October 22nd & 24th, 2009 – Calling of the Satanachian Storms

by Enda Miller on October 29, 2009

Hellfires were set loose in Helsinki, Finland last weekend by a horde of black metal maniacs from all over the Earth. Profanation, an intangible feeling of myth, alignment of spirits, pervaded the atmosphere. Let me remind you that while the gig situation concerning underground black and death metal in Finland is rich and fertile, every so-called cult band appearing on stage is no longer going to change anyone’s life to something more mysterious and powerful. Maybe the younger audience sees the matter differently, but I believe they are becoming jaded also. This weekend was something different however. The main event was the 2-day Black Flames of Blasphemy fest, on 23rd and 24th, the Friday night featuring Taake and Horna, among others, but I wasn’t attending, on one hand because of a lack of interest regarding the bands, on the other because I could use one spare night between the “pre-party” on 22th (aptly called “Unholy Night to Remember”) and the Saturday explosion featuring bands of the caliber of Blasphemy and Revenge from Canada.

The dark side of Finland

So, it all started on a rainy and windy Thursday night, in a small Helsinki pub called Darkside which I had only visited once before, when it was empty. No-one was expecting a large crowd because normal people would have jobs and studies to attend to, but the place was crowded and intense. Demonos of Barathrum, the drunken bastard, was shouting at the doorman and people were consuming beer like it was the eve of ragnarók. In that one room of a few hundred cubic meters had been compressed all the dreams and neuroses of Finnish black metal since its very beginning. Even Pete Helmkamp came around to see for himself what the fuck was going on. Ofdoom, a Blasphemy clone from Hamina whose members are barely 18 years old, played a reasonably aggressive set of uncannily familiar sounding songs. I am thankful that at least the cover song choice was “Christ’s Death” by Sarcofago instead of something from the war metal scene. Many of the old school maniacs I met applauded the energy and sincerity these young guys brought to the evening. However, I was more thrilled by the Goatmoon set that saw the audience become a rioting mass of fists and headbanging. The garage punks of Finnish black metal, Goatmoon unleashed a set of familiar songs from their albums mostly resembling a triumphantly melodic cross of Dimmu Borgir demos and Absurd, not to mention an enormously provocative cover from Finnish RAC band Mistreat.

But the real reason why everybody was there that night, the crux of all the anticipation and nervous violence was the return of the infamous Azazel on stage, an early Finnish black metal coven lost to annals of history but fondly remembered by everyone who breathed the air of 90′s Finland, when worship of darkness was still pure and cold… clad in spikes. Stories about Azazel and their infamous frontman Lord Satanachia are equivalent to an inverted saga, one of madness and devotion. For a decade the band was forgotten until suddenly it seemed to have reformed in alliance with some members from young occult metal band Charnel Winds. It all seemed unbelievable and to see it with one’s own eyes… triumph!

It wasn’t a surprise to anyone that an Azazel gig might prove to be a disaster, in normal sense. Enveloped in the mists and throes of an ancient curse, the guitarist’s malfunctioning equipment threw the disorganized band from the brink of a metaphorical cliff into the abyss, to be carried upon the wings of Death. While Demonos threw himself from the audience into the stage in an alcoholic spasm, wires were torn, microphones were ripped and fists started flying. Part of the equipment was mute, the rhythm section was confused and Satanachia’s croaks were barely audible chants and incantations of demonic names. A morbid pall descended upon Helsinki. In anti-arranged structures of primitive, broken black metal, Azazel mocked everything and everyone. Brilliant and beautiful riffs, performed at variable and confused speeds, interlocked with rhythms and blasts whose randomness remained cryptically problematic. No-one knew if the songs are actually like this or have all the members gone insane. The most sensitive part of the crowd was devastated and ultimately impressed. Others were bored and drunk. Enough said about that evening except that I doubted even Saturday can give a more authentic black metal experience, because for the rest of the night and the next day, Azazel’s psychosis was still deeply within my heart.

The church of blasphemy

Saturday night was again cloaked in the weather of Jack the Ripper’s London. Through the rain we approached the ominously titled Dante’s Highlight, converted from an old church on whose steps Mannerheim and Hitler had shaken hands in a pact of war. It served as a normal nightclub until a few years ago it became one of the prominent metal bars of Helsinki. We have no knowledge how much blasphemous intent influenced its current use, but it was something to see candles and torches lighting the altar (stage), bestowing a comforting, cavernous gleam upon the high ceiling and reflecting from the chain-wrapped wooden posts adorned with gasmasks. The gig organizers par excellence Kold Reso Kvlt had taken lots of care in making this event perfect, as it was also the destination of a veritable exodus of German, French, Italian and other foreign black and death metal fans.

Proclamation from Spain launched into formally perfect, yet somehow vague and heartless Blasphemy aping primitive death metallic sounds and while the gig was technically the dream of your standard NWN forum fan, it raised apprehension that this is going to be an evening where every band sounds the same and everyone plays a Blasphemy cover! There was still some space to move around the building but despite three floors, it was rapidly becoming claustrophobic and difficult to breathe. The gig had been sold out ages ago. Black Witchery from Florida, USA, specialized in repetitive high speed exercise of redundant riffs, which despite its great marketing value to black metal consumers lacks the spiritual depth and intellectual convolution of the high masters of the genre. To anyone who has heard a Black Witchery album or two it was easy to guess what the gig is all about and for their fans, they probably did deliver the goods. I liked a few of the atonal, destructive, confusional parts that reminded me of the greatness of the Australian disbanded legend Bestial Warlust.

By the time the third band, Archgoat from Turku, Finland, commenced their set, the full force of the Finnish metal scene had already coalesced upon the building and for anyone who knows people or is known himself, much time and attention had to be spent on greetings, handshakes, throwing the horns, mock fighting and the like. However, the atmosphere was also rapidly gaining a more intense, expectant and noxious odour. Screams, blood and bursts of madness spattered the overcrowded club. Between pockets of peace, chaos reigned, the passing of souls from one layer of Hell to another, brother and enemy united in prayers of profanation. While for some people the grinding, organic and physical malevolence of Archgoat marked their best gig ever, I say the 2005 comeback gig after a decade of silence still holds the scepter. Heavily influenced by VON and Sarcofago, Archgoat was the first band of the evening to capture a cold, theatrical melody and frame the counterpoints of primitive death metal riffs with heavy, well placed doom. It was the only performance of the evening whose spine was not hardened by monotonous speed. Instead, it slithered up the walls like a serpent of abomination.

Nature’s revenge

Amidst beer, guts and blood, headbanging Italians and Finns going mad over the controversies and abstractions of the night’s leading band (“Are Blasphemy real, do they really exist?” “Is that negro over there Caller of the Storms?”) everyone who was ever famous in Finnish black metal walked entranced amidst the crowd, as one with the spiritually dead. Black metal skinheads went out for a smoke and traded with kebab and banana merchants around the corner. Someone’s face was fisted and another got a kiss from a new girl.

Revenge, the Canadian commando force, was for some members of the audience the main event to witness here and for a good reason. By the unholy candles’ light, between the walls built to serve God, James Read attacked the drumkit like a voodoo priest releasing magick vapours of steaming ether, in a sharp and fluid tribute to grindcore percussion masters. In a battle position, in the attire of a right wing street fighter, Helmkamp’s fingers tore thrash influenced phrases from the trusty bass guitar as he used to do already decades ago in Order from Chaos, while his sharp intonation revealed the lyrics be less a narration, more a ritual chant of words whose meaning and connotation have been obvious to warriors for millennia: “traitor”, “victory”, “blood”, “conquest”, “force”, “survival”. The robotic, inhumanly precise ability of the three musicians to control chaos resulted in the most impressive technical display of the evening. It caused uncertainty and fear. What can even the mighty Blasphemy do after this 100-percent martial art display of perfect war metal kata forms?

Luckily we didn’t need to wait very long until Black Winds and co. gave us the answer. As a storm of the angels of apocalypse and doom, this noisy but influential group of Canadians were far from any kind of perfection in their music. They appeared as in constant battle, a crackling terror of violent audial force, ripping and rending the soundscape of world without end. Dramatic and physical, it seemed as if the walls are about to collapse. Black Winds seemed at times lost, at others frenzied and focused. Strong war screams arose from his throat in defiance to heavens. Caller of the Storms didn’t play his guitar, he molested its corpse. A gargantuan sized session bassist filled the forefront and provided background vocals. Ryan Förster of Conqueror played second guitar wearing a gasmask. Original drummer 3 Black Hearts of Damnation and Impurity pulsed, leaped and attacked with his beats as lightning that strikes amidst a raging storm. It wouldn’t be correct to say the band was in top form, or something. The band was a force of nature, a mission of war that happened on stage. It didn’t compete with the musical precision and finesse of Revenge. It maimed the listeners with its droning and anti-sacred frequencies into submission, obeisance and ultimately an intuitive sense of the laws of nature. Cosmos, life, nature is about war. That’s what war metal and Blasphemy is about. The order of things, as it is, revealed in chaos. The highest principle of art, which is truth. Rarely, in years of seeing the finest of the bands perform on stage, have I been filled with such a calm, inspired joy as in the midst of this night’s rendition of “War Command”.

http://www.youtube.com/watch?v=iik8gL-rey8&feature=results_main&playnext=1&list=PL36851714E96D445C

Thus, I have witnessed two of the finest evenings of black metal this year. I give my highest and sincere thanks to individuals who year after year, day after day, spend their attention and hard work to organize cultural events of the highest magnitude, even while they will never be as celebrated for their work as even mediocre bands are. Flyers and ads already promise interesting happenings for next year, so for now, I still very much enjoy living in this Northern land of bloody lakes and corpse-strewn woods!

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Demolition Hammer – Epidemic of Violence

by Enda Miller on October 18, 2009

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This well-respected album from the early nineties is a lethal injection of pure destruction enough to satisfy anybody’s lust for laying waste to humans and their buildings. Preferably while they are still inside them so the bricks and mortar can rain down on their skulls and shatter all bones, leaving human remains indistinguishable from the rubble. I doubt this experience varies much for each listener as this album has been engineered precisely as a soundtrack of de-construction. Heavily shredded riffs reminiscent of Beneath the Remains-era Sepultura are tightly packed into a Death Metal container more appropriate for the time. This is obviously characterised by the frantic, relentless tempo of the music. More important however, is the interplay of drums and vocals as synchronous rhythmic overlay to the jackhammer guitarwork. The results are precise blows punctuated by piercing, animalistic vocals. Each riff is like something maleable or just fucking ugly for the battering drums to lay waste to like an instinctive response to something undesirable. This mechanistic attack then gives way to climaxes of lead guitar or more prolonged and guttural growls. Ecstatic brutality. It is unashamedly extremely one-dimensional music, but does not lack purpose nor the energy to violently make its point as an update of the Speed/Death sound.

Interestingly, Epidemic of Violence is the second album to use ‘Lovecraft’s Nightmare’ by Michael Whelan as cover art. I’ll use this opportunity to present it, knowing you’ll recognise who were first.

-ObscuraHessian-

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Until the Light Takes Us: Review

by Joe on October 18, 2009

This long-awaited independent film documentary finally hit London as part of the Raindance film festival, as metalheads and indie pricks alike filled the seats to watch what has been promoted as the least sensationalist take on the all too familiar events surrounding the Inner Circle and that Scandinavian wave of Black Metal. ‘Until the Light Takes Us’ presents the story through the thoughts of some important figures from that scene, most notably Burzum’s Varg Vikernes and Fenriz of Darkthrone, who are able to articulate more of what constituted the worldview of that movement, from two very different perspectives – Varg as the idealist finding himself trapped within his surroundings and Fenriz as a former idealist now trapped within himself. For example, the Count Grishnackh likens his experience in prison to being in a monastery, as it imposes a strong sense of discipline on him, conducive to self-development, engaging with reality at the level of ‘ideas’ and the eternal quest for ‘Truth’. Fenriz, on the other hand, looks pretty directionless and resentful of the events that culminated in his loss of spirit to the extent that he describes his current music with Darkthrone as like petting dogs (the fans) and inspiring them to share his misery, possibly offing themselves as a result.

This film is clearly a chance for those involved to speak about such things after the initial media attention and exposure had long ago infected the exclusivist purity of Norwegian Black Metal. As such, it is not really a film about Black Metal. No clear picture is put together as to be able to explain what Black Metal is, although larger conclusions can be drawn as streams of dialogue intersect and are placed alongside appropriate imagery and Nordic scenery. The anti-Judeo-Christian sentiments of church burnings and the anti-consumerist, anti-westernisation implications of Helvete’s radical ideology are explored with reasonable depth, but there is nothing much said about what they affirmed and found beauty in, which is the real impulse behind many classic Black Metal albums. Combined with what seemed to be the ultimate fate of these artists as some form of social ostracisation and self-destruction (captured by Satyricon’s Frost and his throat-slitting public art display, and Dead’s suicide), Black Metal – whatever it is – comes off as a dark curiosity ultimately yielding fatalistic results. Fair enough, that’s not the purpose of the movie, but for a Black Metal initiate, this film offers little more than surplus interview material. It’s interesting as a documentary, exploring the detrimental effects of media bullshit super-imposed on an ideological and artistic movement that stood well outside of what the media can express in it’s limited lexicon, and provides content for those interested to further research this cryptic genre.

– Written by ObscuraHessian

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Portal – Swarth

by Enda Miller on October 14, 2009

The mystery behind this Australian band as well as their approach to music making has been very appealing ever since they arrived at the scene with their demo back in 1998. The boiling cauldron of Lovecraftian aesthetics, ambient and death metal appears to be potent enough to completely reinvent the genre and this is something we secretly hope for with every Portal release… But it never happens. Well, not quite. There is always something that stands in the way of the pure demonic current: be it compositional flaws, production quality or artwork. The latest release is no exception here.

The servants of Chaos return with their third full-length effort. Following the pattern set by its predecessor, Outre (2007) the songs on Swarth take the muddy path of broken arrangements jumping in and out of focus constantly. The vocals are buried in the mix and thus enhance the overall blurry feel of this sound wall. The jagged, at times almost black metal-sounding guitar backdrop wails and waves over the skittering, jazzy drumming. The band manages to recreate the menacing sonic world of Immolation (an obvious influence here), yet where Immolation weaves their melodies and rhythms into some otherworldly math, Portal attempt at playing “ambient” death metal. These attempts often result in completely vague and non-inspired parts, a gray monotonous sound shimmer. The highlights of the album (“Omenknow”, “Marityme” and “Werships”, the latter being a re-recorded version of the track appeared on 2004’s Sweyy EP) feature some nice half-melodies, “inverted” riffing and conceivable – yet no less chaotic, – rhythm structure. Slowing things down a little definitely helps these Lovecraftian priests to get a better idea of their own conjuring and set up a good involving atmosphere.

An important note: Portal badly needs a good visual artist. With so much of their appeal coming from on-stage imagery, theatrics and general entourage it seems like the obvious Photoshop approach to their album artwork paired with some bad taste comic art doodles is extremely ill-advised. The band pictures are always appropriately evil though. Go see them live at MDF next year!

-The Eye in the Smoke-

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Sadist – Sadist

by Staff on October 14, 2009

sadist-sadist

Many people, upon reading what we have posted here, assume we’re anti-progressive death metal. People note how much we squirt used nutrients all over Opeth, the latest Cynic or abortions of taste like Origin, and in order to justify their outrage, claim we don’t like prog metal. In fact, the opposite is true: we love prog metal, and go hog wild for bands like Atheist, Obliveon, Voivod, Gorguts and Pestilence. We even love classics of alternative progressive metal like Supuration. But what we don’t like is pose-prog, which is music that “sounds” progressive but is actually at blockhead levels of disorganization. Like Opeth. Like the new Cynic. Fake prog is bad prog, and because anyone who tries fake prog is probably a delusional and deceptive moron, is also usually bad music.

Today’s band isn’t death metal, and it’s “progressive lite” like Rush, in that there are difficult techniques and longer compositions at work, but not as much theoretical squirreling around key signature. From Italy, Sadist are a progressive death-ish metal band who love their keyboards, acoustic interludes and longer songs — just like Opeth. And like Cynic, they incorporate a ton of jazz-fusion technique, most notably in drums and bass.

On the whole, Sadist’s self-titled album is a lot like Obliveon’s Nemesis: beaucoups speed metal, some death metal, a lot of prog, some newer (“nu”) influences and then a sound all their own. What makes them different is that they are working in the genre split between speed metal and death metal where bands like Kreator, Destruction, Rigor Mortis and Slayer exist. Even more interesting is that by going progressive, they’ve approximated a sound halfway between older Sadus and newer Coroner.

The majority of the riffs on this CD are straight out of the speed metal canon, but on its rougher, more experimental edge, like those on Coroner’s “Grin,” and although they later merge with arpeggiated clean playing or lengthy keyboard interludes of a beauty not seen since Dimmu Borgir decided to rip off all that video game music for “Stormblast,” the songs follow a speed metal pattern like early Sadus: riff/chorus with divergences, but ultimately, returning to a fist-pumping foot-stomping chorus rhythm to complement the rhythms of drums and guitar.

The first track seems to me a fusion of the first and third Meshuggah albums, and that influences stretches throughout this album which made me at first want to avoid it, but the underlying music is of quality and fits in among other prog speed/death bands like Coroner, Sadus, Creepmime, later Voivod, etc. Vocals unfortunately show influence from nu-core (or more likely, Meshuggah), or all that metalcore-derived stuff (punk with speed metal pretensions and influences from metal, rock and jazz) that demands a ranting vocal rhythm that recurses every four syllables, causing out-of-the-closet assholes like me to wish we could make the vocal track Go Away for the remaining duration of a song.

These aesthetic concerns aside however, the music is quite good. What it isn’t is simplified enough in core, or theatrical enough, to stand out as well as the songs of, say, Atheist, so it’s less memorable. That isn’t to say less bad or less complex; in fact, it has more detail tied toward its core themes, but the core theme isn’t refracted throughout the details.

On the whole, this is a good album from an undernoticed band that has a better overall sense of metal going for it than its obvious competitive influences — Cynic, Meshuggah, Opeth, and Atheist are all influences here — with more of a sense of musicality than the newer “technical” bands that specialize in blockhead riffs at mind-bending speeds. It makes good rainy day listening, when the listener is already in a quiet state of mind and simply receptive, will find all the good this has to offer behind its somewhat cryptic aesthetic.

http://www.youtube.com/watch?v=_HiBQ9Ny770

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War Master – Chapel of Apocalypse (demo 2009)

by on October 12, 2009

War Master – Demo 2009 “Chapel of the Apocalypse”

For any career metalhead, it’s impossible to hear the name War Master without thinking of the classic Bolt Thrower album of the same name. Like that album, this demo is primitive and powerful grinding material; unlike the Bolt Thrower album, this material is less grindcore than old school death metal that grinds, and if you listen long enough, you can hear other classic death metal influences creeping in.

War Master takes the patterns of later Bolt Thrower, like For Victory… and IVth Crusade, and renders them in the simpler, messier and more rhythmic style of the first two Bolt Thrower releases. With three riffs per song on average, this music moves like a fighter and the riffs complement each other to make sense as a whole, which is the science of death metal. It borrows the best grind from Bolt Thrower and re-shapes it into metal songs like early Deicide or Morgoth.

Vocals are also more distinctively from a newer genre, influenced clearly by classic death metal as well as the newer *core styles, but they imitate the rhythms of old school Bolt Thrower. It’s gratifying and powerful, but these three songs give us only a glimpse. If War Master further develop their own style in which Bolt Thrower is an influence, and not the largest chunk of their template, their talent for creating rhythmically compelling music will take them far.

You can get this album from Torture Garden Picture Company distro for $4.

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Blessed are the Tales of the Sick

by Joe on October 2, 2009

Many reissues of underground Metal CDs, especially onto the digipack format of packaging, have removed much of the experience of being immersed in the total artistic presentation that was part and parcel of the infernal sounds it contained on the disc. This is seemingly symptomatic of casual, background, mp3 listening, which feigns a disregard of anything external to the music itself, while at the same time a reduction of whatever’s being heard, to exactly that: ornament. There’s something to be said about the honest ritualism of setting time and space aside in this multi-tasking age of lifestreams and other such convergences of different faced distractions, in order to access deeper and darker worlds. Interesting cover art and a booklet complete with lyrics and liner notes all aid to this end.  Peaceville records reissued a large selection of their early 90′s back catalogue several years ago, with some classic albums missing lyrics or important liner notes. Roadrunner records’ budget ‘Two from the Vault’ series were even less impressive, with their dual-offering reducing the content that once accompanied each album to something of infomercial ‘Best of Country Music’ standards. Peaceville, to their credit, did include some interesting bonus material on their digipacked CDs of the first four Darkthrone albums. This was a series of interviews conducted by the Black Metallers themselves, reflecting on the circumstances surrounding each album.

The reissue we’re concerned with has captured the best of both worlds, heeding the traditional benefit of drawing a listener into the experience of the album with detailed and faithfully imported contents, as well as providing bonus material in the form of a full-length documentary about the Death Metal classic that is Morbid Angel’s ‘Blessed are the Sick’. This commemoration of the great work features a fold-out design that replaces the pages of a booklet with new and old artwork appearing more vibrantly than it would on glossy paper. Delville’s depiction especially, of Satan ensnaring fallen humanity, has not looked more powerful on any previous pressing. Demanding almost childlike interactivity, the digipack is an enjoyable format to get lost in Vincent’s amoral and blasphemous sermons more so than in-sleeve booklets. Full liner notes are included, and like those of the previous album, they intimately reveal more about the intentions and the attitude of these artists, even dedicating the entire work to Wolfgang Amadeus Mozart.

One unavoidable sacrifice to the presentation is the lack of art or logo on the CD itself, because it’s not technically a CD, but a dual-layered CD/DVD. This brings us to ‘Tales of the Sick’, an hour-length documentary about the making of the album, the subsequent touring of the new tracks and its lasting legacy. Conversations with Morbid Angel are limited to insights from David Vincent, whose articulation isn’t quite enough to compensate for the lack of ‘Blessed are the Sick’s lead song-writer and sonic shaman, Trey Azagthoth. And although he doesn’t quite resemble the same blonde-haired Hessian that upheld the Nietzschean spirit of Death Metal since it’s golden age, Vincent provides an interesting commentary on why the album sounds like it does and the obstacles the band faced to achieve this sound. Further to Azagthoth’s tribute in the liner notes, Vincent goes on to describe ‘Blessed are the Sick’ as an attempt to approach Mozart’s compositional style through the lens of Death Metal. Tom Morris of the reknowned Morrissound studios reveals the more technical challenges in engineering one of the most astoundingly crisp and clear sounding Death Metal albums, despite its speed and complexity. Other interviews feature the following generation of Death Metal musicians such as Nile’s Karl Sanders, and a lot of memories from the tours are shared by former managers and sound technicians. As an additional bonus, Earache have included the official music video for ‘Blessed are the Sick/Leading the Rats’, though in it’s original 4:3 aspect ratio. This is a great supplement to an highly influential album, and any real fan of Morbid Angel would do well to add this reissue to their collection.

http://www.youtube.com/watch?v=l0eZ6vPKXG8&feature=player_embedded

Written by ObscuraHessian

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Hellfires of the lands down under

by Joe on October 2, 2009

Does it seem to you that the days are shorter
And does it seem to you that the nights seem so much longer
Well it does to me, and in time you will see
That the fate of the world is burning in fire

– Deströyer 666, Genesis to Genocide

In my visions of another age, Australia is a domain of rogues and devils, swept by sands and heat, a colony of fear. Aboriginals fight, mutated animals leap and grappling hooks are thrown from jeeps that speed with metallic roar across the wasteland. Humanity decays, but Australia preserves the instinct for survival, man against desert, taking pleasure in the primitive actions of hunting, fighting, lovemaking and getting drunk on bourbon. Nocturnal winds howl through the chasms, kangaroos leap over graves and tribal chants are raised amidst campfires as skull goblets are raised.

While I have never been to the country, the impressions of Australian black and death metal do nothing but strengthen the images of brutal frontier life. The sense of the wild is different, more internalized, almost Jack London -like, compared to the European romanticized walks in civilized Teutorburger woods or pure, silent Scandinavian nature. Australians are rebels who have tasted the whip of slavery and still remember it – with hate in their blood.

Every rock fan knows AC/DC and Nick Cave, the astonishing twin pillars that represent total opposites of image and style roleplay in hard rock. Both of them influenced heavy metal around the world, but a mainstream fan would be hard pressed to name any other Australian bands of note. I’m not going to dwell on the early 80s, but mention some events that were triggered by the resurgent death and black metal ideas of Europe and the USA.

Australia is characterized by geographical distance from the Western pop culture trends and so, death metal didn’t happen early but it was marked by a serious intensity from the beginning. As a perfect example, we can take Armoured Angel, who with their late 80s series of demos gradually developed from a heavy and grinding version of speed metal into a technical artillery of militantly precise death metal akin to Polish innovators Vader. Hobbs’ Angel of Death, due both to their cult reputation and connections to later more visceral bands, proved definitive with their self titled album in establishing the early death metal attitude and sound of bands like Destruction and Slayer in Down Under. Hobbs’ raw, molten hot solo bends and breaks were like burning gasoline leaking from a bullet torn hole in a fighter plane. Meanwhile, Sadistik Exekution initiated their campaign of abuse against every known musical principle, which continues up to this day.

Influenced by hardcore and speed metal, these madmen from Sydney proceeded to destroy the reputability of Australian metal with their on-stage and off-stage antics, almost becoming performance art with their macabre, sarcastic terror campaign of pure noise. Already “The Magus”, recorded in 1986, suggested that this band would dare to go where others would not, the subconscious realm of damnations and mutations, yet containing the elements within an underground death metal rhythm and riff based format. Their second and best album, “We Are Death… Fukk You!” was already something else – a noisy freakshow of an album, with the catatonic, desperate screams of Rok and nearly fusion jazz-y random blasts of violence from the strings of Rev Kriss Hades and Dave Slave. Sadly, their later albums mostly devolved into using the madness as a gimmick instead of a mode to express actual items of perception.

The next generation produced more self-contained music but it also showed the blooming of the world wide death metal presence, as we are talking about the days when death metal was at its commercial heights, ’91-’93. Many bands wanted to be like their big brethren in Florida, as a shameful but popular example let’s mention Mortification, who aped the thrashy sound of early Death with some of the complex rhythms of Obituary or Suffocation, yet infiltrating the standard gore text with reborn Christian propaganda, which had a widespread presence in Australian metal at large. Meanwhile, a band like Anatomy, whose elegant use of melody as texture, akin to Swedish bands like Grave or maybe even At the Gates, remained unknown to most death metal fans. Anatomy’s constructions weren’t altogether as brilliant, but as with many Norwegian early death metal bands, it was a breeding ground for musicians and ideas that would fully develop into a wave of satanic, intense war metal. And if you read the diSEMBOWELMENT review we published some time ago, you already know that they were able to built a transcendentally blissful temple of Zen-like tranced out death metal from the simple basis of combining British style grindcore with British style doom.

The acid, sex and Satan obsessed wave of barbaric war metal, ca. 1994, was again closer to the sardonic “fighting man’s black metal” attitude of Beherit, Blasphemy and Impaled Nazarene, than Norwegian “top hat black metal”. This means that Bestial Warlust (“Vengeance War ’til Death”), Deströyer 666 (“Violence is the Prince of This World” and “Unchain the Wolves”) and Gospel of the Horns (“The Satanist’s Dream”) used Sarcófago and Destruction as templates to unleash a torrent of riffs which could have been untuned Motörhead on 45 rpm, emphasized by an artillery of ambient drumming to evoke images of blooddrenched hordes and endless streams of bombers. I remember how back in the day these bands were even widely detested in zines documenting the black metal phenomenon, but they proved crucial to bands which around the turn of the millennium clad in bullet belts and started wearing gas masks in “war metal” revival’s endless stream of clones.

All this might have you thinking that the Nordic and Romantic styles of black metal were obsolete in Australia, but this was not to be the case. Abyssic Hate (whose “Cleansing with an Ancient Race” was a perfect match for the Immortal related Det Hedenske Folk on their split album) intended to capture the harsh poetry of Burzum and Ildjarn. Later material was somewhat unsuccessful because of humanocentric (“suicidal”) terminology, despite ambient leanings in songwriting. Nazxul was the Australian counterpart to mysticist bands like Nåstrond or Osculum Infame, whose cloaked, symbolic stage presence was a source of controversy. Theatrical, esoteric and arrogant, Nazxul did not fail to clothe oblique satanism in suggestive and venomous fury, at times surprisingly cerebral – especially on the mini-album “Black Seed”. Samain’s “Indomitus” recalled some of Enslaved’s and Graveland’s explorations in long songs influenced by folk and classical music, wandering through interludes and heavy, thunderous, emotional modes as if paralleling the documented trials of the ancient Indo-European tribes, whose mythological symbolism filled the lyrics.

Gradually, we can note the presence of all the international metal trends and hypes increasing in Australia, filling the continent with meaningless bands. It would be a lie to say that the random band you hear from Australia is up to anything good. But there’s some you might like to hear. Asphyxia is a young technical death metal band, influenced by Nile, Kataklysm and the rest of the champions of convoluted hyperspeed – they are bit in love with the Necrophagist digital treachery fashion but they have room to develop and the players definitely deserve applause for their instrumental excursion. Midnight Odyssey uses oceanic layers of slow melody to transform black metal to a landscape of dark clouds, using keyboards in the evocative manner familiar from Schulze and Summoning. The best of the epics on “Firmament” rediscover a youthful, hopeful beauty that hasn’t been too fashionable in the image and commodity oriented latter days of black and death metal. Nazxul, who sadly lost a vital member to a motorcycle accident, released in 2009 their possible magnum opus, the immense “Iconoclast” which has established itself as one of my top black metal choices of the year despite initial skepticism towards the more standard imagery and vocabulary employed on the surface. Suggestively classical and elegant, as Emperor and Avzhia did it, Nazxul praise the unliving and the unknown with a Bach-ian playful sonority, adding themes, keyboards and guitar leads to basically simple songs the same way an alchemist adds prime materials to his boiling tincture of salvation. It is all, and much more, than most of Funeral Mist (and their ilk) tried to achieve with their experimental norsecore.

The old horde is still going strong, of course, as I got the initial inspiration for this writeup when interviewing Deströyer 666 (now based in Netherlands and the UK) elsewhere. With their latest album “Defiance”, they continue to quote the metal history all the way back to Judas Priest and the NWOBHM and this was of course much enjoyed by this writer even though it would be false to say that they would have reinvented, or even surpassed, their old selves in any manner. The scene is still brimming with offshoots of Anatomy and Bestial Warlust, such as Ignivomous, who on “Death Transmutation” have definitely listened their Incantation and Immolation, not without streamlining them to a more generic barbaric noise approach though, and Razor of Occam, whose “Homage to Martyrs” updates the violence of Sodom and Kreator to a new generation yet again, as wolves surrounding the throne room of Absu who stumbled and diluted their ancient black thrash in favor of “progressive” stylings that mostly only pleases reviewers in Terrorizer.

I know that mortals’ ears are already bleeding, but it’s impossible to escape this topic without mentioning a few curiosities from Adelaide group of total nutcases, starting the cult old school death metal band Martire back in the early 90s. The early demos and EP’s have been re-released multiple times. Since that, members who call themselves “The Great Righteous Destroyer” and “The Serpent Inquisitor” have continued to baffle the hapless headbangers with one after the other more indescribable and twisted songs. Stargazer’s Lovecraftian, off-center and racing death metal is what I personally consider the flagship band, whereas Cauldron Black Ram grooves like a joint venture of Celtic Frost and Running Wild members (in concept also). Misery’s Omen paints a hyper-dramatic curtain of dreamy black metal resembling Samael and a krautrock band on an endless bad acid trip, describing “Desolate Winds of Mars”, “Antarctic Ice Chasms” and other spectacles of consciousness awaking to the immense possibilities offered by nature itself, impersonal, cold but beautiful.

Gather ’round all you fire-starters
Whirlwind reapers and comet riders
Come to our mountain hall
Come and heed the call

– Deströyer 666, The Calling

Written by Devamitra

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Interview: Mike Albert (Mike Albert Project)

by Joe on October 1, 2009

When it came down the pipe that Mike Albert, former live guitarist with Megadeth and musician experienced throughout many layers of the hard rock and heavy metal worlds, was starting his own band for the sake of playing AC/DC-cum-Metallica style universal L.A. strip style heavy metal, we got in line early to ask him a few questions. We wanted to hear from an experienced hand who isn’t bitter about the nature of the music business, the state of heavy metal, and where he’s going to take his The Mike Albert Project as a musical experience.

How did you get involved in playing music?

My aunt had a beat up acoustic guitar that I picked up at 9 years old and never put down.

What got you into metal?

I’ve always liked the aggresiveness and attitude of Metal, “the end of the world” vibe. There is nothing like it. I’m very aggresive and it fits.

If you could identify your primary influences, what would those be?

Black Sabbath was a primary influence and a lot of early European Metal; UFO, etc… Hendrix was a big influence, and for Blues, Albert King!

Can you give us a run-down of your history playing heavy metal?

I was more of a hard rock fusion guitarist prior to Megadeth, and after working with Dave Mustaine I then stuck to that genre.

You were a guitarist for Megadeth on the Killing is My Business… And Business is Good tour. How did you get picked for that spot? What was that like?

Chris Poland had just left, and I was friends with him and Gar Samuelson. We had known each other through playing for years. I was the most logical choice. Speed Metal was exploding on the scene and Megadeth was at the forefront of it. It was great to be a part of it.

Would you do it again?

Financially it would be great, but once was enough, thank you!

Megadeth was rumored, at the time, to be an insane drug band that many musicians found difficult to survive. Were you able to ride the wave?

It was no rumor. It was a big part of the scene back then and I’m lucky to have lived through it! R.I.P. Gar Samuelson, my friend.

What other speed metal bands have you played with?

After playing with Megadeth I was offered a lot of gigs with other popular speed metal bands, but I refused. I needed my own band and didn’t want to be a sideman anymore!

You’ve now got your own album, Afterlife, coming out. How do you describe this style, and what do you hope the album will express?

Afterlife is out and getting quite a bit of airplay. I’m thankful for that. It’s a cross section of many genres of Metal; Old School and New, and Hard Rock influences.

Have the values and sound of metal music changed from the 1980s? How and why?

Metal got lost when Grunge exploded, but in the last few years especially, has fought its way back. The quality of musicians is definitely back!

What distinguishes great music from bad? Can it be distilled into technique, or is it something less easily defined?

Music is expression. To have technique is invaluable for the sake of good music. To use it in excess is always a problem, it creates self indulgence. To name a few examples of natural expression without over using technique would be; Bob Dylan, the Beatles, and the Stones.

They could not return to space. Their scant remaining store of roots represented an inflexible number of protector work-hours. They might refuel their cesium tanks, they might even build a plutonium-producing technology in the time they had left, but to find and reach another Pak-like world — no. And if they reached it, what gurantee had they that it would grow tree-of-life?

They had spent their last years building a laser beam powerful enough to pierce the dust clouds that hid them from the galatic core. They did not know that they had succeeded. They did not know what was wrong with the cop; they suspected the sparsity of a particular wave-length of starlight, or of starlight in general, though their experiments along those lines had produced nothing. They gave detailed information on the blood lines of their breeder passengers, in the hope that some of the lines might survive. And they asked for help.

Two and a half million years ago.

– Larry Niven, Protector (1973)

Did learning music theory help you or slow you down in achieving your musical goals?

Music theory is a necessity for every musician. Every band I’ve been in, and every session I’ve done, would have been a disaster without the knowledge of music theory. I’m still studying!

Some have said that rock music is about individualism, or escaping the rules of society and nature to do whatever the individual wants to do. However, some have also said that heavy metal breaks with that tradition with its “epic” and impersonal view of life. Where do you fit on the scale?

My album Afterlife, philosophically, is what it is. It’s not going to turn the music world upside down, it’s just a good Metal CD….that I’m proud of!

Is there a relationship between how an artist sees the world, and the type of music he or she will then make? Do people who see the world in similar ways make similar music?

You are a product of your environment. I think your question is quite viable.

Like in the late 1970s, metal feels to many people like it has lost direction and become hollow. Is a change in direction needed, and if so, will that come from within metal?

Just like in the late 70s, it’s getting formulated. If you don’t sound like other bands on the charts you won’t sell, bottom line! It’s a vicious cycle. It’s all about the money. Change is needed! Good luck!

What are your goals with Afterlife, and what’s in the near future for you? Tours, media blitz, some fun?

The goals with Afterlife are to tour and promote this album world wide in every way possible. It’s doing very well so far. It is available on CD Baby and all the usual internet sites. I invite you to check out: MySpace/MikeAlbertProject.

The properties of the rational soul: it is conscious of itself, it moulds itself, makes of itself whatever it will, the fruit of which it bears it gathers itself (whereas others gather the fruits of the field and what in animals corresponds to fruit), it achieves its proper end, wherever the clsoe of life comes upon it; if any interruption occur, its whole action is not rendered incomplete as is the case in the dance or a play and similar arts, but in every scene of life and wherever it may be overtaken, it makes what it proposed to itself complete and entire, so that it can say: ‘I have what is my own.’

Moreover, it goes over the whole Universe and the surrounding void and surveys its shape, reaches out into the boundless extent of time, embraces and ponders the periodic rebirth of the Whole and understands that those who come after us will behold nothing new nor did those who came before us behold anything greater, but in a way the way of forty years, if he have any understanding at all, has seen allt hat has been and that will be by reason of its uniformity. A property, too, of the rational soul is love of one’s neighbor, truth, self-reverence and to honour nothing more than itself; and this last is a property of law also, accordingly right principle and the principle of justice differ not at all.

– Marcus Aurelius, Meditations (170)

Thank you for your thought provoking questions, more insightful than many other interviews I’ve done. Kudos!

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Interview: Lord Imperial (Krieg)

by Joe on September 30, 2009

Krieg emerged at a time when few New World black metal bands had made a name for themselves, and none had come up with an iconic style to match the distinctively “Scandinavian” attributes of the founders. Raw and reckless, chaotic and vitriolic, early Krieg was like a fusion between primitive black metal and noise, but over time the band has matured and gotten closer to its shoegaze and drone-rock roots. Frontman Imperial gave us the skinny on life, the evolution of Krieg, and metal as an art form in this exclusive interview from his Western New Jersey headquarters, a former Nike missile site that’s now a converted studio and hydroponics lab.

How did you get involved in playing music?

When I was much younger I decided I didn’t really have the usual interests of cars, sports and television that the majority of American kids had so I started getting deeper and deeper into music. Both of my parents were very deeply into music and literature though neither of them played any sort of instrument that I know (they’re both dead so I can’t call and ask). I picked up the guitar around age 14, the same time death and black metal swiftly entered and controlled my life. I guess in the sense that the ’77 British movement said “if you think you can do better, start your own band” I had a similar mindset and started an early primitive project called Impaled which recorded a demo that would make Anal Cunt seem musical. After this I helped form Abominus which was a death metal band that with enough rehearsing could’ve sounded like Belial’s Never Again and Krieg’s first draft Imperial.

What got you into metal?

I always liked guitar oriented music and being a child in the 1980s it was either that or the tail end of the New Romantic movement which I didn’t like or understand. Deeper appreciation grew once I hit high school and discovered a college station that had a lot of harsher metal which opened a lot of doors for me mentally. I still vividly remember hearing Darkthrone and Samael for the first time through this show as a sophomore.

If you could identify your primary influences, what would those be?

It changes a lot. I soak up a lot of influence from the music I constantly listen to but I guess I’d say in the beginning it was mostly Beherit, Profanatica, Darkthrone, Forgotten Woods and the first few Demoncy records. These recordings still get a lot of play around my house. Judas Iscariot obviously became a strong reference point for me in the late 90s and since then I’ve added a lot of stuff like Black Flag, Public Image Ltd and The Velvet Underground into the writing.

Have the values and sound of metal music changed from the 1980s? How and why?

There seems to be more of an intellectual awakening amongst a majority of bands. The 1980s created the foundation and I guess stuff like Municipal Waste never really grew out of that. I want to say that something like the late 80s/early 90s indie and Sub Pop scene helped change a bit of that but a majority of metalheads abhor that stuff but you can clearly hear it in some of the newer bands that utilize more rock and roll or shoegaze soundscapes. Values have changed in that I feel a lot of the vapid ideas of the 1980s are disintegrating, people want more meaning out of their art and entertainment (though this is just a small grouping, this theory is obviously proved wrong via Hollywood, MTV and pop music which views art as commodity-an extension of the 1980s “Me Generation” that’s fucked things up for the rest of us). I personally think a lot of the US metal bands are starting to show this sort of introspection or are at least reaching for new heights with it.

Can you give us a run-down of your history as a musician?

I guess I’ll try to do it chronologically as best as I can: The early 1990s I spent failing at learning guitar and bass, which is obvious in my early records. I was a member of Abominus (94-97) Imperial/Krieg (95-current) Devotee (98-00) AngelKunt(00-02) Twilight (04-current) March Into the Sea (06-08) and N.i.l (06-current). These are all the projects I had something to do with the musical writing side of things. I’ve done lyrics and session work for several other bands as well.

Was early Krieg material actually improvised in the studio?

About 75% of it. The Imperial demo stuff was written beforehand but Rise of the Imperial Hordes we recorded without a drummer or a label. These were added later. Destruction Ritual, except for the older songs on the record, was all improvised in studio. Originally we did it because we didn’t know what to really do in a studio environment that wasn’t a 4 or 8 track. Destruction Ritual was just meant to be unlistenable and punishing.

Do you believe black metal is still a viable form of music?

Difficult question. With the advent of Myspace and computer recording you have a deluge of bullshit meaningless noise, moreso than the days of mp3.com and the initial CD-R craze. But there are still plenty of artists out there whom write and record with thoughtful intentions and sincerity, even if I don’t personally find their music interesting I still respect anyone dedicated truly to their art. You’ll always have throwaway bands who form clubs with other throwaway people and that exists in any genre of music. One man’s unlistenable derivative garbage is another’s kult ebay record. I don’t think black metal will ever be a shocking or culturally substantial form of expression to the multitudes since we have such a desensitized and moral society. Plus it’s still a fad to some kids who’ll move on to EBM or the Dave Mathews Band a few months later.

What, if some day or night a demon were to steal after you in your loneliest loneliness and say to you: “This life as you now live it and have lived it, you will have to live once more and innumerable times more; and there will be nothing new in it, but every pain and every joy and every thought and sigh and everything unutterably small or great in your life will have to return to you, all in the same succession and sequence– even this spider and this moonlight between the trees, and even this moment and I myself. The eternal hourglass of existence is turned upside down again and again, and you with it, speck of dust!”

Would you not throw yourself down and gnash your teeth and curse the demon who spoke thus? Or have you once experienced a tremendous moment when you would have answered him: “You are a god and never have I heard anything more divine.” If this thought gained possession of you, it would change you as you are or perhaps crush you. The question in each and every thing, “Do you desire this once more, and innumerable times more?” would lie upon your actions as the greatest weight. Or how well disposed would you have to become to yourself and to life to crave nothing more fervently than this ultimate eternal confirmation and seal?

– F.W. Nietzsche, The Gay Science (1882)

What distinguishes great music from bad? Can it be distilled into technique, or is it something less easily defined?

Technique is for school and Dream Theater. Some people find that sort of “note note note note solo note etc” music to be the greatest thing since the Fleshlight but I define great music as something that emotionally moves me, captivates me and forces repeated attention. Anyone can learn to play well, not everyone can write something worth hearing. We all learn to read and write but not everyone is Charles Bukowski or Knut Hamsun. Same goes for all art form.

Can a heavy metal culture augment or express aspects of a parent culture (like say, “American culture”), and have you seen examples of this?

I don’t know. Metal is an outsider thing for the most part, only recently has black metal spread outside its confines and a lot of that has to do with ironic hipsters and curiosity seekers. It seems metal goes two ways: one is that it expresses the “American dream” if you will, of loud music, lots of girls, alcoholism and patriotism which is normal American behavior (loud music turns to loud Bruce Springsteen, girls to either being a dead beat dad or responsible parent, alcoholism to your uncle who gets smashed at Thanksgiving and hits on the 15 year olds, patriotism to a belief that goverment is always correct = American as fucking McDonalds) or the other way which is an absolute rejection of societal norms, creativity not taught or nurtured at (public) schools and, if stuck with, a lot of interesting ideas and art which could one day channel into a real movement for change.

Did you ever study music theory or take lessons? Did this help you or slow you down in achieving your musical goals?

I’m horrible with math so theory always confused me. I did try lessons when I was younger and long time listeners see how that went. I’m more of the idea that self teaching and free form idealizing without the aid of constriction breeds the most challenging and interesting art and could lead to innovation. It also leads to horrible Myspace bands so this is more of a personal experience for me.

Some have said that rock music is about individualism, or escaping the rules of society and nature to do whatever the individual wants to do. However, some have also said that heavy metal breaks with that tradition with its “epic” and impersonal view of life. Where do you fit on the scale?

No one is still swinging hammers at invaders inside their castle walls. I’m more of the philosophy implied by the 1970s rock critics like Griel Marcus or Lester Bangs that rock (which all metal is derived from) should be more of a personal introspective experience. This is why a band like Amebix will always greatly fascinate me more than say Crass (which is a weak example but the first to come to mind) in that it’s more personal than collective. I have enough mental problems that don’t see to be going away anytime soon regardless of what new medicine my doctor switches me to every few months to keep my writing process outside of the open sphere of religious icons and impending doom for a long time. This wasn’t always the case since Rise of the Imperial Hordes and my demos were more based on traditional war topics, but I was only fucking 17 at the time.

When Hellhammer said, “Only Death is Real,” it launched legions of death metal and grindcore bands who showed us through sickness, misery and sudden doom (in their lyrics) that life is short, manipulations are false, and we need to get back to reality. Where should the genre go from there?

I don’t think that’s a bad thing to be fixated on. Looking at the majority of philosophy books in any chain store and you’ll see this topic isn’t restricted to metal alone and is something that will never be answered. I’d like to see the genre go into more of a intelligent approach but certain subgenres don’t allow that. Plus a lot of people would be at a loss if they couldn’t sing about goats.

Is there a relationship between how an artist sees the world, and the type of music he or she will then make? Do people who see the world in similar ways make similar music?

I think some of it has to do with age. When you’re young you are more rebellious and questioning and angry. Whether this subsides once life lines up for you with a mate, employment and house can say a lot about if an artist will even continue to create. Now once you’ve got that out of the way (or if it never lined up for you in the first place) and you still have those emotions and see the world the same (or if your worldview has grown with you and disgusts you ever more once you know more about it) then it definitely affects the way you make music. Personally in my close circle of friends who see the world in a similar grey light, we all tend to gravitate towards the same kind of ideas and music hence Twilight’s reformation or my strong involvement with certain people. Is this universal? I’m not sure, isn’t it how scenes are created?

Your music seems to attempt to be ritual music, where a play or ceremony shapes the transitions in each song. Did you have a ceremony in mind?

Emotional disrupting. Even more so now that I’m working with different time changes and unexpected stop/starts. The ritual of discomfort.

Within the tiny space occupied by a note or a colour in the sound- or colour-continuum, which corresponds to the identity-card for the note or the colour, timbre or nuance introduce a sort of infinity, the indeterminacy of the harmonics within the frame determined by this identity. Nunance or timbre are the distress and despair of the exact division and thus the clear composition of sounds and colours according to graded scales and harmonic temperaments…The matter I’m talking about is ‘immaterial,’ anobjectable, because it can only ‘take place’ or find its occasion at the price of suspending these active powres of mind. I’d say that it suspends them for at least ‘an instant.’ However, this instant in turn cannot be counted, since in order to count this time, even the time of an instant, the mind must be active.

So we must suggest that there is a state of mind which is a prey to a ‘presence’ (a presence which is in no way present in the sense of here-and-now, i.e. like that which is designated by the deictics of presentation), a mindless state of mind, which is required of mind not for matter to be perceived or conceived, given or grasped, but so that there be some something. And I use ‘matter’ to designate this ‘that there is’, this quod, because this presence in the absence of the active mind is and is never other than timbre, tone, nuance in one or other of the dispositions of sensibility, in one or other of the sensoria, in one or other of the passibilities through which mind is accessible to the material event, can be ‘touched’ by it: a singular, incomparable quality – unforgettable and immediately forgotten – of the grain of a skin or a piece of wood, the fragrance of an aroma, the savour of a secretion or a piece of flesh, as well as a timbre or a nuance. All these terms are interchangeable. They designate the event of a passion, a passibility for whih the mind will not have been prepared, which will hvae unsettled it, and of which it conserves only the feeling – anguish and jubilation – of an obscure debt.

– Jean-François Lyotard, The Inhuman (1991)

When you write your music, how do you avoid repeating the past 15 years of black metal?

I just don’t pay attention to it. I experiment with riffs and keep what I feel represents me as a whole. If someone feels it’s derivative or cliché it’s not my problem and they can go listen to something else. I havent bought any new black metal in close to a year outside of the new Urfaust and Vohlahn.

When you write songs, do you start with a visual concept, or a riff, or something else?

Overall I start with a visual idea of how I want to feel through what I’m writing. Mostly colours which explains the last two album names. Sometimes I’ll have a phrase in mind and I try to put the emotion behind the phrase to use through the guitar and if that doesn’t work I’ve regressed to using my power electronics setup to try to create a background that I can build a suitable song structure through. If that doesn’t work I get up, smoke a cigarette and find some coffee, sit down and start over again. There have been times when I’ve dreamt of ideas and had to rush out of bed at 4 am down to my rehearsal area and put it to work. Lyrics are done in a similar fashion though I generally these days write pages and pages of lyrics then using the cut up method piece them together into some sort of abstraction that may not make sense to others but perfectly suits what I’m thinking.

How has Krieg changed over the years? You as an artist have changed as well — can you give us a rundown on your newer projects, and what you’re attempting to do with each?

There has been three phases of Krieg: 1995-2002 which was more of a primitive beginning forged into a noise ending ala Whitehouse if they were a black metal band. Patrick Bateman was the end of this phase in which I felt I could do no better with creating harsh sounds. 2002-05 which might have been the busiest time for me was when I figured I could write emotive pieces but my guitar skills were lacking so I employed friends to help bring these visions to light.

Riffwise not a lot changed between Destruction Ritual and Black House, it’s just that with a full band and decent recording the music became its own new form. My interests in other music like the 1970s NYC art scene came pouring in and I stopped limiting myself to traditional black metal topics and focused on what was important to me. By 2005 I was an emotional wreck, ruined my label and reputation and went out in a drink fueled bang at Under the Black Sun. 07-now is phase three which is a melding of ugliness and beauty so far. I’ve only recorded two songs, the track for the split with Caina and a cover of the 1980s noise/punk band Flipper. We plan to record in 2010 depending on when the label is ready to announce shit and get the ball rolling.

Other projects: The only active ones are N.i.l which just finished recording a 3-song MCD which we’re shopping to labels once it’s mixed. Our first record came out on Battle Kommand in 2007 and I think a lot of people missed the point that we were actively emulating Strid and My Bloody Valentine. Most people thought it was just too simple or monotonous but that was the intention: it was more of a trance record than something to play at parties. We did get to play live with Profanatica last year but sound problems fucked up a bit of the show. Ledney and Gelso dug it though and that was important.

I’ve also just finished vocals and a majority of the lyrics for the new Twilight record which is worlds beyond our first effort. This time it was done in a real studio and the writing was mostly Blake Judd, Wrest and myself musically and lyrically. Vocally I’ll be a pretentious asshole and say it’s the best I’ve ever done.

I’m also doing vocals for John Gelso’s project Royal Arche Blaspheme which I’ve done three songs for so far. I think I’m still involved with The Red Cathedral which is myself and Andrew from Caina plus some others but it’s sporadic at best. Should be interesting when it’s completed.

I’m also working on Apothecary.Sound.Lodge which is power electronics and black metal but it’s taking forever and due to finances being what they are probably will take even longer.

What are the goals of your art? Is there a goal to art itself?

To keep me from killing myself. Artists may say their goal is to improve humanity’s thoughts and ideas but the cynic in me thinks it’s because they want something of theirs to remain when they’re dead. True immortality.

Jim Morrison (The Doors) sang and wrote repeatedly of a “frontier,” or a chaotic no man’s land where danger was everywhere, but it was also possible to get away from rules and fears. How does this apply to music like death metal, which seems to accept death and disease as a normal part of life?

I don’t think a lot of people who sing about this subject really desire it to be a normal part of life because they wouldn’t know how to deal with it. Everyone desires security to some extent (though I can’t speak for everyone) and to have that taken away, I don’t know how they would handle it. Jim Morrison on the other hand obviously lived this and died for it, proving that there are people living this idea. Utopia is just a manmade idea to try to comfort you when you’re going to sleep. Only desperate people really live to experience this idea.

Like in the late 1970s, metal feels to many people like it has lost direction and become hollow. Is a change in direction needed, and if so, will that come from within metal?

The late 70s also brought the creation of punk, post punk and some interesting literature and art. But this is different now with things like MTV reality TV and other forms of cheap entertainment to keep people from growing and realizing what a fucked up world they live in. The recession might spur some change in ideas but I’m afraid that in Western culture we might be too deeply embedded in instant gratification and plastic living to really benefit from such a shift in life’s paradigm. I think much of the world thought with last year’s presidential election we’d have some kind of light shed on us telling us where to go but this shit takes time.

I read an interesting essay a few weeks back about how people who are unemployed or poverty stricken (just above lower middle class, this obviously won’t account for homeless people or those on social support) should take this time to do what they truly love in life, start painting or writing like they always dreamt. It’s a beautiful sentiment but we as a culture are so dependent on building our DVD collection and buying a fucking hi def TV that we’re more concerned with that outlook.

I’ve strayed a bit from topic; will metal help change this? It gives people an outlet to express their rage at things they cannot control at a constructive level rather than turning to the bottle or needle. It can also help them look at things from a different perspective. Christ that’s a lot of positivity from me.

It seems obvious to me, when all factors are added up, that our society is in decline. However, this opinion is not widely shared. Why do you think this is?

To keep the suicide rate down so the IRS can collect more money.

William Blake says, in perhaps his most memorable line, “The cut worm forgives the plow.” What does this mean to you?

Sounds like turning the other cheek to me. In 9 out of 10 cases this is a worthless idea. There’s some specific people who rightfully deserve to knock my teeth out and there’s a few who deserve it from me. Forgiveness is a mostly outdated idea unless in minor cases, like someone accidentally broke something minor of yours or got drunk and said something they regret. I see no virtue in forgiving someone who robbed you, fucked your wife or killed your animals.

How has Krieg changed over the years? Is interest still high, and in what era of your material? What’s next for you and Krieg?

It’s evolved like I have. My writing style is still very similar and my aesthetic visually hasn’t changed. Interest I suppose is still strong though I haven’t paid much attention. We’ve done about 8 shows since reforming and some have been amazingly excellent events like our shows in Brooklyn and Rhode Island this past winter, others have been poorly put together messes like the fest we did over the summer. It seems people either love Black House/Blue Miasma or hate that and only want to hear Destruction Ritual. After close to 15 years you can’t really please everyone and it’s not my intent to do so. I’ve always done Krieg because it’s something I’m driven to do and I don’t see that drive going away soon.

Besides the aforementioned split 7 inch with Caina we’ve recorded songs for splits with Gravecode Nebula, an excellent doom band, and Shining. There have been two unofficial LP releases of Black House and Blue Miasma but the official Blue Miasma with bonus tracks, original artwork and linear notes will come from Hammer of Hate (FI) and we’re signed for our next record The Isolationist though the official announcement hasn’t been released yet. We have some shows coming up in the US and maybe in 2010 we’ll go back to Europe. Since these splits will be the last split releases we’re able to do, I’ll probably concentrate on other projects during the downtime between albums.

Thank you for taking the time to talk to us.

As always thanks for the support!

Making time public does not occur occasionally and subsequently. Rather, since Da-sein is always already disclosed as ecstatic and temporal and because understanding and interpretation belong to existence, time has also already made itself public in taking care. One orients oneself toward it, so that it must somehow be available for everyone.

– Martin Heidegger, Being and Time (1926)

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