 Интервью, interviews |
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(270 - 299)
 Oct 9 2015, 15:38:10
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#271
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Group: Подсевший 
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Dec 22 2015, 12:20:21
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#272
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 Group: Металариец
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Slidhr - Ash and Smoke
https://www.youtube.com/watch?v=okJXoxrx6Fk |
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| Jacktheripper666 |
Feb 7 2016, 08:10:01
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#273
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Guests team |
"Welcome To The Circle – Meet The Men Behind Iceland’s Thriving Black Metal Scene" grapevine.is February 5, 2016 (IMG:http://i76.fastpic.ru/big/2016/0207/0f/9f9f037b5ba0b62aa476920eaea0910f.jpg) Welcome To The Circle – Meet The Men Behind Iceland’s Thriving Black Metal Scene http://grapevine.is/mag/feature/2016/02/05/9944685/ Hannah Jane Cohen Words by Hannah Jane Cohen @maidofshade Photos by Hafsteinn Viðar Published February 5, 2016 Hafsteinn Viðar, the man behind the solo black metal project Wormlust, requested that our interview take place at the Cathedral of Christ the King, preferably in the confessional. If the confessional was unavailable, he said, then we could perhaps walk together in the nearby cemetery. “Black metal is the most beautiful sound in the world if you give it the chance,” he whispers carefully as we sit in the pews. “I see it as celestial, but discordant.” With his face turned towards the ground and an encyclopaedic knowledge of not only black metal but also art and philosophy, Hafsteinn is the troubled-artist stereotype made flesh. He’s sweet and kind, yet a clear introvert. Even in the spacious cathedral, I feel like I’m infringing on him. Along with every other band interviewed, Hafsteinn only agreed to be in this piece if his full name was not mentioned. One has to wonder why. “Some people will say it’s just artistic expression, but I don’t think you should be allowed to form a black metal band without having been in a fight or in trouble with the law.” -Sturla, Svartidauði If Hafsteinn is the troubled artist, then Sturla Viðar, leader of veteran black metal band Svartidauði, is easily the rock star. “Some people will say it’s just artistic expression,” Sturla says with an easy confidence, laying out the foundations of his belief system, “but I don’t think you should be allowed to form a black metal band without having been in a fight or in trouble with the law.” We’re sitting on a couch in his dark apartment. He hands me a beer and lights a cigarette. “Look, I’m not saying that you have to go out and sell heroin to kids or burn down a church or a school or whatever. Just practice what you preach!” Sturla is intense and opinionated, but he’s likable, and charming in that Charles Manson kind of way. He smiles. “Then we just end up with suburban white anthropologists and a bunch of scholarly articles on church burnings.” With a sip of his beer, he raises his eyebrows at me. The boys of Auðn invite me to their practice space. Andri B, their guitarist and composer, proudly declares, “The most important thing in black metal is this ideology: Do whatever the fuck you want, and if you don’t like it, fuck you, I’m going to do it anyway.” Auðn are rarely invited to play with other Icelandic black metal bands. Without question, they are the outsiders of the already-outsider Icelandic black metal community. There’s an awkward silence when I ask why. They all look at each other, as if daring one another to say something that’s unspoken. Andri finally jokes, “I guess we’re not kvlt enough.” Mannveira meet me at Bar 7 during happy hour, when beers are only 350 ISK. They’re young—newcomers, with only an EP and a few shows to their name. “We wear corpse paint,” Illugi K., their singer, tells me, “but we’re not into like crucifying people onstage.” At this, Axel F., their bassist, immediately pipes up, “Wait, can we do that?” They all start to argue, trying to top each other with more graphic and shocking ideas. I jokingly suggest they could start out by cutting themselves. Illugi plays along, “Nah, do you know how expensive razors are?” “The aim is to be as all-encompassing as possible to achieve a feeling of utter disconnect from the mundane world.” -Þórir, Sinmara I speak with Sinmara at Studio Emissary, a primarily black metal recording studio run by their bassist, Stephen Lockheart. They had just gotten back from playing at a festival in New York City. “Black metal is different than a lot of other musical genres, and art in general,” guitarist Þórir G. emphasizes. He speaks softly, disaffected; it’s clear he takes this very seriously. “It needs a unified look and an enveloping feel. The aim is to be as all-encompassing as possible to achieve a feeling of utter disconnect from the mundane world.” “In black metal, musicians have high standards.” Dagur G. of Misþyrming and Naðra tells me. “Not just the songs, but the lyrical content, the image, how the members choose to appear. It’s all related. You’d never see that in death metal.” Bandmate Tómas I. from Misþyrming and Naðra nods and interjects, “Yeah, you’d never see a death metal band rent out an art gallery and spray-paint the walls with blood and cover the ground with earth and rotting meat.” He’s referring to the Úlfsmessa performances—by now a staple at East Iceland metal festival Eistnaflug—where a group of Icelandic black metal bands have gotten together for the past two years and staged a Black Mass. We sit in Dagur’s room, the erstwhile headquarters of a black metal record label run by the pair, Vánagandr, which involves all of the abovementioned bands—save for Auðn. With clean-cut hair and a button-down, Dagur doesn’t seem like the kind of fellow who enjoys covering himself in sheep’s blood. But appearances can deceive. “There needs to be an atmosphere. There need to be theatrics,” Tómas says. Dagur nods before adding in something sarcastic, “Yeah, and death metal guys play in their normal clothes. We aim to do way more than that.” “There needs to be an atmosphere. There need to be theatrics.” -Tómas, Misþyrming Throughout the interview, Dagur continually does this. He jokes or says something sardonic, pauses, and then in an instant becomes severe and cold as he discusses the same topic. It’s a trait I’ve noticed in every black metal musician I’ve ever met, whether in Iceland, the US or elsewhere—and I’ve met a few. They laugh and joke about some of more audacious elements of the music—the corpse paint, the theatrics—but then instantly turn gravely stern as they emphasise the importance of these things. It reminds me of the response given to a reporter in 2003 by legendary Norwegian black metal stalwart Gaahl. “What’s your music about?” the interviewer asks. Gaahl swirls a glass of red wine. “Satan,” he responds coldly, after a long pause. His seriousness feels instinctively humorous, but you know he’s not really joking. The makings of a scene The general consensus around Iceland’s black metal history is mixed—some start by trying to figure out which old Icelandic groups influenced Iceland’s first “proper” black metal bands, others just start there. But when I ask about old Icelandic black metal, the majority begin by mentioning a band named Myrk, which started around 2000. Hafsteinn was a member. “[Myrk’s singer] was a really charismatic guy,” he tells me, “so what he listened to, everybody listened to. He was the black metal tastemaker back then.” During the early 2000s, the scene was small, overwhelmed by the massive death metal scene and later the hardcore scene, which was more in fashion at the time. “I remember hearing all these horror stories,” Garðar J. of Sinmara says, raising his eyebrows, “like [the singer of Myrk] would go on stage and cut himself and get all fucked up. One time he had to go to the hospital.” Stephen looks puzzled. “That’s the guy who poured salt and pepper into his wounds onstage, right?” They then debate over whether or not this really happened. Other bands spout similar rumours—the salt, the blood—but no one can give a definitive answer. The myth of Myrk just grows and grows. Sólstafír, which began in 1995, produced two demos in the late 90s that could solidly be defined as black metal. There was also a band named Potentiam, formerly named Thule, around this time. Their sound is really unique: black metal with a touch of late-90s gothic metal mixed it. “I remember listening to Potentiam a lot,” Örlygur S. from Naðra and Mannveira tells me, “but really Iceland had this scene where people would make one demo, or maybe one album, and then just break up. Nothing lasted.” Such was the fate for Myrk. Aside from that, people mention a few other names, but none carry the same loaded legacy. Dagur remembers Dysthymia; Sturla names Withered; Tómas credits Ámsvartnir. All of them are represented on a compilation released by former Sólstafir drummer Gummi called ‘Fire & Ice’. “You have got to find that,” Hafsteinn says seriously. The black metal scene was pretty barren during these years in mid 2000s; bands maybe made a demo, but they rarely played live. Hafsteinn had left Myrk and was working on solo projects that would eventually become Wormlust. “We used to drench ourselves in blood and just go completely crazy and beat people up.” -Sturla, Svartidauði This landscape didn’t change drastically until Svartidauði’s first release. Though they had been playing casually since 2002, Svartidauði only became serious around 2006, when they recorded their tape demo, ‘Temple of Deformation’, and started playing live. This was incidentally the first time the Grapevine profiled Sturla and the Icelandic black metal scene, in a piece entitled “Icelanders Don’t Care About Satan.” “We had really chaotic live shows back then. We used to drench ourselves in blood and just go completely crazy and beat people up,” Sturla smirks, “so we were never really stable.” He laughs, and emphasises the word stable. “We had like a revolving door policy when it came to the line-up. We kept kicking people out.” He tells me he’s fired members for being alcoholics or drug addicts, among other things. One got the slip for attempting to burn down a church. Incidentally, Dagur’s first show black metal show was Svartidauði. “I just took it by chance,” he tells me, “walking into the bar at age fifteen. Luckily, I didn’t get asked for ID.” Tómas smiles at this. “I remember this epidemic of metal kids sneaking into bars when there were concerts,” he says. “There was even this one night where somebody broke a monitor so a lot of bars banned metal shows.” He raises his eyebrows. “Well, they used that as an excuse, but I think it was because they had all these underage kids sneaking in, not to buy booze but to watch the show.” Every member of every band interviewed talks about how inspired they were by Svartidauði. In 2010, they achieved what no one expected of an Icelandic black metal band—they played a show abroad, joining the Nidrosian Black Mass in Trondheim, Norway. Getting involved in the international community got them a record deal with Terratur Possessions, and they then released ‘Flesh Cathedral’ in 2012. “Bands that are active today, like Mannveira and Naðra,” Dagur relays, “were all in the idea stage at that point. The release of ‘Flesh Cathedral’ changed everything in the Icelandic black metal scene. Everybody realised it was possible to make a good black metal album in Iceland, even though it’s so isolated.” The explosion of a scene Today, it’s impossible to name all of the black metal projects currently going on in Iceland—that’s how many exist. Since the release of ‘Flesh Cathedral’, a whole new generation of black metal has emerged. “The scene is just really fucking lively.” Misþyrming’s Helgi R. tells me. “It’s like a golden age for us black metal-heads here.” The relics of this purported golden age are recent releases like Sinmara’s ‘Aphotic Womb’, Misþyrming’s ‘Söngvar elds og óreiðu’, Wormlust’s ‘The Feral Wisdom’, Naðra’s ‘Allir Vegir Til Glötunar’ and Auðn’s self-titled debut, which have all sold out and garnered almost unanimous praise from the most credible sources. There’s been international media coverage and multiple European/US tours planned. Misþyrming in particular has been prolific. The band was named the Artist-In-Residence at the Roadburn festival this year, and their album the ninth best record of 2015 by Vice’s Noisey. They also recently received a Kraumur award and a Grapevine music award (fun fact: we made up a category just so we could award them with something). But while the black metal community is tight-knit, there are still clashes. Some bands would only agree to be interviewed with the assurance that other bands weren’t going to be in this piece. Others refused to be photographed together. And every band shared some harsh opinions about others within the scene—off the record, of course. “It’s been weird to experience the black metal community today to be very conformist to the set rules of black metal and very aggressive against outside influence.” -Hjalti S., Auðn Auðn remain remarkably calm about such comments, when I bring them up. They seem happy in their role as the outsiders—proud to be nonconformists. “It’s been weird to experience the black metal community today to be very conformist to the set rules of black metal and very aggressive against outside influence,” Hjalti S., their singer, tells me. “It seems counterproductive.” It’s true that their sound is completely different from the Vánagandr bands: melodic instead of harsh, slow instead of furious—which many see as just cause for a rift. Even so, Auðn feel no animosity, laughing as they acknowledge how bizarre their situation is. “I mean, if you’re on the fringe of the black metal scene in Iceland,” Hjalti says, strongly emphasizing black metal and Iceland, “what does that leave you with?” No group, though, was exempt from criticism. “A lot of people are jumping on the bandwagon now. They’re just Svartidauði clones,” one musician tells me when I ask about some smaller black metal projects in Iceland. Even popular bands like Misþyrming and Svartidauði aren’t left out. “They are just mimicking that French black metal sound. It’s not original,” an unnamed black metaller says with a sigh. The French black metal sound refers to bands like Deathspell Omega, which have a rough dissonant style. He might have a point—Misþyrming and Svartidauði are all about dissonance. But Sturla scoffs when I mention this to him. “C’mon,” he tells me. “You do one discordant note and suddenly you are Deathspell Omega. Fuck that!” He puts down his beer and turns serious. “Great band though.” This comment feels like a “Hail Mary” after cursing—an attempt to appease the black metal gods after a harsh word. To be fair, the comparison to Deathspell Omega is a bit of a stretch—Misþyrming and Svartidauði both have respectively unique sounds, and that’s what has gotten them where they are. Misþyrming—which literally means “abuse”—is unrelenting and wrathful. The band sucks you in so much that it is impossible to turn their album off once it gets going. Meanwhile, Svartidauði has a sophistication to their evilness. It’s polished—these guys really understand and appreciate the mechanics and nuances of black metal. Mannveira, then, is pure viral anger. The howls of their singer, Illugi, are despondent and haunting—you won’t be able to forget them. Sinmara has a gothic grandiosity and beauty to their tunes not normally found in Icelandic black metal. Their music is intricate and well-thought-out. If young and prolific Misþyrming is the Mozart of the scene, then Sinmara is most definitely Beethoven. Wormlust, though, is psychedelic—black metal you’d want to trip to. I imagine ‘The Feral Wisdom’, his last album, would be the soundtrack to that fabled acid ego death. As I sit with Hafsteinn in the church, he tells me about how he started a project once based on near-death experiences, inspired by one he had himself. I can’t help but hear these musings in his music. “It’s like who’s playing guitar? Tómas? Who’s playing drums? Tómas? I thought he was on bass. So if you don’t like each other, you can’t kill each other like the Norwegians, ‘cause then we are all lacking a drummer, you know?” -Aðalsteinn, Auðn “There’s a lot of diversity.” Dagur says, yet Tómas looks less than convinced. “Yeah, there’s a lot of diversity in sound, but if you look at the line-ups…” He trails off. Indeed, every band notes that the scene is relatively inbred—understandable considering Iceland’s small population. Most point to Tómas as a prime culprit: in addition to owning Vánagandr, Tómas himself plays in Naðra, Misþyrming, Carpe Noctem, 0, Grafir, and Nornahetta. He then starts naming inactive bands, or ones without studio releases and literally loses count. Even Auðn—a band that Tómas is not associated with— jokes about his prolific attendance. Andri smirks, “It’s like who’s playing guitar? Tómas? Who’s playing drums? Tómas? I thought he was on bass.” Aðalsteinn M., another member of Auðn, grins. “So if you don’t like each other, you can’t kill each other like the Norwegians, ‘cause then we are all lacking a drummer, you know?” Andri mocks fury in response, “You killed the only black metal drummer in Iceland!” The understanding of a scene But why black metal? What is appealing about this harsh and—to most people—ugly music? Why dedicate years of your life to a scene that glorifies Satan and suicide? At first, every band loves getting into the nitty-gritty of why they love the genre. They get nostalgic—reminiscing about lending each other CDs in their preteen years, discovering Mayhem or Burzum, growing enamoured, and ultimately obsessed, with the genre’s legends. But when I start to ask each band deeper questions about their psyches and themselves, most brush me off with sarcasm or a joke. There is a wall. “Iceland is really rotten. It’s not the magical-fairy-elf-land that people want it to be. Both in terms of corruption and urban decay. Just look at the streets, they’re ruined.” -Örlygur, Mannveira But, then, one does let me in. It’s Tómas. “I think that if you go against the prominent values of society long enough,” he tells me, “then black metal is likely to appeal to you somewhere along the way.” At this, his bandmate Örlygur nods. “Iceland is really rotten,” he says seriously. “It’s not the magical-fairy-elf-land that people want it to be. Both in terms of corruption and urban decay. Just look at the streets, they’re ruined.” They start to tell me about the horror of working in slaughterhouses or the monotony of working in fish factories. “I had to do it all,” Örlygur continues. “Shoot it, hang it up, rip the wool and the whole skin off, empty the guts out. Nasty shit. It’s backbreaking.” Being so close to death will make anyone obsessed with it, it seems. “Everything is futile when you look at it from far away enough. Nothing is of any consequence,” he says seriously. Futility is a word that continually comes up, as is defeat. “Defeat is the key concept here in Mannveira,” Illugi tells me. The name literally translates to “Human Virus.” I ask him to explain that to me, but he answers with a joke. “I mean, go to downtown Reykjavík at 6am and the name will make perfect sense!” There’s the wall. A short silence follows. Finally, drummer Jón Arnar steps up. “Look, the human being on Earth is not doing anything good. It is a virus.” Axel, their bassist, nods, then adds, “We are just a cosmic accident.” “Iceland is dark, depressing, and cold.” Hjalti from Auðn tells me, when I ask what it is that created this scene. Auðn means “Desolation.” “Desolation is both a horrible place and a place that draws you in,” Hjalti tells me. Illugi says something similar: “We live in a small, isolated, cold, place. No one speaks our language. You have to find something to make meaning of it all.” But make meaning of what? Life? Death? I ask Hafsteinn. “I avoid death-worship or outright death-worship,” he says, “but black metal always reminds you—memento mori—it screams it.” “We live in a small, isolated, cold, place. No one speaks our language. You have to find something to make meaning of it all.” -Illugi, Mannveira Every band, at some point, mentions the financial crash. Of course, all of them were fans of black metal before the upheaval, but it’s impossible to emphasize how much this event affected everyone, taking these nihilists and making them even more pessimistic. “Would it be better for tourism and the Grapevine if we said yeah, the scene is inspired by nature and the power of the geysers?” Mannveira’s Jón Arnar asks with a smirk. Everyone laughs. “And the elves!” Axel adds. Tómas is more serious: “Iceland never knew true poverty before the crash.” He tells me about how families were homeless, how lives were ruined, and how the bankers were barely even punished. If any event has coloured, or perhaps finalised these boys’ perception of their own society, this is it. “Look, I think some people either get black metal or they don’t.” Stephen tells me. “It’s not something that you can prescribe to somebody. It just kind of clicks, and you either feel it or you don’t.” Þórir nods at this. “With the risk of sounding like an exclusionist asshole,” he says, “it is to a point something which picks you, and not the other way around.” Garðar laughs. “You’re right, but this is black metal,” he smiles. “We’re supposed to be exclusionist assholes.” The future of a scene Sinmara are currently recording a new album. “I think it’s just going to get stronger,” Stephen tells me, discussing the future of the Icelandic scene. “People keep wanting to do more and they keep making good music. In terms of public perception though, I don’t know.” He pauses and narrows his eyes, as if he doesn’t know how best to approach this issue. “Black metal fans get into fads,” he says, “and when something is not cool anymore, they don’t just move on from it—they hate it.” Any notoriety is like a double-edged sword. “You can already find backlash online,” he adds with a laugh. “People are like ‘I am so sick of Sinmara already!’ C’mon, we just released our album last year!” Þórir rolls his eyes. “‘They’ve got a thousand fans!’” “‘Yeah! They’ve played to more than six people!’” Stephen responds. “‘They are fucking sell-outs.’” No one can hold their laughter in—these statements feel a little too lifelike. Garðar shrugs. “Well, we didn’t start this to get popular,” he says with a smile, “so it’s not going to stop the madness.” Meanwhile, Hafsteinn just finished his long-awaited new album ‘Hallucinogenesis’. “Wormlust has changed from being this cathartic weekend diary,” he tells me, “to something more like a long-form novel.” He doesn’t want to make any predictions about the scene. “Time is fleeting, of course,” he says, looking down. Mannveira just finished a new album, which should be released soon, and Auðn is looking for producers and studios to record their next album. Both bands hope to soon play outside of Iceland. Sturla is, fittingly, more pessimistic about the future of Icelandic black metal. “It’ll fade into obscurity as soon as the next big thing happens,” he says with a smirk. As with most things he says, it’s hard to tell just how sarcastic he’s is. When I ask Dagur and Tómas for predictions, they both shrug. Dagur is writing new material for Misþyrming. Tómas hopes that they can begin to release vinyl on Vánagandr. Naðra just released a new album, and there are a few new Vánagandr releases coming out soon. Tómas finally gives me a small smile. “I guess we’re just going for world domination.” (IMG:http://i76.fastpic.ru/big/2016/0207/a8/a44dd7ff67eb82f8eca106920d90d1a8.jpg) (IMG:http://i76.fastpic.ru/big/2016/0207/81/c4d61520ab4acdd1f143b9767c17fd81.jpg) (IMG:http://i76.fastpic.ru/big/2016/0207/47/99700d9f3c72f935de1b222ddd3a5547.jpg) (IMG:http://i76.fastpic.ru/big/2016/0207/d0/22b692cd5d18b11e656f681508b91ad0.jpg) (IMG:http://i76.fastpic.ru/big/2016/0207/27/e8a120a4fc3fd8fdc1f2bc549136c527.jpg) (IMG:http://i76.fastpic.ru/big/2016/0207/a8/c8e76b257ffd4bbb1be923a35d54d6a8.jpg) (IMG:http://i76.fastpic.ru/big/2016/0207/6b/676196e25cf285843ef552782216cb6b.jpg) (IMG:http://i76.fastpic.ru/big/2016/0207/e4/231f64ea0106665d30044f47283074e4.jpg) |
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Thanks:
(1) abob, |
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Mar 16 2016, 13:24:16
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#274
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Group: Металариец
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Интервью мглы непечатному изданию http://www.nocleansinging.com/2016/03/15/a...interview-mgla/
Читаем слушая песню Ленинграда - Пизд..ол))) |
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Dec 13 2016, 11:08:30
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#275
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Group: Металариец
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Интервью с Teitanblood на Bardo Methodology:
http://www.bardomethodology.com/articles/2...lood-interview/ И вообще, если кто еще не в курсе, на сайте очень много интересных интервью: http://www.bardomethodology.com/archive/ |
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Apr 5 2017, 13:23:50
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#276
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Group: Металариец
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Документальный фильм о ранней французской бм сцене:
https://video.vice.com/fr/video/bleu-blanc-...dbe5?ref=noisey английские субтитры включаются в правом нижнем углу ("СС"). |
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Thanks:
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May 17 2017, 16:28:05
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#277
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Group: Металариец
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Thanks:
(1) technoboy69, |
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May 21 2017, 21:08:24
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#278
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Group: Металариец
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Thanks:
(2) Darkwood, technoboy69, |
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Jun 14 2017, 16:38:39
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#279
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Group: Металариец
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Интервью на Бардо с Slidhr:
http://www.bardomethodology.com/articles/2...idhr-interview/ |
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Aug 2 2017, 17:25:51
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#280
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Group: Металариец
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там же с Rebirth of Nefast:
http://www.bardomethodology.com/articles/2...fast-interview/ |
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Aug 2 2017, 22:07:29
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#281
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Group: Металариец
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Любопытно спустя столько времени почитать например вот этих ребят (IMG:style_emoticons/default/smile1.gif)
http://www.bardomethodology.com/articles/2...oods-interview/ http://www.bardomethodology.com/articles/2...edda-interview/ |
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Thanks:
(2) Goatrex, UlvhedinGrom, |
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Sep 29 2017, 13:25:50
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#282
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Group: Металариец
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Oct 21 2017, 12:59:31
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#283
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Group: Металариец
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Nov 8 2017, 18:50:59
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#284
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Group: Металариец
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Mar 30 2018, 23:52:23
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#285
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Group: Металариец
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Oct 15 2018, 13:09:19
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#286
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Group: Металариец
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Еще одно от Svartidaudi:
http://www.bardomethodology.com/articles/2...audi-interview/ |
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May 22 2019, 18:00:47
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#287
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 Banned till Jun 17 4180, 16:09:14 |
последнее интервью нодтвейдта why is this the lastinterview you'll be giving? so much time has passed now thet we no longer want any part of the metal scene. we have nothing to do with it, more than being a band with fans who are into metal. we don't represent the same things other bands do. in our eyes, there is no satanic scene within metal to be part of. and at the same time, the metal scene has distanced itself from us. in what way? because dissection are too controversial. many are blinded by external aspects - my prison sentence, for example. that i have returned and resurrected dissection. you're not allowed to do that. people think i should hide in shame for the rest of my life. i'm not ashamed of who i am, nor am i ashamed of my actions. i stand behind what i've done and accept the consequenced. can you understand why people react the way they do? from their perspective, i can understand it. this is, of course, because they, either instinctively or consiously, realize that we're nothing like them. we are something entirely different; we have nothing in common any longer. i've had a set of benchmarks and a framework when writing reinkaos. certain principles. i'm not going to make any fucking black metal-sounding album. black metal is fake to me. black metal is pretentious. they scream about satan but don't mean it at all. they wear theatrical makeup, spit blood and fire, and roll around like idiots on stage - but they don't mean a word. that's been my basic benchmark: dissection is no fucking black metal band. has it never been? we are a satanic metal band, and then people can make what they want of that. black metal has been synonymous with posers to me for a long time. dissection don't even sound like death metal any longer. dissection play satanic metal. period. people come up to me and say "what the hell, you don't have any blast beats on the album?" no, because that was my primary rule - to absolutely not have any blast beats on the record. that really was rule number one. no. fucking. blast beats. on this album. i have more respect for bands like ac/dc and motorhead. they sing "highway to hell" and things like that but never claimed to be satanist. rappers are more satanic than virtually any metal band; they shoot and kill more people. how many within the metal scene come from a background in which they've been forced to resort to violence? extremely few, and that's one of the most interesting aspects of the genre. let me put it like this: out of all subcultures in existence, metal is the wimpiest. it's almost only middle-class kids who always had everything served to them and never had to fight for anything. even punks are more extrime; at least they fight with the police and throw molotov cocktails. i have more respect for them. within metal, people would never dream of turning the things they sing about into real action. when doing exactly that, it becomes evident how much of an outsider you really are. what are you going to do now that the band has split up? much has been about going all the way with dissection, which means seeing it through to the end. all lyrics on all albums have been about death - the great dissolution, armageddon. and with reinkaos, we've reached the point where it's time to kill the band. it's no longer possible to continue on the physical plane. it's got entirely to do with the things we sing about, the concepts we touch on in our lyrics and music. they're not fairy tales. behind all the mythological, symbolic forms we depict, there is a spiritual reality we're pert of and wish to become one with. what does that reality look like? spiritual freedom is a concept permeating all religions; it just means different things. a person worshipping the creator of this world might have as his goal to become one with the creator, but he doesn't want to live like a physical person. as a satanist, i want to wipe out this creation entirely - restoring the original chaos and becoming one with it. of course, there are religions that speak of similar things, where this world is considered a lower form of existence and the one who created it is evil. i could mention gnosticism, with strong parallels to the satanism i represent. it stands for "insight through enlight-enment", and my goal as a satanist is chaos-gnosis - insight into chaos. and what does that really mean? gnosticism is based on the understanding that this world is wrong - that there's a driving force within you wanting to break free. in traditional gnosticism, this is called the divine spark. in satanism, we call it the black flame. gnostics believe one must seek the god within - all other gods are false, oppressive, or enslaving. the satanism i speak of is an aggressive satanic gnosticism, for we identify as enemies of this world. we are ready to do whatever it takes to free ourselves and the chaos trapped in here. that's why everything that's happened during this journey has been but different phases of the end. personally, i've always felt ready to go all the way, and that's what's going to happen. in what way did you feel it was time? it's actually felt like that for quite some time. even as you were writing music in prison? the band's concept is so much bigger than the band itself, so it's not only about its existence. it's about religious and spiritual concepts beyond us as people and as an active group. it's more about wandering the left-hand path, and band's music has been an expression and a way to channel that pursuit. the longing for the end, the longing for death, the longing for the dark - to become one with chaos and put an end to life. even physical life? yes, to end this cosmic prison. that longing has been with me the entire time. it might have been just a seed that has been allowed to flourish during my journey. go back and read the old lyrics, and you'll see the same driving force there. that was no joke; everything was absolutely honest. i identify with the darkness, whis chaos. that's why my ultimate goal is to transcend beyond this physical condition. by dying? it's not possible to permanently travel beyond the physical condition unless you die. so of course, death is the aim. that's what we've said from the start. this is also the concept of dissection - anti cosmic metal of death. and why do we call it the metal of death? because it's about death, genuinely. are you planning on taking your own life? if i'm not killed someone else, then i will, of course, commit suicide. i have no plans of going on livin until i expire of old age - it's such an alien notion that the very thought was never there. ever since i was 15 or 16 years old, i've planned to take my own life. why haven't you already? there have been things keeping me alive. and of course, i've wanted to accomplish certain goals. it's not as simple as saying, "i hate life, so now i'll commit suicide", and then everything falls into place. i don't believe in that concept. if you do something like that, it has to be for a reason. the cosmic prison is a reality. i'm no atheist who believes that this is everysing - i believe in the spirit, a spiritual driving force that lies beyond this world. and that's the essence i identify with, that i intend to set free. what is death to you? i became incredibly fascinated with death early on. to me, it's always been apparent death isn't the end, just the end of life here now. but it's not the end of me or what lies beyond. death is a beginning, a new opening. it is the gate one must pass. to me, it's been evident that you can't become one with chaos, you can't become one with darkness, before crossing the treshold of death. until then, you can, of course, awaken the flame within - you can rouse the power and identify with it. but as long as you live in a human body, you'll be a purely physical organism walking a physical planet. for me, it's always been the goal to get out of here to become who i really am. i must find the answer to the riddle of why i'm here and why i search for something else. have you always been searching? you can, of course, go back and analyze my childhood in different ways. the fact that i upset my grandmother when i was six because i made figures of clay that she thought looked like the devil. this driving force must have been lying dormant and then flared up at different stages. it's really about exploring it and finding oneself more and more. when did you first become aware of this flame? i can't answer that. what i do remember is an emotional arousal from certail tales, stories of dark monsters and creatures. there were things that evoked my emotions, but i was too young to understand what is was really about. the punishment you received for what you did, was it worth it for you? certainly. punishment, i don't know - no punishment can be worse than being born into this world. this is why i refuse to let myself be governed by laws and morals built on lies. hence, no human can judge or punish me. the damage has already been done. you were born here thougt, so whether you want to or not, you've inherited human reactins and emotions. as a human, you consist of a brain programmed with human inhibitions; as an organism, you're adapted to being human. it's not a peaceful breakup, tearing free from the cycle or from that role. this can only be accomplished through violence. spiritual but also physical violence. i'm not trying to be evil or tough. i'm not trying to convince anyone about anything; i'm just trying to be myself. it just so happens that this world stands in my way. but this means that there is good cause to fear you. that's just the way it is. i didn't ask to be born encapsulated in physical form, but at the same time, i'm not running around attacking people up or committing acts of cruelry just for the sake of it. it's not your fault, and it's not my neighbor's fault - it's a fundamental flaw in the whole cosmos. i think that's what people believe. that you are completely unpredictable. people really thought that something was going to happen at midsummer massacre. did they really? that the whole place was going to blow up. why would i be that predictable? of course, there's an underlying discomfort people feel when i comes to dissection. most dislike this feeling. then, of course, some are drawn to it. being a satanist is not about committing a bunch of pointless atrocities. that would be retarded, going around carrying out acts of violence all the time. during the true satanist horde period, an elderly man was stabbed on the street by someone who wanted to be part pf your crowd. how did you react then? that was completely unnecessary. there was no reason for it. did you ever consider the power you had - that people would do things like that to impress you? if someone chooses to do a thing like that, then he'll have to take responsibility himself. what am i supposed to do? it's so fucking ridiculous to even talk about. i don't think it's ridiculous to talk about it, because this is what's so difficult to understand. if you're 16 and see someone get stabbed, what do you think? i played in a band singing about killing mankind. today, i would probably have a stronger reaction, since it's so meaningless. when it happened back in those days, it just happened. haw, than, do you react to big events such as the estonia ferry tragedy or 9/11? is it a good thing, when as many as possible die? people die every day. people get upset with each other and make war. objectively, what am i supposed to react to? estonia didn't affect me in the slightest; 9/11, hawever, i thought was more interesting from a symbolical perspective. to me, it represents an attack on the enemy, even if i don't stand for the same things as the taliban do. of course, i enjoy watching harm done to the world order. but then, i was, of course, hoping for another world war to break out. would you like to see world war III? at the time, it didn't feel that far-fetched, and it would have been interesting from an ideological perspective. why then do i think it's a good thing? because i enjoy seeing someone standing up to oppression, bringing more chaos into the world. stabbing an elderly person in the street does nothing of the sort. when did you become known to the police as a satanist? when i was 16. occultus, the mayhem vocalist at the time, was visiting stromstad. he'd been waving a knife around in a pub, and they called the police. we'd already left by then, but the cops came to bring him in. it ended with me being apprehended for resisting arrest and attempted aiding and abetting. i was charged, which brought up a lot about satanism that had nothing to do with it. where did that come from? we had pentagrams and looked a certian way - especially back in those days, when there was more of an explicit black metal look, with long black hair and inverted crosses. at the trial, the prosecutour spent most of his time defining satanism. he brought up a bunch of books and explained how satanists sarcifice children and all kinds of things. it was a parody. that was my first encounter with law enforcement, and our relation has not been a particularly rewarding one ever since. can incidents like that have contributed to you further embracing the black flame? did it corroborate your conclusion that you were surrounded by idiots? of course, i saw it as a blatant provocation by the police. needless to say, this generated headlines in the local papers. "16-year-old arrested for attempted aiding and abetting". haw they needed three police cruisers to get the angry teenager under control. afterward, there was talk all over town about the satanist. certainly, i'm a satanist today but can't claim to have known much about it when i was 16. did the police keep an eye jn you in connection with church burnings in the '90s? i was arrested together with the count and bard in norway in the spring of 1993. we were accused of robbery and had to spend the night in isolation cells in oslo. we were grabbed at a gas station in the center of town. suddenly, we were surrounded by police, who handcuffed us and took us in. we had to spend the night there being interrogated about a robbery, and of course, there was no evidence whatsoever. did you do it? we were 100% innocent. they released us the day after; it was just harassment. they probably recognized the count, who'd been in the papers and was under suspicion for the church burnings. what contact did you have with the outside world while in prison? with family and friends? i was in steady contact with my family during the entire sentence. then there were several friends i kept in touch with through letters, but for the most part, i lived my life on the inside. it would've been too much having my thoughts on the outside all the time, while being physically imprisoned. i always had the attitude that you just have to do the time and make the best of it. you were pretty bulky at the first gig. i'd just been released and had a bull neck after heavy deadlifts on a regular basis. huge portions of oatmeal for breakfast. the advantage with prison is that time is on your side; you only need to see the upside to it. if there are things you wish to immerse yourself in, like writing songs , then you can. i find my rutine. do you value things more these days? i try to. og course, i wish i had more time to do certain things. but i definitely believe that i'm consciously trying to cherish what i'm experiencing right now. it's not only that i've played really cool shows; just the feeling of no longer being incarcerated is amazing. the sensation from getting out of prison didn't really subside in the first six mounths. first waking up every day in my own apartament, and then we went on tour directly afterward. the last two years have been the happiest of my life. i'm, of course, not saying that it's only been fun. it goes without saying that there have been rough patches to get through. what do you mean? fighting for and enforcing things you believe in is not always easy. just releasing your own album isn't as simple as people seem to think. if they only knew how much work goes into it. it's a big fucking difference compared to just leaving it to somebody else. and an entirely different responsibility, especially with such an emotional attachment. this is important. on occasion, i have felt that i've taken on too much responsibility for my own good. do you have control issues? sure, i'm a real control freak. it's just something i need to accept. i wasn't always, but then everything went to hell because i didn't make sure things were going the way they were supposed to. that's why i've become insanely meticulous with everything. "nooo, we refuse to do this because we want it a little bit more thaaat way" it feels absolutely fantastic that we managed to release the album, how we've rereleased the back catalogue and broken free from a slave contract. we have given the finger to this entire world, except our funs, and done everything the way we wanted to. and we've played fucking hovet as well! imagine the feeling of being hurled straight into this from seven years in a vacuum. it's been an extreme reversal. would you risk going back to prison? obviously, you have to accept that it just isn't possible to adhere to the laws of socierty if you wish to live as a satanist. how you did change as a person during your time on the inside? i was 22 years old when i went in, and i've spent almost a third of my life in prison, so of course, i'm not the same person today. perspectives change when you're imprisoned and you come to evaluate your life. the constant supervision and control is always there. you get used to it, even if you don't accept it. you always want to get out of there. i felt i could benefit from getting through the experience. did you use your faith to get through the sentence? no, but i used the time to immerse myself in matters i didn't have time for on the out-side, to the extent that it was possible. after a few years, i was allowed to have my electric guitar in there. i would play and write music. some kind of activity is compulsory. you either have to work or study. i took part in inmate work activities for a while - carrying out braindead tasks like winding cords, assembling different electrical boxes, and things like that. at times, i've also studied subjects that were made available. what did you study? mathematics, philosophy, swedish, english. high-school subjects. where were you imprisoned? first, i was placed in the national prison intake at kulma. if you are sentenced to more than four years, you'll be sent there for an evaluation of where to carry out of term, and if certian restrictions are warranted. back in those days, you were called a 7:3 if you were thought to be especially dangerous. that mean no furloughs, nothing. you're not told anything about your circumstances in the judicial system besides that you'll be placed in a high-risk prison under maximum security until you're reevaluated. i served for five and a half years before the duration of my sentence was determined. with seven months left, i was moved to a low-security prison. can you describe the difference? it's like a normal prison, but without any walls. oftentimes, you'll be able to go out and work in a factory. the sensation of coming to an open institustion after six years behind walls was of course absolutely amazing. not that i was out of prison, but i was no longer locked up deep inside the heart of the judicial system. that's how i felt for the majority of my sentence. did you ever contemplate escape? you have to be quite insane to be imprisoned and not contemplate escape. of course, i thought through all possibilities, but it's not easy escaping from a swedish maximum-security prison. you'd have to take a hostage or have someone aid your escape during transportation or a supervised furlough. you can't just climb over the wall. you can't even walk up to it. construction-wise, it's not possible to dig your way out. i would've had nothing to grain, trying something like that. my goal was never to disappear and hide in the jungles of brazil. you must have been serving with some of the hardest criminals in sweden? during most of my incarceration, i had the toughest conditions you can have unless serving a life sentence. i've done time in harsh prison with people who are in for a long time. i had 10 yars. the first one i was sent to after the prison intake was the class 1 section of tidaholm. the average sentence on my block was 10 to 12 years. the guy with the shortest had six years, and he was regarded a short-termer - everyone thought he had a really short sentence. are you allowed any contact with women in prison? there are female guards, but you're not allowed to have any relations with them - not a good thing if discovered. then, of course, there are women who the drawn to men in prison. did you have any prison groupies? i had a girlfriend when i was caught. we stayed together a year and a half into my sentence. we wrote lots of letters while i was in custody. then, when i'd been placed, it was possible to meet for a few hours in a gray and boring visiting room at tidaholm. she traveled from gothenburg to falkoping by train, then look took the bus and so one. we split up after a few months. still, i'm surprised it lasted that long. i then got in touch with a girl i started corresponding with, and who i then persued a relationship with, during my time in prison. did you ever meet? she came and visited. is this the girlfriend you have now? no. i was actually single when i got out. why did you place midsummer massacre on midsummer's day? it was convenient, from a planning perspective. perhaps we could have waited another month. to us, it was a suitable date. when did you start realizing that hovet was perhaps not going to sell out? our ambition was to play a really fucking good concert, record a dvd, and put on that stage show for those who wanted to come see us. we're as pleased as can be. it couldn't have gone better. you don't think that perhaps the audience could have been larger? the audience can always be larger. when it was announced you were doing this, people thought you were insane. after all, it's the midsummer weekend in sweden. we wanted to once and for all present dissection the way we see the band. it was absolutely killer. sure, we could've done a long club tour and earn significantly more money from it. instead, we chose to invest in an elaborate show and a dvd, which is so much more rewarding. closing the dissection chapter in a worthy fashion - in a manner of our choosing, which those who were present clearly appreciated a lot. how could you even afford this? i've heard it costs over 20 000 dollars to rent hovet. 20 000 is the deposit. regardless if there is a single attendee, that's their guaranteed take. i mean, i can assure you that the calculator was put to good use. even if you end up earning or losing money on such an event, the added value is being able to put on a gig like that. also, not everything is about what ends up in your wallet right away. you can do things like this if you're the one in charge, when the band has no middlemen. if we want to use money we've made from album and merchandise sales for this evening, then sure. it's worth it. there are two dvd on the way, your old albums have been rereleased on cd and vinil, and you have lots of merchandise. is there any risk you might be overestimating the interest in dissection? i don't know what would be overestimated in that case. is there a demand for all of this? yes, of course. why did you get your first tattoo? it was fairly late, not until 1995. the mlo tattoo was my first - the ushumgal pentagramm. it's one of our symbols. i've had a lot of work done in prison too. you don't sit there exactly following all of the rules. there are some creative people in there. was that using ballpoint ink? someone's girlfriend smuggled in tattoo needles and ink, then we built a tattoo mashine from an electric razor. i once made a tattoo mashine from a walkman. so, you learned something from building those electrical boxes? i once made a tattoo needle from a guitar string. it was difficult as hell; i had to use a thick string and then sharpen it at the end. i don't think it turned out that good. all of my flames are made in prison. the guy who made them was a tattoo artist, but it was with a prison mashine. he made shading needles and round liner needles and all kinds of things from pipe cleaners. i made that seal in prison; it's a seal that stands for the geburim - those who carry the black flame. can you detect people who carry the black flame by only looking at them? you have to get to know people. the chaos burns in a select few. the rest are completely uninteresting. the only way i'm a rasist is that i oppose the human race; all people are equally worthless. no skin colors are better or worse than others. people are so trapped in their own prejudices and thoughts. they would never understand. there is no point in discussing with an insect. is that what it's like for you, talking with people who do not carry the black flame? well, you won't sit down and try explaining something to an earthworm lying on the road. no, but do you feel like you're talking to an earthworm when explaiting things to us? i can't make you understand chaos if you do not carry chaos yourself. if you have the chaos within, you can search inside and try to grasp it, but i can't make you understand. that's my point: people essentially misunderstand the entire point and see only their own prejudices. people see that a person was murdered. people die every day. we will all die one day. true, but not all of us by someone else's hand. i'm not claiming to be in the service of mankind; i want to destroy it. so, don't fucking expect me to do anything but bring ruin to all! people shouldn't misread the situation and expect a satanist to follow laws created by humans. they can do whatever they want - kill me or put me in prison - but they'll never quench the flame i carry. i'm willing to accept that. i have accepted this. some have tried to kill me, and others put me in prison. have many people tried to kill you? no, but i've been in situations where attempts have been made. and i'm still alive today. haw has your family reacted to all this? do they understand you? i can't say that they understand me, but they do understand that i'm being myself. what else can i do? im not asking of anyone of anyone to understand more than that. if someone treats me as a human being, they obviously have themselves to blame. if so, they've misunderstood everything despite all the signs. just open your eyes. i'm here, and one day i will manage to escape. that's all i want. |
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Thanks:
(1) Ainar, |
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Jun 30 2019, 18:15:48
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#288
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Banned till Jun 17 4180, 16:09:14 |
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Jul 15 2019, 15:40:17
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#289
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Group: Металариец
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[инглиш онли] Ким Карлссон рассказывает о создании Лайвлавера:
https://www.youtube.com/watch?v=ZS-PpFpOLVU вообще у него на канале много разных видео появилось, интересно в частности будет тем, кто в 2006-2007 интересовался депрессивным бм'ом. Например, вот это, где упоминаются разные люди, которые были "за кулисами" в те годы, но тем не менее активно участвовали в развитии жанра: https://www.youtube.com/watch?v=ZdC6hZ8SOz4 |
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Thanks:
(2) infiltrator, Wizard_in_Black, |
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Oct 26 2020, 08:45:36
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#290
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Group: Подсевший
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Подкаст Интервью с Orthodox (Псалом 666, Thou Shalt Kill! Records) и AL-LA-ShT-ORR (Псалом 666, Art of Anticreation, Ithdabquth Qliphoth)
Первая часть из трех. https://blodreg.com/episodes/dc/ |
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Oct 31 2020, 23:30:52
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#291
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Group: Подсевший
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Подкаст Интервью с Orthodox (Псалом 666, Thou Shalt Kill! Records) и AL-LA-ShT-ORR (Псалом 666, Art of Anticreation, Ithdabquth Qliphoth)
Вторая часть из трех. https://blodreg.com/episodes/lx/ |
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Oct 31 2020, 23:38:44
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#292
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Group: Дух
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Nov 8 2020, 11:03:22
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#293
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Group: Подсевший
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Подкаст Интервью с Orthodox (Псалом 666, Thou Shalt Kill! Records) и AL-LA-ShT-ORR (Псалом 666, Art of Anticreation, Ithdabquth Qliphoth)
3/3/3 https://blodreg.com/episodes/vi/ |
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Thanks:
(1) Occultas, |
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Jan 19 2021, 18:12:37
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#294
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Group: Металариец
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что за олигофрены? смешки как козлиное блеянье. тупая болтовня заплетающимся языком. что за безделуга.
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Apr 3 2021, 20:25:22
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#295
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Group: Подсевший
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blodreg открывает год беседой с основателем и лидером Pestilentia, барабанщиком Łatanu и владельцем издательства Handful of Hate. Эта часть затрагивает историю Deofel и первую половину подробного разговора о Pestilentia. В музыкальном сопровождении использовано полное, ранее нигде не издававшееся, демо Pestilentia.
https://blodreg.com/episodes/plague666-malaise/ |
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Apr 3 2021, 22:22:03
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#296
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Group: Подсевший
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Первый пост блока куда-то испарился.
blodreg открывает год беседой с основателем и лидером Pestilentia, барабанщиком Łatanu и владельцем издательства Handful of Hate. Вступительная часть подробного интервью повествует о начале начал, первой барабанной установке и временах, когда музыку играли “вопреки”. https://blodreg.com/episodes/plague666-intro/ |
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Apr 9 2021, 08:48:15
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#297
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Group: Подсевший
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Заключительная часть развернутой беседы о Pestilentia раскрывает планы группы на будущее, о новом составе. Эксклюзивно для blodreg, музыкальная составляющая эпизода представлена ранее неизданным материалом: живой записью с пульта на “Неглубокой Могиле” и живым выступлением в Нидерландах. В этом выпуске, не остались в стороне выступление на “Неглубокой Могиле”, белорусская музжурналистика и истории из тура по Европе.
https://blodreg.com/episodes/plague666-capitis/ |
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Apr 29 2021, 22:54:19
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#298
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Group: Подсевший
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В эпизоде идет разговор о знакомстве с Григорием Николаевым, принятии в адепты Псалом 666, возрождении старожилов белорусской сцены — Kruk, работе над “Magnificat” Storming Darkness, который не слит в интернет по сегодняший день, и замыслами Łatanu. Эксклюзивно для blodreg, музыкальная составляющая эпизода представлена фрагментом ранее неизданного концертного выступления Псалом 666 на фестивале Arosian Black Mass II. https://blodreg.com/plague666/dolor/ |
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Jun 1 2021, 20:06:40
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#299
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Group: Подсевший
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В эпизоде поднимаются темы музыкального ремесла: гитарного, барабанного и студийного, а также унитарного саунда и мотивов, по которым группы должны отстаивать свое видение звука в пост-продакшне.
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Jun 9 2021, 22:39:18
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#300
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Group: Металариец
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"главное не быть петухом, а если ты петушара, то и музыка у тебя будет соответствующая" - похвальная само-критика
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