21.11.2011

Mayhem interview from Qvadrivivm #5 (2008)


Smokescreens & R-complexes

Interview: Kuronen

blasphemer’s days in Mayhem are over. You probably know about his nascent complexes concerning the imposing figure of Euronymous. You probably know the constant bickering about what went wrong with Chimera. You probably also know about the issue of Blasphemer, Hellhammer and drum triggers. You probably know about the levels of alcohol and narcotic consumption in the band. You probably know that, somehow, all the negativity and hate was not only chatter. You probably know about Blasphemer’s thrive for reputation and recognition in the genre of black metal, which he deems is stale to its deepest undercurrents. You probably know about Ava Inferi (or maybe not). So, what’s there to be surprised about in this departure? Nothing, as you probably know.

Ordo ad Chao is not without its high points, the massive “Illuminate Eluminate” being one, the impressively ambiguous structuring another. Let’s give its creator a chance for a quick prologue.

“I put the goals very high,” Blasphemer declares. “It was for me in a way a new situation. This time I wanted to focus on making the grimmest black metal album ever released, hehe. I wanted to go where no one had gone. I wanted to almost cross the barrier of life and death in the music. I wanted it to be black magic in tones. I wanted it to be totally depressive and very bleak but still very powerful. And I wanted to knock down De Mysteriis off the shelf once and for all because in my opinion that album is overrated. Listen to this, listen to me, what the fuck! There’s no doubt this album is the darkest we’ve ever recorded.”

Then, let him who is in the wild bunch no more introduce the main character of this interview, the most important Mayhem member at present.

“Attila carries his state of mind [into the songs]. He’s some kind of portal, if you know what I mean. He’s opening his throat and the lungs represent the sound of negativity and darkness. Maybe not negativity especially, but at least something very deep. It’s profound stuff, like something from the other side. His mouth is opening up, it’s like a demonic, shamanistic thing. I think his depth and vocal variety is defining the album. The point is that he’s a very eager character. He puts one hundred percent of himself into it. That was very pleasant for me to find out because usually it was only me who put one hundred percent into it. As I said, Necro is the businessman, he doesn’t really do anything. Hellhammer only plays the drums. Come on, he plays in twenty bands—you know what I mean. Attila is more like me. I reckon a part of me is in him and that’s why we fitted ourselves so well on the album. He’s burning for this thing. He knows that when there’s no way back, there’s no way back. You have to go all the way through it. I think that’s also in a way representing this album. It’s a lot of hours of talking, discussing different elements we should approach with this song or how the album should stand by itself. That was something very new to me. Maniac never did that because he’s more introverted. I guess I was too at the time when I did Chimera, Grand Declaration of War and even Wolf’s Lair Abyss but I’m not that introverted anymore. Sometimes talking to Maniac was like saying keywords to each other. This time the discussion was a lot more open, a bit more focused and conscious,” Blasphemer sizzles.

Open is certainly a word that describes Attila’s speaking tactics to the point. Throw the man a subject to converse and he will tear it open, spill out the intestines and be careful enough to wrap it up with a conclusion. This obviously ends in hours’ worth of material, only some of which can be presented here. Attila doesn’t make much of Rune’s ill feelings on his fellow band members. According to him, these kind of vehement sentiments are no speciality feats of Blasphemer’s.

“Hahahahahaha!” comes the unconcealed fit of laughter from the singer. “Oh yeah, he’s a very negative person. Actually, I like that. To me it’s great fun to talk to him—usually! The point is that this band is more than 20 years old. Even Blasphemer’s been there for more than a decade. I was in the band only then and now for two years, so I see these tendencies. But you know what? It’s four completely different and extremely crazy artists. It would be a great surprise if there would be no arguments. We are famous of that: we don’t care, we argue each other. Look at what happened in 1993. People were not arguing but killing each other. We are on the edge! We are fucking pushing the limits out there. It’s bringing us effects. Like I’ve been trying to explain, we’re almost bleeding when we come out of the studio. I think it’s much better to stand up and fight or shout at each other every day—we don’t do that but let’s put it in an extreme way—it’s still better to speak out the problems into the eye of the other than to hold it in and one day go and stab someone in the back. If you’re playing this kind of music on this level, you will see that it’s not a joke anymore. We are really playing on the edge of some kind of madness. We are trying to control ourselves. It’s healthy that we have these arguments. Then the band can still keep on and go ahead. If you put things into corners, Necro is more involved with the business than Rune or me. I don’t enjoy my time when I have to deal with people about business. I enjoy it when I have to compose. It’s impossible that everybody would be composing. All in all, people have great respect for each other. And also: if you don’t care, you don’t argue. It’s because you have something to do with that person. That’s why you care. You want to prove your truth. Otherwise you would just say ‘fuck off!’. So far we haven’t done physical fights. Maybe the guys did before, I heard some things… I’m doing my best also do balance this thing, sometimes sitting in the middle of the bullshit the guys created for themselves. I can actually understand everybody’s point sometimes. Everybody’s got something right there and something that is also a mistake. It has to be spoken out, that’s for sure.

“We are a black metal band so it’s not a surprise that some people get drunk or fucked up sometimes. Since I have been back in the band I have recognised this myself. In any band I’ve been before I’ve been one of the worst persons from this point of view. When I entered Mayhem, I suddenly turned into a good boy. That was kind of funny, but actually I think that it’s definitely a part of this that we are sometimes fucked up and a really heavily partying band. On the other hand, I think we’ve got really focused in the last year. When we were in the studio last summer there was this extreme marathon rehearsal. We rehearsed two weeks every day. In the end when we entered the studio we said that it was not an easy thing we’re heading for and it’s going to be a great job. When we started to play the songs, the music started to effect us. All this negativity. Sometimes there was complete silence in the car when we went back from the rehearsals. We wanted to express this very negative, ugly and decaying aspect of our music. When we entered the studio we decided it was the best thing that we don’t drink at all and focus on the album. We kept it pretty much sober. It was the only way. The recording of the album took like two weeks, at least the instrument part. Then there was the mixing and everything. We kept an extreme focus. We were almost bleeding when we came back from the studio. It’s kind of heavy but I think it also has to be. When you go into the studio you have to show up in front of yourself something that you have not shown before and show that you are stronger than before. Just to make a weak of replica of something made before, that makes no sense to me.”

“i was asked to join Mayhem in 1991, or that was the first time that I heard from Euronymous. He reached me somehow in Hungary,” begins Csihar. No matter which way you look at it, it it nigh on impossible to avert from comparing the two Mayhems the former Tormentor vocalist has participated in. As things tend to go, with the evaluation of the bands come notions concerning differences in milieu and time. First, let’s look back into the year the Gulf War started, Helmut Kohl became the first Chancellor of Germany, and one Hungarian joined a pack of ravenous Norwegians.

“It was pretty much like a miracle. I just got a letter from Euronymous one day. It took me two years before I was standing in front of the microphone. They had already composed some songs back then. That time the scene was a small underground one even in Norway. Obviously things were growing and happening, actually going into a big fucking chaos. It was not like today when whenever you tour in Europe and there are people showing up at your shows. It was not even possible to tour back then. Everone was poor and could not survive well from the music. It’s definitely better than in those years.

“Spiritually, I remember the expectations were high about the Mysteriis album. It was almost like this time: everybody was waiting for the album and there were all these surroundings. When we did the rehearsals I did it almost like Pelle did. I had a more naturally black metal sound, like a scream. When we entered the studio I thought that I’d show the guys I can sing like this too. I had this vision. Euronymous and all the others were so happy [with it] that in the end I sang almost the whole album with this dark voice, heh. That was pretty much what was challenging in those years. I was also surprised that these guys liked to do that. They liked challenges and new things. I was thinking, ‘Let’s see what people will think about this later’. In the beginning a lot of people were confused a bit about the vocals. It was such a new aspect. Later they got used to it, it was almost like belonging to that album. We challenged things and I think that the Mysteriis album was kind of ahead of its time. It was really like a cool composition and a cool thing. When I heard the demo tapes of the first songs from that album I was pretty excited. I thought it was a bran new thing, a new aspect of playing extreme metal, with these open chords and everything.

“The recording was almost like now. It took me—we recorded only vocals at the time—like two and a half days. This time it was almost the same: two and a half, maybe three days for the vocals. This time we were a bit more free in the studio. We were in the middle of nowhere, isolated completely from the world. In 1993 we were in Bergen, in a city. But still, I made some atmosphere, like a dark room, for me to do the vocals. Now it was not necessary because we were so isolated. It was always in this atmosphere and milieu.

“We were definitely younger and less experienced persons. So we had naturally more of this expression of extremity. You are young, you have to show this riot and express yourself. We don’t need to express it that much anymore. If I look at the persons, firstly Euronymous was a great guitarist who had great ideas and philosophies. People consider him an evil person. I see him evil from an artistic point of view, like all of us have these strange ideas. But he was great, at least to me. But I know Blasphemer much better by now. With Rune, I think he is such a great guitarist and composer. I love his riffs and unique way of playing. I can definitely compare him to Euronymous from this point. I think he is at least as great a composer as Euronymous was. You cannot really mix up Blasphemer’s riffs with other guitarists. Euronymous was a bit more philosophical. He was more into the expression of words and organising. He liked to keep contact with people. From this point of view Blasphemer is a great opposition. He’s more into himself. He’s not the guy who will write you a letter in the evening. He has other things to do. But if you look into this guy’s eyes, that must be enough. I hope you will not write this, but I think he is probably the craziest guitarist I’ve ever met. He is fucking insane and fucking talented. He focuses extremely much on riffs, pickings and rhythms. At the same time he is very high on some natural adrenaline. He’s always on the top. This is maybe how I can compare the two guitarists. I think Blasphemer wants to put everything into the music instead of writing letters and stuff like that. He’s more into his own words. I think everybody should respect him. He’s now been the guitarist of Mayhem for longer than Euronymous was. When you have to replace a guitarist with a name like Euronymous and you are 5-6 years younger, it definitely requires people to hear 3-4 times more stuff from the new guy to think maybe he is as good as the guy before, haha. You can’t imagine how big a pressure it was on his shoulders. He was maybe 19-20 when he joined Mayhem. I think it was also good for him because when you look at how he can play the guitar now, it’s very beautiful.

“If I should compare Necro and Varg, it’s again huge differences. There are also some similarities. I had good relations with Varg. He was supposed to release something from me. In my eyes he was maybe one of the most intelligent musicians I met. He had this great intelligence and IQ level. He was like 19 and he was talking like someone from the literature department of a university. He was a really cool guy. He was with Mayhem, but I think he had his own world with Burzum. It seemed like a cool idea to join the Mayhem forces. He could still keep Burzum on. I think Necro IS Mayhem. He formed the band with Euronymous. He has nothing else to really do in the music. He put me into Mayhem. His soul and body are 100 percent Mayhem compared to Varg, who put his effort for sure into it but I don’t think he was 100 percent into the band, especially not when he started to have disagreements with Euronymous. He started to keep things back. Necro is the one who is always trying to push things ahead. He feels that he is Mayhem and obviously he is the guy who started the band more than 20 years ago. Both are good players on their instruments. Necro likes to take care of the business thing and all these organisations that no one in the band likes to take care of. It’s great that they can take out his share.

“Everyone has a job in the band in a way. Rune and me have to do the arty-farty side, hehe! We create the album and lyrics and final things. Hellhammer is just like a ground for everything. He is fixing the rehearsals, setting up the instruments and of course making a basement with his playing of excellent drumming. Necro is taking care of the business but he’s not composing. Even Hellhammer doesn’t compose. They may have some ideas when we’re putting together the songs. In this way they get involved. But basically it’s Blasphemer who writes all the music in the band.

“When I met the guys I just jumped out of the train in Oslo and I saw Euronymous. He was a bit hilariously small! I thought this would be a big guy. There was also Varg who had this chain mail shirt to protect from stabbing. I said, ‘Wow!’ Then we entered the car of Varg. He had this old red Volkswagen Golf. He put on some music when we were driving. Guess what, he put on some techno music. I was like ‘Wow, I like it!’ Heheh! Because I came from Plasma Pool. But it was a bit more commercial thing. Later I understood that he did it only to piss off Euronymous. He knew that he hates it. I thought it was a bit funny. I have to add that Euronymous was a big fan of electronic music as well but he hated techno. He liked this old Tangerine Dream thing and side projects of all those members like Klaus Schultze.

“It was funny too when I arrived to the place where Euronymous had these great red curtains and it looked like a gothic room. Very bizarre. Back then they had lots of magazines already talking about the church burnings and other fucked up things. I saw pictures of people with exploded skulls and burned down churches. I saw people who had committed suicide or murdered homosexuals. The first night I was thinking, ‘Holy shit, where the fuck am I?’ Something a bit more rough or rude than I expected! Okay, we played some shit with Tormentor, the first years it was really like running blood on our gigs because lack of security and stuff like that. It was still a surprise to me that these guys had something really fucked up going on. At the same time, in two or three days, I was almost in the focus and people came to me talking bullshit about each other behind their backs. I was saying to myself, ‘Wow, that is interesting, too’.

“I went to the Helvete shop that was already fucked by some Christians, something like ‘Jesus leads’ was written there but it sounded like ‘Jesus leader’. Shit, they fucked up even that thing. It was less funny maybe when we took the car from Bergen to Oslo. Euronymous was driving and he used his father’s car, or he lent us his father’s car. We went to the Grieghallen studio in Bergen and there was this parking place in front of the studio. We left the car there and when we came out at the end of the day the car was not there. The car was stolen. It was not so funny but it was pretty fucked up. The police found it later. I don’t know what happened but it was really fucking bizarre too.”

the consciously minded black metal inquisitors of the 1990s and 2000s habitually have one primary line of questioning in their heads when scheming metaphorical job interviews or auditions for a black metal figure or band. That query is worth all the glamour and glitz of Mephistopheles and it is spelt out as follows: Do You/Does Your Band Believe in Satan? What Does Satan Represent to You? Fail to answer this in a correct manner and you are in for some serious fisting, particularly if new to the genre. Satan is an unquestionably interesting figure, and to put this question to an old-time character as eclectic as Attila Csihar makes some sense.

The singer retorts with a comment that has corollary concerns with Gorgoroth’s worry over the meaning of the word Satan being lost under so many reinterpretations.

“If someone asks me about Satan, I have to answer with a question: What do you mean? It means so many things. For sure, I don’t think I’m a Satanist. I can’t follow any fucking stupid religion or leader, even if it is Satan himself. For me it’s a fucking smokescreen. If you ask a Pope or a priest, definitely they will say I am a Satanist because I’m completely denying that I’m a Christian and completely denying Jesus Christ and all the teachings of Christianity. From this point I’m a Satanist. But I don’t sacrifice my kids on the altar of Satan. I don’t know what people think being a Satanist is. If we are philosophising about Satan as Antichrist, that’s healthy. When you think it’s a cool idea to fuck your mother’s head, kill and sacrifice her and put her on this altar of Satan, I think you’re a fucking idiot.”

Yet one has to remember that for most people, even for Anton LaVey, Satan wasn’t a concrete being but more of an idea or a symbol from which to start building some ideology. Originally, Shaitan meant to oppose, not some hideous creature flying over New York.

“Heheheh. That’s the fairytale part, of course. But if I look at this CD case, in my eyes it’s red but maybe in your words it is green. It’s a simple thing. But to talk about the point of God and Satan, it’s almost impossible. They mean such different things to everybody. Since religions were so kind to invent nice creatures like Satan and God and all this bullshit, they now almost exist in this collective form of knowledge. There is a certain force behind them. If people are stupid enough to believe in them of course they can be affected by it. If I look at nature, it is very hard to find any evil out there.”

That’s because there are no morals in nature.

“Exactly! What is evil? If Christians say a wolf is evil because it will eat a lamb… Look at the wolf; it chose the weakest lamb. It will avoid the sick population coming out. I think human is evil. If there is an evil, malevolent thing, it is coming from humans. If you look at the kindergarten, it’s very difficult to find one evil person there. Somehow it’s coming up later. Almost like a manipulation we’ve been taught. It might even be coming from our created information. LaVey was just LaVey, he designed this shit for himself. As soon as he put it on others, it was not right. He created the Church of Satan; he can fuck off with his church.

“Everything out there is pretty chaotic. I think we, the public, are living in such ignorance and under false information that it’s fucking difficult to step forward after a certain level. We can’t have this higher spirit or knowledge, which is probably out there in nature. We have locked ourselves from it. Then it’s just reducing into religions. All this higher knowledge is used by other people just for manipulation. I don’t know if you understand exactly, but that is my fucking point. English is a bit of a limitation.

“Okay, you also asked about who is a Satanist and who is not. If you’re a real Satanist… Pure evil doesn’t exist because if you’re pure evil, you will kill your friends and everyone. The most evil will kill the friends first. That’s evil, that’s pure. It doesn’t exist of course in this form. When you look at the fans, I think they’re just pissed off under religions. It’s a fucking healthy feeling to be released from that. When you listen to black metal and some so called Satanic music and read some Satanic verses, it’s cool because you oppose Christianity and suddenly will recognise that nothing wrong really happened. More than that, you start to feel healthier. You’ve been released by some bullshit that has been invented as a pressure over your head. Even me, I felt I was a Satanist because I was completely pissed off. What the fuck was I told and who are these priests telling me about it? Thousands of years of torturing humans and fucking up the knowledge. They burned you alive. And look at the women and how they’ve been ignored for thousands of years all around the world. I’m pissed off about them being treated like non-humans until the last one hundred years. It’s a fucking shame, this homosexual religion.

“When you realise this, you will turn into a black metal head. But when you start to do rituals or sacrifice animals and do stupid things, then it’s not like that. When you really start to deal with these malevolent kind of energies, it can turn its back on you and fuck you up too. So after a while you have to be a little bit more careful. Spirituality to me means a finer form of energy. We don’t know or at least we haven’t been told much about it. It’s easy to get mad. You can have an experiment that you can’t really return from. You can’t think the same anymore. A definition like Satanist doesn’t exist because it’s too big. You have to say at least from which point of view you mean it.”

in this day and age, most of the radical actions Norwegian black metal conjures seem to happen in Poland. I’m not merely talking about the classic battle lore of dreaded Darken having baths with Aryan maids. 80 litres of sheep’s blood, some nude tarts and “Satanic symbols” did it for Gorgoroth on John Paul II’s hallowed hometurf, whilst Carpathian Forest had their share of controversy with 2004’s extravagant live performance in the same country. A Mayhem gig was cancelled in Poland in the summer of 2006 by the Polish government, supposedly because of the oncoming election in the country. The band answered with a statement in which they dubbed the Polish government “fascist-religious”. It certainly seems no mighty leap Poland has taken from its days as a communist state.

Yet shouldn’t Mayhem in some weird way feel honoured instead of taking the action as an invasion into their freedom of speech as artists? After all, it has always been only the most powerful artistic expression that’s been censored by the state. It is something to ponder, the reasons why so many people think politics is an inapplicable platform in music when music is an excellent means of communication to spread one’s message in the midst of popular culture addicts. The Polish government seem to have been one of the few to notice this.

“It’s because the politicians hate the music for that reason,” Attila deems. “I think it was first in the 1960s when they recognised that there is a big problem here. They saw that hundreds of thousands of people went out to festivals, to Woodstock and I don’t know where. They said, ‘Okay, we refuse to go to work tomorrow. Why the fuck should we? The sun is coming up tomorrow morning too. I don’t care. I can eat a couple of slices of bread, smoke weed, sit here and talk to my friends instead of being a stupid slave.’ Obviously it was not good for the power. Who should pay the taxes? They faced this before the Second World War when they used electric amplification for political propaganda and it worked extremely well. Just look at the shitty Nazis who amassed hundreds of thousands of people just because of the voice. They had never heard it before. No one thought it would come back with music. When the first rock stars were on stage, talking to hundreds of thousands of people, the politicians and the power were freaked out. They started to feel like they were losing power. And politics is about power, that’s so easy. They understood that rock is a very dangerous weapon. They had to fuck it up.

“If you look at today’s commercial music, it’s the most obvious. If you look at the way commercial music changed throughout the years, that’s something. In the beginning it really had a message and then it turned into something that’s almost like an industry. This hip hop talking is just a smokescreen for nothing! It’s just about how you fucked my wife or girlfriend and how can I get more drugs. They talk bullshit—you see words that have no meaning. It’s very strange because in the 60s if you could find some LP and look at the lyrics, the musicians still said something there. Even in the most commercial ones. You can see the effect of the politicians. They try to do everything to keep things back but of course since they came up with this idea of democracy they can’t do everything, so they just try to stop us. When there’s a musician who is suddenly dangerous, they all try to buy it. What you cannot buy you have to take away. Try to fuck it up. I think that’s what happened with us in Poland in a smaller way. But look at this, maybe we’re not so small anymore, heheh! We’ve affected the election of a 20-30 million people European country. But of course it’s brighter than the sun that we never had to do with any politics in Poland.”

Another controversial piece concerning live performances and Attila was the relatively recent Shining extravaganza in Halmstad, Sweden where both Csihar and Maniac, with the aid of king jester Nattefrost, appeared on stage in a show that eye-witnesses said was very confusing and aggressive, involving cloaked men, razors, swastika-carved foreheads, thrashed equipment—and the theme song from Twin Peaks. Let’s hear it from the man himself—how much of it was real and how much was just shocking for shocking’s sake?

“I knew Niclas Kvarforth from Shining for a while and he’s definitely an interesting guy. He’s got some great artistic aspects and we had a certain kind of support towards Shining. He had the same with us. Hellhammer played with Shining and we were always in a kind of contact. We promoted Shining’s gig here in Hungary with my promotion team. So I knew he was a completely weird and strange guy. Not like because he wants to act that way but because it’s somehow coming in a natural way. I kind of respect it. I know how fucked up he is.

“He moved to Norway for a while and there was this news spread that he was dead. I’m not sure exactly what happened at that point. But he’s always been doing this weird stuff around his band. He was working in a bar so I had a lot of chances to see him and change some words. He came up with this idea of doing a kind of lost or very crucial Shining gig. He asked me if I could be Ghoul, who was supposed to be the new vocalist after his death. It was more or less that I should represent a part of his ego, almost like a schizo thing, like the evil part of him who’s taking over. He not only told me that he respects me but that I was the only one that came to his mind as the only open extreme metal vocalist who can be part of this kind of acting thing. He was right because I’m the guy who’s interested in any kind of weird or strange experiments. I thought it could be cool to do this acting.

“He had grandiose plans about pyros and a couple of other things. The whole thing looked like a very grandiose gig. I saw that he was really putting an effort there so I said to him, ‘Okay, if you get all this shit together, I don’t want to be the one holding it back. We would just have to find the right time.’ First, he is a very chaotic guy and second, they already had some trouble with the authorities, so he could not have any permission for pyros or any of the shit he was planning to do, like lighting himself up. It’s not a big surprise but that’s what happened anyway. I had promised it already and would not turn back my words. I knew in advance that it would be something very weird. Then I heard that Maniac might take part. I was first on tour with these two guys from SunnO))) and just came there saying that I won’t step back now. Shining had a great line-up and good musicians this time. Half of the thing still went into chaos. Hellhammer’s drums were not arriving and all these fucked up things in the organisation started to turn out. The whole gig was very fucking chaotic. Very few people had come to Halmstad. There were maybe 200 people but 180 of them were from Norway who came there because they had some respect for Niclas, Shining and the guests.

“Niclas could realise only some parts of what he wanted to do but it was still a cool gig. In the beginning I myself was pretty confused; ‘It’s too fucked up, should I do this?’ Then I said myself yes, I have to do this. What is interesting is that whereas you always get the feedback from a show in a few days, this time I felt good a few days after the show although I was at first exhausted. Something great happened there too. Being onstage together with Maniac and Roger was special already and we had a very cool and crazy party after the show. All in all it was great to see a lot of people. I don’t mind and am kind of confident and happy that we did this thing. I haven’t heard from Niclas since then but it’s not a big surprise. I don’t know what happened with Shining after that or whether Niclas is still alive. I hope he is.”

Attila Csihar Speaks, Qvadrivivm #5 (2008)


One Story of Decline – An Ordo ad Chao History

Interview: Kuronen

There are extremely few people in the world of heavy metal prepared—or hell, equipped—to talk about their lyrics. Musicians will either revert to the good old “it’s the riff that matters, chump!” defence or make the most clichéd cop out of all clichéd cop outs by claiming that their lyrics are “open for everyone’s own interpretation”. Often, once these arguments start popping up, you know there is nothing to interpret in said lyrics. Then comes the hope that every such band would opt for the Obituary/Cocteau Twins approach of jotting down and performing indecipherable ‘lyrics’.

Mayhem lyrics have been adept ever since the beginning but during the Maniac era they more often than not lacked that element of chilling mystery that Dead’s pieces had. A partial reason for this may be that the typical black metal lyric and its imagery suffered a huge inflation in the interim. What is certain is that Attila’s lyrics on Ordo ad Chao, a theme album of sorts, offer definite food for the (reptilian) brain. Because of the cryptic wordings it may be arduous to follow the main thread at certain points, but many passages still make for a tremendous effect. The Hungarian howler-writer himself is modest when it comes to his texts.

“Maybe I’m less good with poetry,” Csihar assesses. “I’m a bit more rational and sceptic guy. I like poetry but I feel I’m less good with that thing. When I’m writing lyrics I have ideas and things but I always ask other people who are for instance into English literature what they think of it. To find a nicer word here and there… Maybe I’m a bit too rational and less humanist, with less expression of emotion and abstract visions. I have some of them but I could be a bit better with poetry, heh. I think Maniac was better. Some of his lyrics are fucking killer. I think I’m okay with the philosophical aspect of the songs but I could be a bit better poet, if I could ask for something.”

The justification of publishing the following analysis lies not in thinking that close reading a band’s lyrics is an elemental part of heavy metal investigation. It is, however, noteworthy to look into something that obviously has a wide range of meanings in the mind of its maker. To show that heavy metal rantings are not merely dead words falling on the forehead of the Sabbatic Goat.

At the outset and in general, it can be seen that the lyrics of Ordo ad Chao cover, in a sort of diachronic fashion, the entire history of the world, going full circle from birth to decay, which is surely no small feat to accomplish. It demands a heap of primitive workers, celebrations of the ramifications of the Great Flood on the advancement of civilisation, achromatic manipulation techniques that reach the psychological as well as the societal, vril-forces, watcher visions of madness, chaotic reiterations et cetera. But let’s leave the rest for Attila to divulge.

“Interesting that you recognise this, cool. It was the main, basic line, this decaying thing. It’s really about the things everybody talks about in extreme metal, this negative energy and this negative aspect of nature. We wanted to oppose to those bands that have this rising energy. It gives this majestic feeling. The lyrics were coming to my mind in that way and manifested on different levels on every song. That’s why it’s coming from the outer world through nature, society and religion. It’s different levels. The outer and inner worlds are also different levels. Like body-soul-spirit or something. This triangle is there. Then there’s the frames of the first and the last song. Of course we can go on in detail to every song and how it appears on different levels.

“”A Wise Birthgiver” is from a Sumerian tablet. The Sumerian is one of the most ancient scripts in the world and they found out just recently these so called Sumerian tablets where they’ve been talking about the Annunaki. It is coming from the sky, almost like an alien, descending to the earth. Annunaki are gods who descended from the sky and crossbred with some kind of human beings. Some researchers are thinking it was more like some test-tubing! It’s a pretty interesting theory that’s taken from the tablets. I think it’s the transversion of Zacharias Sitchin who is one of the biggest researchers of the Sumerian tablets. The Annunaki are a malevolent alien force and some researchers believe this could be the missing link. They crossbreed and create a human being from this primitive form. They raise its intelligence but still keep it primitive—create a primitive worker. The yoke is an order you give the workers to do. It’s about creating a slave race that is called mankind. They are the slaves of the gods, of course. The gods at this point are not gods but just some beings that came from the sky.

“There are so many spiritual and new-age movements but in many of these fucked up philosophies they deal with demons and some other beings that we cannot see but who are around us. All these metaphysical creatures. It’s coming from ancient Kabbalah and Rosicrucians to Buddhism and Hinduism and all these fucking religions and philosophies but they are all dealing with this: some creatures from other dimensions feed on our emotions. They create and build the yoke and at the same time create forms of fears and other emotions which could feed these so called extraterrestrial or other-dimensional entities. It could be a big bubble but at least I like the ideas. I’m pretty sceptic but I’m not closed to an idea. Since it’s from thousands and thousands years back and the Sumerian tablets have a lot of other information which is really fucking interesting, it seems it was not a caveman who wrote those tablets but a pretty high intelligent thing behind those, it made sense to use those sentences.

“It’s a sort of artistic vision behind “Wall of Water”. First of all, there are many things into the details. Wall of water is also a wall between the old and the new world. The old civilisation before the flood, presented by the intro and this Annunaki stuff, the origin of the mankind in a way, and the wall of water which symbolises a cataclysm that periodically happens on the earth and seems to wipe out civilisation. Whether it’s good or wrong, I would not say. It sounds a bit heroic there at the end of the song. But if you look at mankind and what it does with nature, here and there we are close to fucking up and burning down nature and some parts of the planet. One day the earth says it’s enough and makes one shake, like in a split second and the whole mankind is away. It’s like having this mosquito that’s starting to be a bit too annoying. Make a little movement and the whole shit is over. You can start again because if you talk about the earth you talk about billions of years. If you talk about mankind you talk about tens of thousands of years. It has many aspects to do with order and chaos. Cataclysm is a great form of chaos. Like I told you it’s taken from these old manuscripts. The traditions or cultures or something like that.

““Great Work of Ages”, if you look behind the words, is about the manipulation of mankind. It definitely has something to do with the conspiracy things. It was interesting to think that there is a malevolent force behind the world. There was a lot of information and arguments about this. You have these secret meetings in which world leader politics come together. What the fuck do they do there and agree on things above some other countries or nations? Talking about global banking systems where some people are pushing a couple of billions every day and taking a little bit of personal wage which is a huge big amount. I could go on and on and on. I’m not the guy who should solve this or fight it but it’s just an interesting theme to touch on. You feel the effect of the achromatic mechanism but you cannot see it. I don’t know how to say it.

 
“To me it’s kind of interesting if you look at religions that it is almost always the same story: there is a boy born who is coming from some strange birth without parents. Then it grows and has these miracles and then will become the saviour of the world. Then it will be murdered and that murder will be blamed on the humans, other people. It comes from Christianity of course, but it was there before too. It was with Baahl and the one from Mesopotamia, Nimrod. Also, with Krishna it’s the same story. Buddha also has this strange birth, almost the same story. Don’t you think that the same people write the same stories? I mean, c’mon. It’s so fucking ridiculous. It’s so easy to invent this thing and of course it’s very wise people who put it out. It’s a big deal, because then you can control billions of people. That’s something very attractive so it’s worth to put some effort, wisdom and philosophy behind it. But all in all it’s just a manipulation: they talk about gods that were invented. People can’t talk about this shit. There aren’t even any words for it. The definition is almost obviously fucked up. If you call something a god, it’s obviously everything. You can’t name Everything. Then there are different gods and people go out and kill themselves because of them. I don’t say it’s wrong. Maybe it’s good. Then we, who are more intelligent, still remain here. You go out on the battlefield—it looks good on the screen or in the cinema. But if you put yourself there, it’s weeks of raining and you live like an animal. You follow the orders of people you’ve never met before. You don’t know what the fuck is going on all in all. You just go out and kill another guy but you don’t know anything else about him than that you obviously think differently about this so called god. This is so fucking hilarious. It’s one of the most fucked up things on this planet.

“I’m not talking against wisdom but I think we should use wisdom on completely other things than manipulating people. There are two kinds of wisdom: one kind we share with the public and the other wisdom is hidden from the public. If you hide a big part of the wisdom and keep the public in ignorance, you can easily control them and create this fucking bubble of religions. Nature and reality have more aspects than we discover. We don’t know much about the effect of a symbol on the brain. Or how you can feel the presence of somebody else. There are a lot of not just magnetic fields but other fucked up things there. Maybe we have some kind of wisdom about those things but it’s just hidden from the public. Psychology is a big part of this. If you know it, you can easily use it and manipulate the crowd, the masses. Then you just have to turn this wisdom into this fucked up manipulative religion. Of course you share the wisdom but it will already be a defected wisdom. It’s basically just untrue.

“The only difference between “Psychic Horns” and “Deconsecrate” is that “Psychic Horns” talks more about the inner world whereas “Deconsecrate” talks about the outer world. You can see the parallels. There are some parallels on the album, like some themes coming back on different levels.

“Let’s talk about vril-forces. What I know about vril-forces is that it’s an esoteric name and there were some esoteric schools dealing with this. It’s the life force that is contained in the blood. People believing in the vril-force think that you can actually develop it. With these different techniques you can increase it and turn into this super-human. Of course it could be a big fucking smokescreen but I picked it up because I’m working with esoteric topics. It fitted, and it’s interesting how some esoteric people stick to the blood line and how some monarchs do so as well. There could be something there, even if I look at it from a sceptic view. Vril-force is an esoteric definition for this life energy contained by blood.

“The r-complex is another thing. It’s really funny because if you look at the description of the devil and demons and these malevolent creations, most of the time in most of the cultures it’s like a reptile. At least it’s having this reptile kind of skin, tongue, eyes and structures. I think it’s fantastic. If you look at the bones they found on this planet, you can see that there has been some reptile culture here. Okay, we call them the dinos, but anyway, some fucked up reptile beings were here. At least it looks like it. Researchers found out just recently that every human being, you and I and everyone, has this part that is the core of our brain, actually. It’s the same structure as the reptile’s head. That’s the r-complex, this reptilian part of the brain. What I found made some sense to me. Researchers believe that maybe we belong to the dino age. Maybe we are some kind of descendants… Or maybe not, but something happened there because we have this fucking reptile brain. I’m not sure but I think it’s official too. There’s official science and underground science, and official isn’t necessarily right and underground wrong. Everybody has this strange vision of reptile-like demons, that’s what inspired me in this song.

“"Illuminate Eluminate” questions where we have to return, and it is a life-philosophical question for me. Where we came from? Did we come from the monkey, the sky, what happened? This whole thing is symbolically about that. We want to go back where we came from to understand our whole existence. I think it’s a good goal. When people talk about getting out in oriental philosophies they talk about samsara, this circulation of lives and so called reincarnation. People like to escape out of it. I’m trying to get you closer to this.
“When you look at your childhood, the childhood means something like perfection, innocence and absolute happiness. Like an absolute transcendental state of the human. When you look at old people, maybe they experienced more knowledge but definitely it’s a lower stage in my eyes. You are not so happy anymore, you’re just fading away. You go back to the understanding of origin. I’m not sure what the fuck we are. I understand that I have a body. That I am sure of. But if I look at my fingers now, I can move my hand but I have fucking no idea what is going on in my arms. How the fuck can I move my little finger? How the information goes there from my brain? How can they work together so perfectly, these millions of cells, bones and muscles to make this little fucking movement? I have no fucking idea. Or if I feel a pain in my body, I don’t know where it’s coming from. It’s there. So a body is something we have but it is not necessarily us. Then I’d like to question: what the fuck are we and where did we come from? I would like to know and go back there. That’s the message of “Illuminate Eluminate”.

“It’s a certain flow in the lyrics. The thing goes to less and less structured. “Wall of Water” is very material and structured and it goes through this society and conspiracy thing into religion, to a less material thing. It’s towards the abstract. The same thing happens on “Key to the Storms”. It goes into abstract from this understandable and easier “Illuminate Eliminate” song, to “Psychic Horns” and then it arrives at “Key to the Storms”, which is like a key to the madness, maybe. When you are around the edge of madness and start to see these visions, like lions at the gates, the Annunaki and the watcher… The words start to be transparent and you go into madness. You start to recognise that there are these creatures who were transparent before, you flesh them out and see that ooops, there is a fucking demon at the corner. Officially we call it madness, you can call it whatever.

“”Anti” goes into this unstructured chaos and madness. It’s also like a summary of the songs from before. Everything is ending up in “Anti” in a strange mixture. Everything that was said or heard before, it comes back in “Anti” in a chaotic way. All the themes are mixed up now. Into a fucking chaos, like a vortex. At the end of “Anti”, when the final riffs come with this break, that’s the end of the whole shit. Even the vocals turn into completely inhuman techniques which I used there. There are no more words. It’s just the speech of tongues, the last twenty seconds of the album. It’s like pure chaos. Okay, we still play and there is some structure but symbolically it is chaos when you arrive there. It’s the end—of at least the end of this album. That’s it more or less I think.”

16.11.2011

Morgain interview from Qvadrivivm #1 (1999)


Simple Yet Unique - an Impossible Combination?  

Interview: Helenius

Catchy and memorable refrains, rather simple song structures, a drum machine… How does that sound like just another chart-hungry disco pop band, at first? Fortunately this is not the case, and I have not wimped out, because these three elements can also be found, in a more effective way, in MORGAIN's music as well. And this is certainly not stuff for disco lovers, though the grimmest of black metallers would most likely describe their music with terms like "soft", "untrue" or simply "shit". Well, I don't, and that's what matters, nothing else. Thus I contacted this band from Slovakia via their record label (thank you Martin for help!) Erebos Production, and finally reached Richard, the song writer, guitarist and vocalist of MORGAIN, who kindly wanted to share some opinions in late October 666.1… Invert the inverted inversion, or whatever. This interview was done on the basis of their great debut album Frostbitten Nakedness mostly, if someone cares.

First, let's dwell into the deep sea of confusing logos and obscure art… The band logo and the cover art on your debut cd reminds more of black metal than catchy gothic metal. Is this an old logo or why do you use such thing?

-So, I think you are asking about the sword in our logo. A lot of people think that it is an inverted cross, but its only a sword. And of course its an old logo and I am very satisfied with it…

You use a drum-machine, and that is actually the only thing that irritates me in your music (not so much, but little anyway). Weren't you able to find a real drummer or do you think this is what Morgain should/must sound like?

-At the beginning we had have an human drummer, but he left after our first record. I was searching for another one for a three months, but I didn't find anyone. Nobody was interested to play doom music. So the only choice to continue in playing was to buy a drum machine. Moreover nowadays I'm absolutely satisfied with the drum machine in the music of MORGAIN.

'Well, drum machine never skips the rehearsals, arrives late or in a state of serious hangover', as one certain Martin Schulman of the true-deathsters Centinex from Sweden once said. What kind of reactions did your unique style in Frostbitten Nakedness receive in the underground scene? How many copies of that album were sold?

-Globally I can say that the reactions were good, we also received good responses from some exotic countries as Malaysia or Columbia. But how many copies were sold I really don't know, it would be better if you ask Martin from Erebos.

What is the funniest or strangest category your music has been labeled in? How would you yourself describe the creations of Morgain? Is categorisation necessary anyway?

-Hmmm. Yes, I remember one it was Doom-pop. My categorisation for our music is Hypno-doom, I guess it perfectly fits to the music that MORGAIN is creating. For me it is very important to create songs with captivating melodies or refrains, because it is easy to remember them for the fans.

LYRICOS MAGNIFICOS

'Jesus hangs on the wall / In his eyes lie rest / Hypocrisy hand in hand / With the priests the truth is dead'... Do you refer with this to some special religion, like christianity, or all of them? What is the religious situation in your country, do the metal bands have problems with church authorities because of accusations about 'satan worshipping'?

-Really good shot. Yes, you are right. Especially I hate Christianity, because I think it is the most dangerous pest on the world. During the centuries of Inquisition, thousands of innocent were killed, a lot of knowledge was forbidden by the priests of god, so there is no reason to love the bleeding symbol on the cross and the shit around him. In our country, there is no problem with Satanism until now.

The song "Poisoned" talks about ending of life and the short moment we actually exist in this world, as far as I have understood correctly. Have you ever thought about your own death and what would be after that, if anything? Would you like to reveal the secret of death?

-I spend a long time in thinking about death, and what will come after it. I'm convinced that our existence will continue in some other form of life, but what kind will it be, I don't know. We will discover it when we die.

The lyrics of "Nightmare" weren't printed on the layout sleeve. Any particular reason for leaving one song's lyrics out? Do you think that (most of the) lyrics should always be printed on the albums' sleeves to help the listeners to get deeper into the songs? How important are the lyrics compared to the music?

-It is our mark leaving the lyrics of one song out. We had done it also on our previous stuff the name of the song was Tired. I guess the lyrics are very important and need to correspond with the music. I really like songs with very good lyrics and worthy music together, where the simple lyrics can be very good and interesting. I noticed that nowadays its not too popular to take care of the lyrics. But its only my own feeling.

The only thing related to the lyrics would be a somewhat better concentration on the pronounciation, 'though English naturally isn't Richard's mother tongue. In some parts the words just sound unintentionally hilarious. Anyway, maybe that's also the reason I like them so much. Exotic fascination?

Still talking about lyrics, what kind of lyrics do you enjoy to read? Or, on the other hand, what kind of literature? What inspires you to write lyrics in the first place? Do you write lyrics only for the songs or just write everything that comes to your mind and 'storage' them for a possible use in the future?

-The best inspiration for me is the life itself. So many things happen to us every day. But I also like to read fantasy and occult literature. Now back to the lyrics, I write them just for the songs, I don't take any for storage, but its great idea from you to do so. Maybe in the future it will be helpful.

DEJÁ VU DELIRIUM

The melody in the very beginning of The Room sounds VERY MUCH like some kind of traditional song. Is it taken from such song? Confess! Heh heh...

-No, no it isn't so, its my own creation. But if you are talking about traditional songs, one is there its called " ! ". Its a very good and sad song, sung only by male vocals in original.

Why the name Morgain? What does it represent to you and how does it reflect the band's overall image? Or is it "just a name that sounds good"?

-The name MORGAIN is a female name taken from a very good book. You are right that it also sounds good, but the main reason why I have chosen this name is the fact that MORGAIN is not a regular English word. You know, I don't like the situation when some bands are using the same name.

Has Morgain played live? If yes, what kind of gigs have you played, with whom (bands) and how's the response been to your performance?

-Yes, now we are a live band. We have some gigs but not too often. The responses are good and the fans usually enjoy our stuffs, but we haven't played with any famous band yet. In
Slovakia the gig life is right now a little bit asleep, because the economical situation in the country is not very good. People don't have money for this kind of happiness, they are rather siting in pubs and drinking alcohol.

Yeah, that's what Martin (the boss of Erebos) also told me when his band played here in
Turku during their Grind Over Finland -minitour in September. I mean this drinking thing… Us Finns and Slovaks/Czechs are true brothers of alcohol consumption. Cheers! If Morgain was a country, what kind of polity would it have?

-Sorry my friend, but I'm never thinking about politics. I'm not a politician.

To end this interview, advertise the Morgain merchandise, send greetings, reveal some news or whatever you want to say. Speak, my friend, louder than hell!

-Thanx for the place in your zine, greeting to all our fans in your country. I wish you good luck for the future and stay metal. Maybe in December, our second CD will be released by Erebos productions. See you in hell.

I try, at least, to get there in time!

Naglfar interview from Qvadrivivm #1 (1999)


Interview: Chiaradia

My conversation with (tired) Andreas before the headline gig of Naglfar in the Frontline in Gent (Belgium). The rest of the band was also present, but with exception of Kristoffer, they didn't say anything. A few questions were asked by Wendy "Morrigan" Souvereijns.

1. OK, I've had some discussions with friends about what genre of music Naglfar plays. Some say it's a kind of melodic death metal, but other say it's more black metal. What do you call the music yourself?

-Death metal! We don't get offended if people call us black metal, it's up to the listeners, but personally we label ourselves as death metal.

2. I think that Dawn and Naglfar are some of the few good bands in the Gothenburg scene today, now that Dissection and At the Gates stopped, what is your opinion on the Gothenburg scene?

-My opinion on the Gothenburg scene? I have no opinion. There are some good bands but I'm not really into that style, so...

3. The music you play is very intense it has a lot of atmosphere in it. How do you create such an atmosphere?

-I don't know, we just come up with it. There is no specific answer for that. We just sit down in the rehearsal place and jam until we get something that sounds good enough to keep. I mean, we do a lot of riffs at home and then we arrange them together. There is no specific way of creating the riffs, we just sit down and play until it sounds good enough

4. Do you write the music seperatly at home and then come together?

-Yeah, usually we write the riffs seperatly and then we present them to the other members of the band and perhaps we alter them a little bit. In general the whole band has something to say about the riffs "no maybe we should play it like that instead…" and so.

5. And the lyrics?

-The lyrics are mostly written by Kristoffer here (who sat there smoking a giant joint). He comes up with them and presents them to us. If we like them, we keep them.

6. Can you give some short comments on your two albums? Vittra and Diabolical?

Andreas: -Well yeah… Vittra was the best we could do on that moment. I mean it's very boring to play know because Diabolical is much more faster and more extreme. But I'm proud of Vittra because, as I said, it was the best we could do at that time. But we find Diabolical better in every way. There are people who don't agree with me and say "Oh, you should have kept playing like on Vittra, but the newer material, that hasn't been recorded yet is even more extreme than Diabolical, it's getting faster.

Kristoffer: -If you have done an album, like we did Vittra, we've already done it, it wasn't a big challenge to go on and do another album in the same way. It was either to take the music slower or faster.

Andreas: -And we are all into extreme and fast music, so that was very natural. But we will still keep the melodies and stuff.

7. You already released two albums and some vinyl and there are people (including me) who think that Naglfar is one of the toppers in the genre, but yet you are not that popular. For example last time you played live in
Belgium there were almost no people attending the show. Can you understand that?

-Well yeah, the people just do what they want… they want to stay home and listen to the albums. This trip is turning out really OK, we had about 100 paying customers every night. And the last time we met, we hadn't released Diabolical yet. The people didn't know the songs. I mean we got a lot more listeners with Diabolical.

8. Well do you consider Naglfar a live band or more a studio band?

Kristoffer: -We are definitely more a studio band

Andreas: -Personally I would call it a rehearsel band, because I don't like being in the studio and I don't like playing live because there are always some fuck-ups… but if it's a good gig and a good crowd, then it's fun. Otherwise it's just hard work. But it's satisfying when the crowd is appreciating the music. Then it's worth it. But studio's, I don't like them at all. After a couple of weeks, I feel like I could kill someone.

9. You said some while ago, that you already had some new material ready,
are ther already plans for a new album?

-Hopefully we will enter the studio for April for a new full-length album, but it depends… it could be earlier, we could decide to choose another studio.

10. Will it also be released on WAR?

-Yes, it will be released on WAR.

11. Wendy: Is it in the same style as Diabolical?

Andreas: It's faster I would say and there is more variation on the songs.

Kristoffer: -It more industrial in the way we play it. It's not that we choose to play with computers and stuff, but the drums and the guitar riffs are more in a industrial way...

Andreas: -At least on the newer material.

12. I heard from a friend that you once released a tape, called "Maiden Slaughter"

-It wasn't released actually… we were asked to do a cover on a Iron Maiden -song The Evil That Men Do and we got around 10000 Swedish krones or so to enter a studio and record one song and well you can do a lot more with 10000 krones. So we went at the Sunlight studio and at the same time we recorded a new song to try out the studio and also a Kreator cover. When we were going to send it to WAR-music, Jens just did a cover. Naglfar was in Iron Maiden letters and we called it Maiden Slaughter because we slaughtered that song pretty good, ha ha….

13. Are there plans for releasing it?

-It might appear on some Japanese version of a CD, or perhaps on the re-release of Vittra. It's going to be rereleased so it might turn up there as bonustracks. But we will see about that.

14. OK, let's go now to the cover-designs, Vittra is in my opinion one of the most beautiful covers of all time, the Diabolical cover is also very nice. Who has done these? And are there already ideas for the new album?

-The first cover Vittra is done by a guy called Kenneth, he has done some photo-shoots for bands like Dark Tranquillity and In Flames. It's just a friend of his who is standing in the woods, he just put some paint around it, and he did send it to us. We didn't have much time to look for another cover. WE looked at it, and said it was good, so we took it. The Diabolical cover, I actually found on artist on the internet called Ched Michael Ward. I was totally blown away by his art. So I got in contact with him. Actually the Diabolical-cover is a second version of an older piece that he has done.

15. I heard a few days ago that Diabolical was (just like Vittra) also released on vinyl (on a Pic-LP), is this a personal taste to release your stuff on vinyl or is it a decision of the record company?

-Well it's us, because we like vinyl!

16. OK, I did some research and I found out that Naglfar started out under another name: UNINTERRED. Why did you change the name? Was it musically or conceptually?

-Well we just changed the name because it sounded crappy, like shit, so we didn't want it! There is no big deal behind it. We did not change musically. We just thought that Naglfar sounded better. [Now all of the sudden attention is drawn away because they got tickets for free beer...] Oh where were I? I'm getting distracted here as soon as they (the other guys of Naglfar) went "Free beers YES" Anyway, at that time, when we were called Uninterred, Kristoffer here had a one-person project called Naglfar that was primitive black metal and so we thought Naglfar sounded better.

17. Wendy: Does it mean something?

-Yeah, actually it's the name of the ship that brings the dead to hell, It's being build of the fingernails of dead men and when it's finished (at the apocalyps) it will set sail according to Nordic Mythology.

18. There is also a German band called Nagelfar, isn't there a often a mix-up between the two bands?

-Naglfar is spelled in ancient Swedish, the original spelling, haha…

19. Some time ago there were rumours that you were going to record a mini-CD

-We were supposed to record a mini-CD, but since after the tour with Marduk, we came out of the rehearsal place and we didn't rehearse for 5 months or so and we just decided to skip that and go just full ahaid for a full-length because we don't want people to wait that long as between Vittra and Diabolical, it was a long time too. But that was also because we didn't have a drummer and so. We did almost quit at that time!

20. What kind of music do you listen to? Do you listen only to metal or also other genres?

-Personally I listen a bit to Devil Doll and Mortiis when I like to relax and also some heavy metal, old heavy metal. But mostly it's black and death metal.

21. OK, these were my questions, thanks for the interview

-Thank you

So this was the interview with Naglfar, in the beginning they didn't seem to be enthousiastic of doing yet another interview, but at the end their enthusiasm did grow and this made the interview a rather interesting conversation.

During the gig they had sound-problems and the throat of Jens was fucked up, but nevertheless this was one hell of a metal-night.

Thanks to Andreas, Kristoffer and Wendy for this interview.