the archaic look of Nitsch's performances as well as the idea of atavism and catharsis behind it. Hermann Nitsch is definitely a polarizing person. Can you understand the public's criticism and protest? People always only see the gore aspect in it but he truly has a message for everyone of us. It is about an intense experience of life and the estimation of ordinary things. That's what the whole blood and slaughtering is about. Did you ever made your own wine or killed an animal in order to eat it? These one's don't grow up in the local supermarket. This is the message. »Elend« is quite similar. It may look and sound extreme and grim but the message behind it is quite logic – at least for me. So, maybe some art should not be understood by everyone and has to polarize? Art always polarizes. Sometimes you have to hit the establishment, sure. Viennease Actionism did that permanently in the beginning. But you don't need to refer to sophisticated fine art only: just take a look at the early Grindcore movement. It was a fist in the face of everyday's life, a scream saying »Fuck off!«. However, scandals don't make automatically a good piece of art – honesty and message do.
www.odporovat1968.bandcamp.com
Your taste is wide in arts, so it is regarding music. As far as I know, your private record collection consists of nearly everything from Black or Doom Metal to New Wave and Pop. How this go hand in hand? What connects all these different types of genres to make them attractive to you? Music is an important and omnipresent part of my life. It is surrounding me most of the time I am awake. I don't mind listening to old Asphyx right after Björk which must be what you consider Pop. I listened to Diamanda Galas before I went to sleep yesterday and awoke with Morbid today. Weird, eh? Music has to please me and needs the ability to paint pictures – then, I don't mind the genre.
What makes a recording interesting for you and worthy to be added to your collection? There may be different reasons for this like a creation concept, summoning of memories or just the music itself. What is more of your taste: a cuba-libre at the Hell's Pleasure Metalfest or a ciderspritzer at the Doom Shall Rise? That's an easy decision. I favor the ciderspitzer – just because the cuba-libre at Hell's Pleasure is mixed with original Coca Cola which I don't consume. Anyway, both events are fantastic and always packed with a load of extraordinary acts. Thumbs up for these two. Odpörovät 1968 | 53
i admit – i've lost track. with this enormous number of labels, it is nearly impossible to separate the chaff from the wheat. but there are always rays of light – precisely, those we feature in this zine. for this issue, our focuss is on gad and his label totalrust music from israel.
Hello Gad and welcome to Soleil Tryste Zine. Hello Herr B. and thanks for setting up this interview. Really liked the first issue of Soleil Tryste, so I am proud that TotalRust Music is in the second one. How are you? I am doing fine, just very busy these days. The summer was really hectic here; besides the regular label matters, I took part in the recording of »Seven Bodies in one Grave«, a collaboration of The Knell, Divanity and 54 | TotalRust Music
herr f. & herr b.
Lifemare who recorded one rough piece of doom – 40 minutes that have been released as yet another limited Demorust release through TotalRust Music. Also, had a three gigs »tour« here in Israel with Divanity – the band I have with Alec of The Knell and Rani Zager of Grave in the Sky – in the end of August. It was the first live experience for Divanity and overall it went pretty well. Now, it's time to work on the upcoming TotalRust's attack(s). A few new bands have joined the label recently, so winter is going to be pretty interesting here.
TRUST019 PYRAMIDO · SALT
TRUST018 HIGHGATE · BLACK FROST FALLOUT
TRUST017 ABYSMAL DARKENING · NO LIGHT BEHIND
TRUST016 LORDS OF BUKKAKE · DESORDEN Y RENCOR
You are the owner of Total Rust Records. Please, share with us briefly the history of your label. What moved you to establish Total Rust Music? I created Totalrust Music in 2004. From the start the idea was (and still is) to provide a serious devoted home to unique bands and artists I respect. In the beginning it functioned as an underground distro, but very quickly we started to work on our first release – the Doom compilation »Asymmetry« – and welcomed a few outstanding bands
like The Knell, Wraith of the Ropes, Mourning Dawn or Funeralium. So you can say we had a good start, I guess. As for now we released 19 albums and three demos. I'm very proud in the way the label has been built up to this point and have no doubt we will keep deliver the goods.
Music«, I run the label from the passion for extreme and honest music and you can find different kinds of »unpleasant music« under the TotalRust's wings. I think this term represents that spirit nicely. Same goes with using »Trust« on the releasing numbers of our releases. It also has a deeper personal meaning but enough is said, I think.
However, an aversion to Doom Metal and indietronics can not be denied. Your focus is on »Extreme Doom« – what does it stand for and how would you decribe this term best? Over the years the label gathered a respectable list of bands from different styles but all of them shared that recognizable core that fits to the vision of TotalRust Music. So yes, the label supports many sorts of extreme music, but I admit, the main focus is indeed on »Extreme Doom«.
What does the term »Total Rust Music« stand for and does it have a deeper, personal meaning for yourself? Regarding the term »TotalRust
Your label's rooster is quite diversified. By yourself, you speak of an dedication to »Extreme Music«.
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TRUST015 HIGHGATE · SHRINES TO THE WARHEAD
TRUST014 HYADNINGAR · THE WEAK CREATION
TRUST012 PYRAMIDO · SAND
TRUST011 MOURNING DAWN · FOR THE FALLEN
What exites you about the Doom Metal genre and what was your first contact with it? As for me personally, my musical taste is pretty varied – Swans, Hellhammer, Esoteric, Coil, Death in June, Khanate ... but you can say Doom is my cup of tea for years now. I guess it started almost 20 years ago when thanks to my brother I got to know Winter. From then I did my best to discover more slow stuff and was always drown to the extreme and experimental corner of this genre and in music in general.
This obviously affects TotalRust Music as well.
TotalRust's distro has really grown over the years and it's very demanding and takes a lot of my time. So yes, sometimes I do wish days would have 48 hours, especially when I do other things too. Financially you can't really »live« only on the label's activities. The thing is, not only TotalRust is an underground label dealing with not the most popular music out there, it also functions in a very old school way: We don't sell fi les, still trade with other labels, insist on sending real promos and support
physical formats, of course. I refuse to take part in this whole virtual revolution where things keep losing their true meaning.
56 | TotalRust Music
Your label includes a very large mailorder which looks like a lot of work to me. Are you into both professionally – can you finance living from it or do you still go to a regular work day by day? I guess, you wish that your days would have 48 hours sometimes. I can sing a song about this, too. That's right, the label has quite a large distro department and offers catalogue of almost 3.000 items.
Do you view at all these things as »work« or even as »stress« or are you still able to enjoy these Metal related activities? I'm honestly not sure if the term »work« fits here, all I know is that I take this bad boy very seriously, put a lot of energies – and money – into it and doing so without any second thoughts or regrets.
What makes this all still worth doing for you? Thanks to TotalRust I had – and still have – the honor to work with some excellent bands, getting new music on a regular basis and doing things in my way. I am very proud in this structure. It's operated on pure enthusiasm for musick, and despite all the difficulties, it will keep growing and won't change its skin because of what is acceptable, or fashionable. Have you already made any negative experiences in the past?
Like all the other things in life, negative experiences are a part of the deal. Rip offs, unserious clowns who wasted my time etc, but nothing dramatic. The bottom line is, I enjoy the work with the label very much and still more than capable of deriving pleasure from honest metal/music activities in general. If music ever stops being exciting for me, life will be way less bearable. Looking on your list of high-quality releases: which one is particularly the most important to you?
“We don't sell files, still trade with other labels, insist on sending real promos and support physical formats, of course. I refuse to take part in this whole virtual revolution where things keep losing their true meaning.” – Gad
It's a tough question and I honestly don’t have an answer for it. I'm really proud of all the TotalRust releases and honored to work with bands and musicians I respect so much. Each release means a lot to me in a different way and has its own story, I guess.
re to its next level. I even flew to Europe to see them live in 2004, so releasing their album three years later obviously was a big deal for me. But then again, I can tell you similar stories about almost all the other TotalRust weapons as well.
Do you have any interesting anecdotes to share with us? Take Funeralium's album for example. The way I see it, this French group is one of the few bands who actually managed to take this gen-
Do you still have an unfulfi lled dream in releasing a particular band or record? No unfulfi lled dream, just continue to release music that I love – something that becomes more and more difficult these days.
TRUST010 HIGHGATE · UNTITLED
TRUST009 PAGANUS · S/T TotalRust Music | 57
You run TotalRust Music from your department in Jerusalem, Israel. How does this effect your daily routine? As of last year I've indeed been running TotalRust Music from my apartment in Jerusalem. I have one room that functions as an office/studio and it's very convenient. I keep the stock there and recently we also used the studio to record the project »Seven Bodies in one Grave«. My days include answering e-mails, handling and packing orders, going to the post office and of course do-
TRUST008 VOLITION · S/T 58 | TotalRust Music
ing more things (not related to the label) that help me with the bills. How is a metal-head's life in this part of the world? Israel is not the ultimate place for metal-head's, people here have way less worthy gigs to go to and don't have as many options as you regularly have. So, I guess, a »Teach your children to worship Satan« backprint probably won't please that many people in a country where religion still
TRUST007 B.T.F.S. & NEGATIVE REACTION · SPLIT
has an high effect on everyday's life. Are you having any troubles with e.g. wearing certain shirts in public? You can still wear Dave Philips t-shirts »Religion is stupid« in the streets and I am pretty sure nothing dramatic will happen to you. Seems like Israel is more liberal than you think. It doesn’t surprise me though, some people think we still ride on camels here. Is Israel able to provide some kind of »infrastructure« for metal music
– a kind of »scene composite« – or are you one of the few lonely wolves who howl on their very own? For that matter, I am afraid that you are anything but spoiled with concerts, too. Am I right or is maybe even the opposite the truth? I am not really involved in the local scene, so I am not sure if I am the right man to answer this, but overall I think we have a pretty solid scene here. Gigs of local bands happen on a regular basis, other metal events once in a while – like markets, parties etc –, forums that are active, a
“Israel is more liberal than you think. It doesn’t surprise me though, some people think we still ride on camels here.” – Gad
TRUST006 FUNERALIUM · S/T
TRUST005 THE KNELL · HARM
TRUST004 MOURNING DAWN · S/T
TRUST003 WRAITH OF THE ROPES · ADA
few producers who bring »overseas bands« once in a few months and of course bands who have made it outside of Israel like Salem, Orphaned Land, Sonne Adam etc. So you can say there is some kind of »infrastructure«, I think.
The socio-cultural aspect which »hard« or »metal« music has in many parts of Europe or the USA, is surely not the same in Israel. How could you be infected with the metal virus in your country? I believe you can blame my brother on this, but I surely took this thing much further. I guess my point is – Europe, USA, or Israel – they all can be infected with this damn virus.
How big is their impact on the development of this subculture in your country? Regarding the Israeli scene, Salem was probably the first band who really managed to do it here and indeed had a serious impact on the development of the Israeli scene.
to comedy shows on TV to provide snobbish people a good laugh while representing their overdrawn Metal cliché. How »underground« is rock and metal music in Isreal? Is it still a controversial subculture or are people cool with it because they view at it as some simple trend of the youth?? There were always excellent bands in the Israeli underground (Barbara, Lietterschpich, Rabies Caste, Vultures, Voidal, The Knell, Dukatalon, Sonne Adam), but like any other place, it gathers people who
When did you get into »hard« music first? I got into »hard« music something like 20 years ago and from then I admit I am pretty obsessed with it (collecting music like a maniac, taking trips to Europe to festivals/gigs etc).
Thinking of the Israeli scene, there is one band which immediately rushes into my mind: Salem.
Over here, Metal is more and more evolving from a rebellious phenomenon of underdogs into an accepted music form finding its place in nowadays society. Big bands like Manowar are invited
TotalRust Music | 59
are really into it and have pure intentions, next to people who see this as a nice opportunity to ride on some current trend. Of course sometimes metal (or any other form of extreme music/art) gets a wider recognition, but I like to think it's not on purpose, just a result of hones people doing their thing. In Germany and probably everywhere else in the world, we have a limited view on the various events in different parts of our world. This applies on the everlasting
TRUST002 REMEMBRANCE · FRAIL VISIONS 60 | TotalRust Music
religious conflict in your area, too. Without falling into a too detailed political discussion, what is your point of view concerning the whole situation since it is (probably) a part of your own life? How do these circumstances effect everyday's life – the going-on in the streets, pubs and cafes? You are absolutely right. People get their information from the media and its stunts, parts are missing and the picture they're left with is twisted. But I say let's focus on music – fuck politics.
TRUST001 ASYMMETRY
I have often a special feeling that certain groups on both sides actually are not interested in peace, in an appropriate solution to their debt interest, but are rather keen that this conflict endures. It makes me feel, that all this is moving away from a pure fight for territory or religious beliefs to one, to say at least, war out of habit – a heritage that is passed from generation to generation. What do you think of my thesis and what specifically about your generation: How do the younger ones think about this?
I hear what you are saying and obviously have my own point of view and opinion, but again, don't want to get into this. Let us come back to your rooster: What are the actual topics at TotalRust Music? Which releases are pending or have just been published? We actually have a manic schedule for the months to come. Next attack will bring Tort's debut (Spanish Sludge/Doom featuring ex Lords of Bukkake members), Chaos Die's
“People get their information from the media and its stunts, parts are missing and the picture they're left with is twisted. But I say let's focus on music – fuck politics.” – Gad
album (French Black Metal featuring members of Ataraxie and Hyadningar), Lurk's full-length (awesome Doom/Death from Finland – keep your eyes open for this one, it's been a long time since I heard such a devastating Doom/Death) and Israeli Geist album. In the beginning of next year, we will release Botanist's »III«. If you are not familiar with Botanist, it's one of the brilliant acts of today's underground scene (first album released on tUMULt a few months ago). Also, we just signed another contract with mighty Highgate (love these guys!)
are pure masterpieces of Sludge/ Doom/Noisecore.
That's definitely amazing. Do you have any recommendations from the scene in Isreal to us? Regarding recommendations from the scene in Israel, I'll give you three to start with:
Sonne Adam – A band who gives the current Death Metal scene a serious kick in the ass. Old-school stuff at its best – Divanity played live with them last month and they also kill on stage (Oh yeah, I witnessed a live assault with Cruciamentum just some weeks ago, brilliant. – Herr B.). Dukatalon – A three piece unit of Sludge/Doom. Relapse released their album last year and I highly recommend you to check it. Last one is mighty Rabies Caste. Split up years ago, but released two albums in 1998 and 2001 that
DEMORUST003 SEVEN BODIES IN ONE GRAVE
DEMORUST002 DIVANITY
DEMORUST001 VOLITION
for releasing their third album and we'll also try to finally complete the Divanity full-length. There are more things of course (like a Divanity/Wreck of The Hesperus split), but let's start with these first, hopefully all will go smoothly and more news will follow.
What is rotating in your current playlist at home? Can you still enjoy listening to music? I still enjoy listening to music very much. Actually music (playing and listening) is probably the thing that still excites me the most. Lately I am in a mood for Sludge again and my playlist consist of bands like Grave at Sea, Fleshpress, Noothgrush, Grief ... also listening again to old Swans material, but what else is new.
TotalRust Music | 61
What bands or albums have surprised you lately – which rather disappointed you? When it comes to new stuff, I really dig the new albums of Wheck of the Hesperus, Corrupted and Botanist, which are my favorite releases this year. Also still can't stop spinning Author & Punisher »Drone Machines« (industrial perfection that was released last year). Disappointments? Many, but let's skip this one. At least, I would like you to introduce us your top five albums of 2011 to us in a few words. · Wreck of The Hesperus: »Light Rotting Out« I have been following this Irish gang from the time I stumbled upon their demo (also had the honor to include one Wreck of The Hesperus exclusive track in »Asymmerty«, the comp we released in 2005) and really waited for this album. Anyway, like any other release of them, album is huge and proves once again they are one of the best doom bands around these days. 62 | TotalRust Music
· Murkrat: »Drudging The Mire« Another ACE released by Aesthetic Death. Think the Doom version of Diamanda Galas ... this is something else. · Botanist: »I: The Suicide Tree / II: A Rose from the Dead« 2CD Black metal that is based on drums and dulcimer. A pure masterpiece made by a mysterious one man coming from the fertile San Francisco Black Metal scene. Brilliant and original. Next album will be released through TotalRust Music. · Abysmal Darkening: »No Light Behind« I think it would be a bit unfair to point out albums I released via TotalRust, but I can't avoid mentioning the Abysmal Darkening's long awaited release. I have been in touch with them and waited for this album for years and can say that the waiting was worth it. When it comes to »Darkened Doom«, this album is the real deal. Think of Bethlehem meets Pentagram meets Darkthrone.
· Corrupted: »Garten der Unbewusstheit« An astonishing comeback after six years of waiting. Ok, that's it already. I hope you had as much fun answering my questions as I did asking them. Do it well – the last words are yours. Thanx for the interview, mate! Will keep my eyes open for this issue, no doubt. You should do the same with TotalRust Music. As I said, there are a few releases that are planned for the months to come and we don't have any intentions to stop. Cheers and thanx again!
Herr F. | Editor & contacts Herr B. | Co-editor & layouts Lukáš | Guest editor
www.totalrust-music.com
»this is funeral doom … with a groove.« | www.lurkerspath.com
www.myspace.com/o68