 Интервью, interviews |
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(30 - 59)
 Dec 26 2010, 16:52:19
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#31
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 Group: Завсегдатай 
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Hacavitz [17.12.10] - Moonlight Dominion:
http://www.moonlightdominion.com/forums/sh...read.php?t=3229 |
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Thanks:
(1) Blood13, |
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Dec 30 2010, 18:34:00
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#32
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Group: Металариец
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Thanks:
(2) Blood13, ChristDenied, |
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Jan 9 2011, 17:03:28
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#33
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Group: Завсегдатай
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Nocturnal Amentia (UKR) [09.01.11] - Moonlight Dominion:
http://www.moonlightdominion.com/forums/sh...read.php?t=3232 |
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Jan 16 2011, 21:02:55
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#34
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Group: Завсегдатай
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Otargos (FRA) [16.01.11] - Moonlight Dominion:
http://www.moonlightdominion.com/forums/sh...16811#post16811 |
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Jan 17 2011, 18:00:03
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#35
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Group: Металариец
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А нет ли у кого-нибудь ссылки на то самое интервью Вреста, где он говорит о четырёх нереализованных альбомах Lurker Of Chalice?
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Jan 18 2011, 12:39:23
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#36
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Group: Подсевший
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И вообще на интервью Вреста. Как-то ни разу не сталкивался...
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Jan 18 2011, 13:56:31
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#37
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Group: Металариец
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ЦИТАТА(KoloboS @ Jan 18 2011, 17:39:23)  И вообще на интервью Вреста. Как-то ни разу не сталкивался... а у тебя интернет работает? попробуй через интернет |
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Jan 23 2011, 15:30:16
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#39
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Group: Завсегдатай
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Hinsidig (Nor) [23.01.11] - Moonlight Dominion:
http://www.moonlightdominion.com/forums/sh...16860#post16860 |
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Thanks:
(1) Blood13, |
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Jan 23 2011, 22:44:49
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#41
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Group: Металариец
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Парни, вы бы побольше инфы оставляли об интервьюхах. Быстрее бы обновлялся список в первом посте. Такими темпами, скоро просто ссылки оставлять станут, даже без указания группы. (IMG:style_emoticons/default/6.gif)
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Jan 24 2011, 09:33:07
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#42
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Group: Металариец
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Лучше бы вообще полностью интервьюшки сюда копировали, это несложно же.
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Jan 24 2011, 14:38:12
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#43
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Group: Металариец
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ЦИТАТА(Arcturus @ Jan 24 2011, 11:33:07) Лучше бы вообще полностью интервьюшки сюда копировали, это несложно же. лентяи, что с них взять?.. |
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Jan 24 2011, 15:02:58
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#45
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Group: Завсегдатай
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ЦИТАТА Лучше бы вообще полностью интервьюшки сюда копировали, это несложно же. "Полностью интервьюшки копировать" считаю уместным, если вью с печатного журнала... ну или скан. А так по ссылке совершенно нетрудно зайти. |
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Jan 24 2011, 15:21:47
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#46
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Group: Металариец
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А видео интервью пойдут? Мне вот интересны.
Interview with RAVN of 1349 (IMG:style_emoticons/default/pray.gif) Блин, он как с другой планеты (IMG:style_emoticons/default/headcrab.png) |
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Thanks:
(1) Blood13, |
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Jan 26 2011, 13:50:02
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#47
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Group: Металариец
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Urfaust 12.01.2011(ENG) http://www.lurkerspath.com/2011/01/12/a-tr...rviews-urfaust/
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Feb 2 2011, 19:49:54
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#48
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Group: Завсегдатай
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Setherial (Swe) [02.02.11] - Moonlight Dominion:
http://www.moonlightdominion.com/forums/sh...16912#post16912 Отвечают Infaustus и Mysteriis. (Rus link) |
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Feb 10 2011, 17:32:56
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#49
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Group: Металариец
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Woods of Desolation (D.) for MetalNews.de - 06.02.11 (Text ENG) NEW Interview February 2011 A new interview with D. has just been completed for MetalNews.de - for non-German readers here is the interview in it's original English form: 1) Hello Guys, first of all congratulations to your new release, it has become a gloomy piece of work, in a somehow positive way. Hello. Thanks for your words. 2) Effectively both bands, AUSTERE, as well as WOODS OF DESOLATION consist of three people, which are Sorrow, D. and Desolate. Up today you put back Sorrow in the line-up, who is now responsible for the vocals. How does this come? Why these two bands and why has one split up? Actually this is incorrect and all to often I have continually noticed the line up infomation of Austere and Woods of Desolation is incorrect! So I'd like to take this opportunity to set the record straight once and for all: Austere was Desolate and Sorrow, I just performed session bass for Austere's "To Lay Like Old Ashes" full-length and was going to join and write for future material, which of course did not eventuate due to the band breaking up (due to their own reasons). The line-up for WoD is currently Tim/Sorrow on drums and vocals (whom just recently particpated on the new album, so he is not "back in the line-up") and myself on guitars/bass. Desolate was a guest vocalist on the "Sorh" EP and some earlier tracks as well. It should be pretty clear that both bands are totally seperate entities; Woods of Desolation has existed since 2005, and Austere started in 2007, so whether or not Austere split up is irrelevant, Woods of Desolation would still exist in one way or another! So considering this, the whole notion that WoD is a continuation of Austere is completely wrong. 3) In a comparative view to your last EP “Sorh” and also your LP “Toward The Depths” you've changed the sound quite much into what you had done with AUSTERE on “To Lay Like Old Ashes”. Was the line-up change a reason, or did you just had a feeling, that told you to be a bit more differentiated, a bit more clear? As I mentioned, I didn't really have anything to do with that Austere album. Any similarity would probabaly be due to the fact some material on the new Woods of Desolation album; Torn Beyond Reason, was orginally written for the 3rd Austere album which never eventuated, and also the fact we used the same studio to record and produce our albums. The sound found on the new WoD album is something that I have wanted to create for years but have never had the opportunity to do, until now. There was no concious decision to change the sound of WoD, it was just something that naturally occured. 4) You're currently moving in an interesting genre, which earns quite much attention in the last years. For the type of music you're writing there's the stamp “Depressive Black Metal”. How do you feel about this, where would you categorize yourselves, or would you in the first place put a stamp on your music? I personally dislike alot of Depressive/Suicidal Black Metal, for the most part the music/lyrics/imagery is just not genuine and simply just an act. I think there are certainly different aspects to my music then just being "depressive", I don't intentionally aim to create "Depressive Black Metal" per se. If it was up to me I would not categorize my music, it is just honest expressive music. 5) In Germany you can speak of an active group of people who are into this type of Black Metal. There are also a few bands, trying to pull into this direction, with a huge amount of sadness and despair in lyric and melody. Is there such a scene in Australia? How is the response on your music in Australia? I guess there is only a small Black Metal scene in Australia and from there a handful of fans of my music in this country. That is based on those that have ordered releases directly from me, but considering most people just download music these days, perhaps there are more interested in WoD that I'm not aware of, I'm not sure. 6) Listening to your music creates an emotion that gets you really down, besides total luck, because music is able to do so. What are the impressions you have, playing those songs? What do they mean to you? Are they a kind of catharsis? I could imagine, that they work as a valve for all the hatred and faint in society? All music and lyrics (that I have written) are deeply personal and honest representations of various thoughts/feelings at the time of writing. It is definitely very beneficial to be able to pour all of this out of me into what you hear within my work. A kind of catharsis - defintely. The new album in particular means quite alot to me. It's pleasing to know that if I'm still alive in, say, 10 years or 20 years time, I will be able to listen back to this album and remember everything that occured during these years of writing and recording, as all those memories are now permantly engraved into these songs forever. 7) I spoke of AUSTEREs “To Lay Like Old Lakes” a few questions before. Which influence did this album have for your recent work? Have you orientated on this type of song-writing or is this a pure coincident? As I mentioned previously, some material on the new album was written for Austere, so naturally some songs may sound similar to the last Austere album. If another WOD album is made, this may not be the case at all though, it may very well move in another different direction. Time will tell. 8) What are your general Inspirations to write music? At the level of emotions, as well as at the level of special moments. Besides that, what are maybe bands that have impressed you and spend you inspiration? Life in general would be the primary inspiration I guess. I listen to alot of different types of music, from punk/hardcore to rock to classical to black metal; but I don't think many (if any at all) conciously influence my work. 9) How has it come, that you started to write music? Some of you play also with NAZXUL, a very popular Black Metal formation, that started already in 1993. Where is your musical origin? What was the reason to make music in the first place? No member of WoD is currently playing in Nazxul. My interest in writing music actually started very young, I guess maybe 11 years old or so I started - obviously not playing Black Metal. Over the years I have since discoved the importance of creating music and the importance of music in general. Very few people will ever understand and grasp this, and that is their loss I guess. 10) Will you play any live-shows this year? How will you realize the live-line-up? No, there are no plans to perform live anytime soon and I highly doubt it will ever happen. It is just not something I'm interested in doing at the moment. 11) Strange idea, but in a post-nuclear parallel world could you imagine, to make a song with a musical genius called Nick Cave, who is also from Australia? I don't think I could actually do it. I simply just much prefer to work on music alone then working with other people. 12) Alright, there are just three more questions to ask: 1) What was the last book you've read? The Kurt Cobain Journals 2) Would you like to compose a soundtrack once? Yes, I think this would be great to be able to do but also very challenging. 3) Does anyone of you have pets, if yes, what kind of? No. Thank you very much for your time, keep on like you have till now. I appreciate the bunch of bands you're offering the world. Best wishes from Germany. Thanks for the interview. For those interested contact can be made via the following avenues: woodsofdesolation @ hotmail.com www.myspace.com/woodsofdesolation  |
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Thanks:
(1) Mikhail1944, |
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Feb 10 2011, 19:43:18
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#50
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Group: Металариец
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Короче, ждем неизданный альбом Austere.
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Feb 11 2011, 22:29:05
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#51
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Group: Завсегдатай
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Dimidium Mei (Pol) [11.02.11] - Moonlight Dominion:
http://www.moonlightdominion.com/forums/sh...p;threadid=3260 Отвечает гитарист коллектива Chaos. (Rus link) |
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Thanks:
(1) Blood13, |
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Feb 12 2011, 00:19:56
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#52
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Group: Металариец
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Lifelover - Dancing With Misery - Story online since: 07.02.2011
http://www.avantgarde-metal.com/content/stories2.php?id=204 |
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Feb 12 2011, 09:07:14
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#53
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Group: Завсегдатай
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Интервью с Беном Фальгустом, вокалистом Goatwhore, снято во время совместного тура с Watain. [ENG]
http://www.aux.tv/video/HARD-207-Goatwhore/ |
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Feb 16 2011, 15:23:38
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#54
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Group: Металариец
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Feb 17 2011, 21:41:59
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#55
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Group: Металариец
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Bone Awl http://www.metalireland.com/2011/02/14/bone-awl-interview/ for Metal Ireland 14.02.2011(ENG)
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Thanks:
(1) Blood13, |
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Feb 18 2011, 08:52:06
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#56
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Group: Металариец
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Interview mit Urfaust (16.02.2011) - на немецком
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Thanks:
(1) Blood13, |
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Feb 18 2011, 18:38:06
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#57
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Group: Металариец
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Interview with the Guitar Player from Shining(swe) Peter Huss for heavyhardmetalmania.net (ENG) A few days of starting the tour "Death Holy Death" we spoke with the guitarist of "Shining" Peter Huss! The conversation walked around the tour and the next release! 1-A few days of starting this tour "Death Holy Death Europe 2011"with Watain and Aesoth, what to expect from it? Well, the fans can expect an uncompromising show and probably they will leave totaly drained of energy. It´s a solid line-up and they can look forward to the best... A good thing is also that we will focus on the west south/west Europe on this tour. We have played so much in countrys like Germany the last few years, and only one time in portugal 2008, that it´s really good with a different route now. 2- Given the growth in all aspects of Watain recently and made thenominations and awards are now a reference in the band BlackMetal, this tour could also serve as a launching pad for theShining? Yeah! I meen, hopefully we will all benefit from this tour. But naturaly we will reach out to alot more motherfuckers thanks to watain. 3-The news that have left tell us that the demand for tickets is to be very good in Lisbon they changed the starting location for a bigger /better for logistic reasons. "high demand"?, will it be a good omen for the tour? Well, I have´nt heard any pre-sales for any of the other shows so I honestly don´t know. But my guess is that it will be a really good tour when it comes to ticket sales. 4-Some people say the Shining are the Opeth of Black Metal, do you agree? Is this label founded? I have never really thought about this. If some people think that, well then maybe it is so? But I think it´s a really flattering comparison, all of us in the band loves opeth. But we have´nt tryed to be "the black metal opeth" if you now what I meen!? 5-Following the previous question, "Shining" presents us with a very well worked black metal, you as a man of large projects (Apostasy, RuinedSoul, Unlocked, Pantheon I), among others, are a guitarist reference, what do you foresee for your future? Well, first of all I consider myself "a guitarist" and not the typical black metal guy. Take Apostasy for example, it might be black metal but it sound more like a mixture of dimmu borgir and symphony x. I like to do as much different projects as I can, big or small, pop or black metal, it really does´nt matter. What can I say, I just love to play guitar. And talking about Apostasy, you should really check out the new album "nuclear messiah" when it hits the streets in may. Good shit! 6-Changing the subject slightly, Shining still remains in the producer shelf? How is this possible? If you refer to the new album and all the delays? Well, it´s a long story... let´s just say that it is now finished and after our label have done the promotion a release date will be official. 7-The Indie Records put money into the production of the album, what are they doing to the same in order to be finalized? Indie has from day one given us alot of support, more then they really should have. And they have also taken full responsibility for promoting and puting the album out on the streets as soon as it´s possible. The delay has not been because of them. But a big part of the delay was that we could´nt get enough time in the studio due to other bookings there. 8- It appeared on the net that this tour would be at risk for Shining because of Shining VII not being ready on time, yet you chose to do it professionally, but the losses are many since the output of one album supported with a tour behind definitely brings more advantages at all levels, are they thinking to take any action against the producer? It´s not really a risk to do the tour, it will be good anyway. But of course it would be better if the album was out allready. We will play songs from the new album so it will be like a promotion tour instead. And for your question the answer is no. No actions are needed, we will leave it all beahind us and move on. 9-The Shining has become one of black metal cult band! What can fans expect from this new album? To be honest I don´t have a fucking clue... I think the "usual", some will like it, some will hate it... But I guess that you want me to describe the music and direction? It´s sort of a mixture of the three latest albums. The production is more like 'the erie cold' in a way, a little softer then 'klagopsalmer' and more "open" then 'Halmstad' I guess. When it comes to the songs I can´t really describe it... A couple of the songs are allready on youtube from different live shows, but basicly I think it´s up to the listener to here and judge... 10-Can you comment on the following: The management and promotion of the band goes by the great lady who is Patricia Thomas, every day I see great praise for her work, I am myself a student and admirer of her work, she is different in some way from all others, she treats each band as they were a child from her own! Yeah, I totally agree! Patricia has done alot of great work and I really appreciate her dedication to music. I have of course met her many times and she is just great. She has helped us alot! 11-One last word for fans of the Shining who follow HeavyHardMetalmania! Thanks Peter and see you at Hard Club Porto I hope to see alot of you when we bring our show to portugal, and get ready for the real fucking deal! Thank you! |
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Thanks:
(1) Blood13, |
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Feb 18 2011, 21:53:59
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#58
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Group: Металариец
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The Ruins Of Beverast (Alexander von Meilenwald) for Cross Of Black Steel Magazine - August 2005 (ENG) done by Mirgilus Let's begin by you enlightening us with a bit of a history, and please take us up to date with your current happenings. You're also a part of Nagelfar, could you tell us a bit about this band also? WhatТs happened with your previous bands like Graupel and Heemat? At the moment, I am composing new material for The Ruins Of Beverast, besides from studying and working. The Ruins Of Beverast is the essential effort for me. There is nothing besides it. Nagelfar have split up in April 2002 at the climax of a serious break between our guitarist and the rest of the band, so there is nothing more to tell about them. Heemat was no band of mine, I just helped them out on the drums on their demo tape. Two friends of mine are responsible for Heemat and write the songs. As far as I know, they want to start something again in the near future, but I am really not sure. I have never been a Graupel-member. I know that it is spread through the internet, but itТs not true. The ex-Nagelfar-vocalist Zingultus is a part of them and I still share a close friendship to him and the rest of the band, but I have never been a part of them. Anyway, their debut album Auf alten Wegen (On Ancient Ways) is out now and I guess you should check it out... How would you describe the music of The Ruins Of Beverast to those yet to hear it? The Ruins Of Beverast is kind of a factory of apocalyptic soundscapes and sceneries. As I compose the lyrics before the music usually, one can regard the songs as a sort of movie to run before the mindТs eye, you can say. All of the music is very gloomy, oppressive and inconvenient. The concept of The Ruins Of Beverast is described as Anti-human, opposite BM. A perception which seems to grow more and more common as the days go by. Tell us in your own experience the biggest faults of humankind. Our greatest errors and shortcomings. And lastly, how this philosophy fits in with you yourself being a human? Well, up to now I have not really composed an index of humanity's biggest faults... It's just so obvious, I mean I live in the city and just need to go outside to become aware of the fact that noone should handle me a weapon. Just now while I am writing this there is a fashion parade going on outside my window accompanied by these shitty Techno-beats which beat me out of my chair, so what more do I need than to take a look upon these maggots enjoying this infantile and ridiculous spectacle? Turn on the TV and the horror will continue. The German TV presents propaganda for dullness. The duller you are, the cooler you seem. And what do you think the people believe it. The personal horizon which a human being is willing to allow itself diminishes daily. It is trendy not to be interested in anything but fashion, celebrities and sensation mongering. In Germany, nearly of the pupils are not even able to handle their own mother tongue anymore, they cannot write, they cannot speak properly. And they are not even guilty for that, because all their environment convinces them of the fact that this is not important anymore. Germany has thankfully adapted that from this terrible American trend mania, but the tendency to make life easier without having any awareness of the consequences is a global trend as I believe. This is no philosophy, this is daily personal experience. The term philosophy is used completely inflationary meanwhile, it is not necessary to formulate my perception of humanity as a faceless and manipulable flock of sheep demanding a leader to structure their poor mind. However, I am one of them, and unfortunately I am aware of that, which is a real horror in everyday life. I wish I would counteract this more often and more consequently. Why did you choose this strange name The Ruins Of Beverast could you explain the history behind this name? Most of the names of today's BM-bands are boring and usual, I do not like expressions without own feeling. Nevertheless, I do not think The Ruins Of Beverast to be that strange, because it is an event that is well known in ancient Germanic belief. Beverast is the bridge between Asgard/Gods and Midgard/Humans, Bifrost in ancient Northern language. There are several processes that initiate the Ragnarok, that means the end of the world as our fathers knew it. One of this processes is the bridge of Bifrpst crumbling down, thus The Ruins Of Beverast is kind of a synonym for the apocalypse that is not Christian, not modern, not earthly anymore. And it is the sight of something impressively giant destroying itself and all around it. That's what the concept of The Ruins is all about. The music of The Ruins Of Beverast is very dark sounding, with lots of folk elements, and dark ambiental touches. There are indeed some great bands today who capture the raw, cold feeling of how black metal was perhaps intended. What are your thoughts on the many off-shoots of this genre? Like additions of clean male and female vocals, keyboard enriched sounds, etc..? Well, acutally I do not recognise a lot of folk elements within The Ruins Of Beverast, and to be honest, I don't like folk elements that much... Summer Decapitation Ritual has a medievally inspired middle passage, that is because the lyrics demand it at this point. Well, however I cannot estimate these offshoots globally, because some bands can really handle them well and musically appropriate. If you take a look at the godly UNHOLY, you'll find that the female vocals they added fit perfectly to the lunatic atmosphere of their music, the early SATYRICON and EMPEROR among several others - were masters when it came to the usage of atmospheric keyboards, and I use keyboards and clean male vocals for myself as well, so... if it serves to the atmospheric evaluation of a musical concept, so be it. On the other hand side, we certainly need not lose any words about this Gothic- or Neo-Black-Metal-kitsch, which is celebrated by these particular bands that once claimed to be Terror-Satanists, or by bands that got to know their own music style just a year ago no need to mention names here, most of us all know who they are. I am not interested that much. Tell us a bit about the topics and themes involved in your lyrics. Is there a point you try to convey to the listener? A feeling? Well, the lyrics for The Ruins Of Beverast are the matrix upon which the musical expression is built. Most of the lyrics are created before the music, to properly transfer their guidelines into a musical shape. Some of them serve as a kind of outlet of personal inner proceedings, some others create sceneries of anti-human horror. The most significant task of the lyrics is to paint a surreal and bizarre picture of an unearthly landscape or scenery which serves as a transmitter of the individual atmosphere of each song, a transmitter of discomfort, gloom and contempt for modern reality. Please comment the following: Then all danced, my heroine/ unaesthetically/ to the war opera/ I was proud to start a killing spree/ with you Just a small correction... it is They all danced... The song describes a campaign of vengeance which is started by the narrator in admiring, but yet moanful address to Mother Earth, who lies dying after the so-called apocalypse has raged. Heroine is in contradiction to some people who wrongly interpreted it as a drug the female form of hero, and a form of personification for Mother Earth, who is encouraged to take revenge against her ignorant and merciless tormentors that is they who so miserably and dumb evoked the end of it all, enjoying dumbness close to nihilism, dancing unaesthetically to their own decay, without noticing it, without being able to estimate it. Who is the man on the backside of the booklet? Andreas Lacher, the owner of Kettenhund Records, who were responsible for the release of the first two Nagelfar-albums. He was stabbed to death in December 2001. As he was very much more of a friend than of a business partner, I dedicated this album to him, because it was the first work I released after his death. It's been said, that Black Metal not expressing an ideology has no purpose, and is not BM. What are your thoughts? What is your ideology? I disagree. Ideology is the saviour of the weak; for punks, Nazi-kids and religious lunatics, and I guess this expression is frequently used without a deeper thought. Ideology is an idol for those who do not want to stand out of the mass, accepting a bunch of dogmas as their total guidance without spending a deeper thought on it. Childish. It is important for me to set up personal goals to strive for or developing structures of an attitude that guides my own way, still these standards are set up by me alone and have nothing to do with an empty shell of an ideological expression. And I guess it's just that what was meant back in those days; it was most probably expressed too superficially though, I guess... What are some of the things that inspire you in this life? Could you tell us what you do in your spare time when not working on The Ruins Of Beverast? Not much, I'm studying. As studies have become ridiculously expensive in Germany, I have a job besides them. Both in combination rob most of my spare time at the moment. The remaining time is reserved for all my musical/creative matters. Name some of the greatest books you've read in your life. I do not read much besides specialized literature for my studies, I do not find any time to continuously read a book. The ones I read before I started studying are not worth mentioning. They were nothing that is settled in my mind. What one person of the past do you hold alot of respect for? And why? I cannot hold deep respect for persons that I do/did not know personally. I respect my closest friends, thatТs all. Could you tell us abit about your involvement with Van Records? What are its goals? The Van is an underground label, no more, no less. Concerning our own releases, we concentrate on bands that are personally known to us as reliable and above all dedicated and self-willed characters. Besides, we have to find a way to their musical expression, of course. It is important for us not to be estimated as a BlackMetal-shop for the masses. Most of the items are total underground, yet not underground-crap, but mostly selected quality. However, the extent of the shop will most probably decrease in the future, we are planning to concentrate more on the label work. What do you think about the limited CD/LP/Tape releases in general? It's an admirable stance, to only share your work with very few who you trust. But as humans, I think all of us wish a certain degree of appreciation from our fellow man. And certainly that can be a negative thing in music, but without this desire to share, we would also be void of much art and music of the past. But where does one draw a line is more of the key point. Can a musician remain true to himself, and still sell a million copies of his work? Well, I guess this is a question of authenticity and personal consequence. In my opinion, the accusation of being commercial or untrue to oneТs roots is not based on (un-)limited editions, sale figures or coloured cover paintings, but on the vehemence with which one tries to reach for goals that are not appropriate to one's own abilities. As long as a musician is able to properly estimate his abilities of performing or composing, he will consequently manage to set up individual goals. I have a strict idea of the extent to which The Ruins Of Beverast will spread their name and creations. There was a line to be drawn and thatТs what I did and what will be valid for eternity. I extensively know the people that are able to find a gateway to T.R.O.B., and these are the people with whom I share my thoughts and whose opinion is fairly interesting to me. And besides that is the important thing they are the ones I try to УreachФ to a certain degree. All that lies beyond is insignficant. It is not absolutely possible to encircle this amount of people exactly, but to a large extent it is. It would also be interesting to know what you find are the good and bad points about your country? Germany is a piece of earth which is full of scum, just like all other countries in the world are hypocrisy, ignorance, glorification of stinking dullness, and affectionately accomplished double moral standards. Still, I have to arrange my everyday life here, and if you ask me about the disadvantages Germany likes to boast with discipline, which is nothing more than conservatism and inflexibility. The Netherlands and all Scandinavian countries for example seem a lot more disciplined to me, and that is probably because they are not that eager presenting it. The most striking problem however Germany has a giant remorse problem because of its younger history. You cannot speak the truth here if it is not politically correct. Criminal foreigners are being treated rather obliging, and you are frequently rated a Nazi when pointing out that this country has an alarming problem with criminal, maladjusted Turks and North Africans, which is nothing more than the truth. Yet, not to be discredited by the observant publicity, this problem is being completely ignored. The good points? We have some considerable natural phenomena and the best beer in the world. What are your thoughts on religion, such as Christianity and its impact on the cultures of the world? Well, what do you expect? I do not believe in a merciful invisible creature that benevolently leads us into delight. Consequently, I do not believe that this creature has a son that is immune against total death. I do not believe in a horned antagonist that is at war with both of them and selects the worthy out of the faceless mass to rearrange the forces of the world according to destructiveness and chaos. Throughout the past times, many of the pagan (if you interpret it as pre-christian) relicts have been adapted by the new belief, and are now interpreted as Christian symbols, ignoring their ancient origin. That is really not a new realisation. The few interested people know it, the mob does not. However, for me this has nothing to do with Christian belief anymore, but with universal modern ignorance and indifference. Christian religion is hardly existing meanwhile. There is nothing left any spiritual force and idea that guided a human way a millennium ago. It has become a commercialised, profane shield for the badly conscienced, and most of them leave me alone, so I am not interested. The original biblical form of Christian religion has not really a great significance in Germany anymore. Few are left that preach the Bible's words, most people use religion to hide behind it or to justify their deficiencies, and most of them are not really kowledgeable about their belief, except from few desperate ones that try to act against oblivion. Most of the people here are momentarily occupied with condemning the insane happenings that arrive from the Middle East, because they see it on TV. TV tells the truth, you know. Actually, I am very interested in the times when (Christian) religion was spiritual and serious. I do not believe a single word of the Bible's theses, yet it is an incredibly illuminating certification of the human psychological quality and the moral concept of historical aeon. And besides, the ancient world's sceneries are perfect settings for atmosopheric art. In your view, what lies in the future of the human race? Will things grow worse before better? Of course they will, but noone is interested. The more and more egoistic attitude, personal overestimation, ignorance and superficiality lead to more and more dullness, primitivity and cause more and more mistakes and failures. The modern human being is characterised by the missing will to pass any knowledge to further generations (because it has none), by the obsessive absorption of medial crap and untruths, by the pleasureable disrespect for natural beings and laws, and by arranging the own little vision of the world into the simplest and most primitive categories. As this seems to grow worse day by day, where shall it lead us, I ask you? At least, most of them do not even recognise it. That is certain, because these phenomena lie out of their narrow vision. Possibly I am an urged pessimist, and most probably I am to be accused of just the same. Do you believe there is anything that awaits you after death? Yes, I believe in a great perpetual sleep. No more, no less. What are your thoughts on the motto Might is Right? Do you believe in the survival of the fittest philosophy? These natural selection ways have been stifled by society, where the weak are often praised and glorified. Your thoughts? What is weak and what is strong? I know such a lot of people who are physically strong but totally lack of any brain, and the other way round. This seems too global to me, and the Уglorification of the weakФ by society is once again nothing more than satisfaction of the own conscience or searching for recognition and personal advantages. And yes, I guess it is definitely comparable to the ideal of the poor Jesus Christ. Yet, in fewest cases human helpfulness or feelings of pity have altruistic background, often just the opposite is true, in my opinion. This has nothing to do with opponing to DarwinТs theory. But to return to the point, according to everyday experiences I do not entirely believe that natural balance is secured arbitrarily. The beings themselves are responsible for their personal situation, their physical and mental health and the progression of their knowledge and abilities. If one is either unwilling or uninterested or unable to gain control over these things, he will sooner or later be sorted out by the machinery of death, to secure the natural balance. No more, no less. And truly, this is one of the very few machineries in this world that still function the way they ought to. Is there a part of history which draws you to it most? If so, why? So many and none. My interest in history grows with the ability to revive ancient pictures before the mindТs eye, to make them real, and to imagine a certain scenery precisely before the mind's eye, to walk on historically meaningful ground. That is a way of history that fascinates me in contrast to theoretic matters, and in this regard I do not distinguish between any epochs. My studying interest leans more towards the Middle Ages, particularly the Roman Empire Of The German Nation, yet I must admit that literal history does not approximately compare to the aforementioned way of experiencing the past. How do you view paganism? Do you hold any beliefs that could be classified as superstition? No. Actually, I am not really sure what superstition you speak about. Paganism has nowadays some definition problems. In times of the Romans the pagans were the Уrural populationФ, particularly the uneducated peasant families that had no possibility or did not want to get in touch with the new religion. In Middle Europe, however, Paganism is nowadays interpreted as the religious belief of the ancient Germanic population. If you speak of the latter... I regard the ancient Middle and Northern European history as remarkably fascinating, and that is of course to a certain extent due to the fact that it reveals an era of my homeland that is intensively tried to be erradicated and denied, yet is much more significant and influential than its Christian successor, regrettably not accepted though. Furthermore, I regard the ancient Germanic myths as such a lot more fascinating, imaginative and impressive than all other religious appearances I am aware of, and they are a sea that is worth diving in. What do you hate most in this world? I hate a lot of things in this world, and I really cannot sequence them or put them in an order. And it is not important for me what I hate most. What do you envision the last words on your lips to be, as you lay dying? I am a realist. I truly cannot imagine that I will be medicinically able to say anything just before my death. I will be occupied with my throes of death and try to breathe as long as itТs possible. To invent some last words sounds a bit pathetic to me... still, I am not Goethe. It is said, that everything worth living for is also worth dying for. Do you believe this? Honestly, I have never been thinking about this up to now. Possibly itТs true; I know very few things worth living for, but to be honest Ц I could die for them all Ц druggy or drunk. Give us a last glimpse into the future of The Ruins Of Beverast and what lies ahead? Long term plans? No long term plans, because everything concerning The Ruins Of Beverast depends on my mood, motivation and available spare time. Some split releases are planned, and I am working on a new album which will probably be released still this year. Nothing is sure yet. Lastly, your words of wisdom, and comments to your comrades and enemies world-wide? No, I have to repeat myself... these are words that are all spoken through The Ruins Of Beverast, not through the internet or media. However, I thank you for your obviously deep interest in my blurred thought patterns, although this can become really exhausting... |
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Feb 19 2011, 00:24:28
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#59
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Group: Завсегдатай
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Truppensturm (Ger) [19.02.11] - Moonlight Dominion:
http://www.moonlightdominion.com/forums/sh...p?threadid=3268 На вопросы отвечает лидер коллектива Vangard von Rimburg. (Rus link) |
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Feb 25 2011, 16:25:06
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#60
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Group: Металариец
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Не очень свежее, интересное интервью с Clair Cassis.
Clair Cassis (Josh) for Starlight Temple Society - January 2010 (ENG) -Good evening Mr. Josh. As you know, Jon "Thorns", the mouthy illegal alien who runs Full Moon Productions (and a midget escort business on the side) was going to send you an interview but I told him to fuck off because we both know his communication skills are about as dry as a loaf of fruitcake. What an idiot. Anyway, how are you? Josh: I'm good, sleepy, full on salmon and wine and stoned out of my mind. -Let's begin with the main subject: Clair Cassis. Can you give a brief synopsis? J: As brief as possible: we're a black metal band from Portland involving members who love to create really good songs. -Why exactly did you end Velvet Cacoon so abruptly to begin Clair Cassis? I think myself and others were quite shocked because the fabulous "P aa opal poere pr.33" was such a step up from "Genevieve" and it had an original style all of it's own which really seemed like it could be developed even further. So what happened? Why did CC supplant VC? J: Clair Cassis is essentially a "pop" version of Velvet Cacoon. Whereas VC consisted of longer, dense, production-heavy black metal wrapped in a haze of guitar distortions, Clair Cassis is a cleaner, more coherent and compacted version.. the songs are short and sweet, like empty calories. Saccharine metal. We wanted CC stuff to be catchy (by black metal standards) with a strong focus on quality songwriting. All the baggage attached to VC just wasn't fun anymore, so it made sense to go out with a bang (Atropine/33). -Before we go any further, what are thoughts on "P aa opal poere pr. 33"? Are you happy that this album closes out the tenure of Velvet Cacoon? J: It took five years to make sure every second of that album was perfect. It was the ultimate VC sound, there was nothing else we could've done with that whole nautical ambient black metal atmosphere. That album is so huge in so many ways, and seeing as Clair Cassis and Atropine are also out there, I think P aa opal will go by under the radar. I doubt I'll ever put that much time into an album again because being a perfectionist to such a degree is really, really, really exhausting, but I think that album in particular will be the one VC is remembered for. -So in other words you see "P aa opa...." as Velvet Cacoon's magnum opus? J: I honestly can't even fathom using that term for any VC releases, not because I don't love what I do but because to me there's really only two true Velvet Cacoon black metal full length albums, "Genevieve" and "33", and they are so different that each balances out the other. With that said, as a musician, you always feel closer to what you've most recently created, it's closer to you and what's going on in your mind. The most recent album, "33", was also more perfectly fleshed out. "Genevieve" had some shortcuts that now bother me such as the lack of bass guitar and the fact we never finished Laudanum like it should've been. -How about "Atropine"? You told me once that this was your favorite Velvet Cacoon material. Does this still hold true? For what reasons? J: Yeah, "Atropine" is my favorite thing ever, even moreso than Clair Cassis. The music on it just completely soaks into my brain, it's my favorite stuff to have on in the background when I'm doing something. It's so dense and concentrated, it just feels like black vines growing around me when it's playing. I love how cozy and visual it is, especially when listened to under the covers with some quality headphones. I think it, combined with "Genevieve" and "33", create a very strong trilogy of releases. -Moving on.....Describe the debut of Clair Cassis track by track. How is this album similar or dissimilar to what you were doing with Velvet Cacoon? J: Track by track, this is about the most accurate breakdown of the album I could give: Ambercandle: The purpose here was to create a song that absolutely decimated in a live setting. I think it's the perfect song to introduce people to Clair Cassis. The Feathered Fog: The first song written for the Clair Cassis album after the P aa opal Poere Pr 33 recording was finished. I think it's a really solid track and probably the best representation of our sound. Kir Royale: An experimental tune, a distorted Gretsch White Penguin guitar being gently tapped with velvet mallets, the tapping leads to hammering, then back to tapping. The first take of this was around 10 minutes, then we did it again and cut it down to a couple of minutes. It's got a good atmosphere. Our Overwintering in the Ivories: "The black metal song". The second half is an old Pumkiva song. Pearls & Pinesmoke: This one has a bit of groove to break up the faster parts before the second part kicks in. Angela's bass lines on this song are my favorite part of the album. Noctilucent Petrichor: We wanted to do a "Genevieve" kind of song for the album and this was it. Hazelhearted in the Seaparlour: At least once a summer I sail from Miami to the Bahamas. This is a tune about those trips. The refrain repeats "Under the sea is the sea is a lighthouse a lighthouse a lighthouse". It's the zone-out track. -Although you describe Clair Cassis as being "less atmospheric" than Velvet Cacoon, there's still a prevailing moody undercurrent that conjures the spirit of "Dextronaut" and even "P aa....". I think we can both agree on that? J: Yeah there's definitely a little atmosphere to add in some color.. it's not a bone dry and raw black metal sound. We wanted to keep the album short and to the point, like the older pop records from the 60's. With VC we tried to make the albums flow together so much that it was one big hazy blur. With Clair Cassis there is more of an emphasis on each song being it's own little thing, each song has its own personality, each one its own atmospheric style. -Some of the tracks on the CC debut are quite puzzling. "Hazelhearted in the Seaparlour", "Our Overwintering in the Ivories" and "The Feathered Fog" for instance seem to make little sense to us, but maybe they mean something to you? J: I think it's silly to try to convey any deep message via lyrics in black metal, so I prefer to make everything really pretty. I call it wordpainting, drugs taught me this. I think these colorful wordplays do a good job at describing the music we create, moreso than some bland title like "The Dark Mountain" that's too ambiguous to mean anything at all. -What so far is your favorite aspect of the album, and Clair Cassis in general? J: Starting from a clean slate is nice, really refreshing. My favorite thing about the album is probably how enjoyable it is to listen to. VC material took a lot of patience and concentration, you really had to give yourself over to the music to enjoy it. With Clair Cassis, you can sit down, hit play and 3 seconds in you're already into the song; short attention spans, short verses, short bridges, short refrains - repetition and minimalism don't really live here anymore, no more room for noodling around with aimless drones. -Does LVG, your French dream pop muse, continue to work with you through Clair Cassis? If so, how is she adjusting to the change over to Clair Cassis from Velvet Cacoon? J: She does, and she is. She writes all the bass lines herself and wrote all of Our Overwintering in the Ivories. I am a control freak and had a tight leash on the VC material, but with Clair Cassis I hold back and let Daniel and Angela write a fair amount and it always sounds good. The three of us have been talking and making music together for almost 10 years now, we are all perfectly aligned when it comes to the sound we've created over the years. -What other musicians are you working with or plan to work with in the future? Is D.Marvin still keen on contributing his talents? J: Daniel and I have been more productive musically in the last year than the previous 9 combined. We've got most of the 2nd Clair Cassis album already written, which will likely be out in autumn 2010. I'm not sure if any collaborations will happen with Clair Cassis.. I'm really happy with just the three of us. -We covered the aesthetic (dis)similarities between CC and VC- now how about the creative and artistic side of this? Is anything different between composing and writing music for Clair Cassis and Velvet Cacoon? J: It's more of a group effort, and it's not so overthought. With VC there was a tendency to write a song, then practice it over and over, slowly changing parts here and there until it eventually formed an entirely new song, and this would go on and on and on until we recorded it. Wherever the song was at when it was time to record, that's how it was recorded. With Clair Cassis, it's the complete opposite. I just want to make these songs a bunch of little three and four minute morsels of black metal, coherent and really enjoyable to listen to. For us it's all about quality tunes. Obviously we're not trying to impress anyone with trueness or whatever, or being overly serious/silly and pretending we're vampires living in some frostbitten dungeon. The only interest we have is in letting our music do the talking. -Would you say then that Clair Cassis is easier to create for than Velvet Cacoon? J: Much easier, and more enjoyable too. It's so simple, we don't overanalyze it so much anymore, the flow is more evident. We smoke pot, dress ourselves silly, douse ourselves in perfume and go to our practice hall.. everything comes out so perfectly now. -The douchebag who runs Full Moon Productions asked me if the name "Clair Cassis" has something to do with Harry Potter. So I slapped him, told him to shut the fuck up and ignored his question. But that does beg an answer because googling the name provides little to no help in uncovering what a Clair Cassis is or what a Clair Cassis does. If Josh's mighty brain were googleable then what would I discover about this name that I don't already suspect? J: More wordpainting. Clair is French for 'clear' and Cassis is 'black currant', an ingredient in antique perfumery that I adore. The name Clair Cassis had a unique ring to it so that's what we started calling ourselves. There was no real thought put into it, and the name holds no significance whatsoever. - There seems to be a ton of rumbling out there in the blogosphere about the arrival of CC. What kinds of comments are you noticing from fans and detractors alike? Have you been surprised by this reaction? J: I really have no idea. In the first few years of Velvet Cacoon I used to spend time reading everyone's opinion but these days I don't even care. People's opinions are pretty much always going to be the same no matter what it is you're doing. If anything, I kind of hope to avoid some of the fanaticism that hit VC. Eventually people got so into our sound that anything we did that deviated from what was expected was met with really harsh criticism and bewilderment, plus people began wanting information about me personally which I'm not into. I'm a silly, pointless human.. even doing this interview makes me feel silly because nothing I say has any importance. -This debut Clair Cassis album won't be a one-off thing, I hope? If not, where do we go from here? J: We're entering the studio again in late Feb and will have our 2nd album out later this year. -No two Velvet Cacoon albums have ever sounded alike. Will the Clair Cassis follow up be any different? J: Yeah, the new Clair Cassis stuff is very different.. more structured, not much fast material, lots of hypnotic midpaced stuff with really nice production. The new tunes are real catchy. -Well, we're done! :-) Feel free to scold me if anything was missed. In the meantime, good night. J: Sleep tight, don't let the Euronymous-bugs bite! |
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