Accurst (interview)

 

This interview with Adon of Accurst was done by e-mail by Grimma in November 2005.

“Accurst is a concept project exploring the nightmares of existence and the horrors of the subconscious.”


Thus spoke Adon; the sole entity behind Accurst’s abject realm. After taken aback by ‘Fragments of a Nightmare’s mind-jarring imagery (Accurst’s only release to date) a mandatory interview ensued with the man behind the beast. Enjoy…

First of all, could you please give a brief chronicle of Accurst's history?
 
Melmoth and I were working on a similar project back in 1998 but a clash of interests forced us to disband, which had as a result Melmoth moving on creating Holocaust Machine and myself creating Accurst in 1999.

A few sound experiments were carried through in the following years although no demo was ‘compiled’; only a few scattered remnants of an idea in the making.

In 2002, I shot a short film entitled Ghost in the Mirror, and that’s what helped me realize how Accurst should sound, ‘feel’, and ‘look’.

Accurst slowly started taking form as an experimental project soon thereafter, and by the debut in 2003 it had taken its own path.

Your first album 'Fragments of a Nightmare' was imbued with a mesmerizing sense of desolation and fear, a truly harrowing experience indeed. Was this the prime intent of the album or did you aim for a wider range of induced sentiments?
 
With 'Fragments…' I attempted delving into the subconscious and bringing forth images that may gnaw on one’s sense of security. Even though the Surrealists’ automatic writing process is nigh impossible to translate into the slow process of sound creation, a certain state of trance helped in simulating such an effect; meaning that the tracks in Fragments… came mostly from a collaboration between the conscious and the subconscious, and therefore making the attempt, I would assume, to connect to the listener’s subconscious slightly easier.

I am not implying that this is not a personal piece of work. On the contrary, it was an extremely personal journey at the time of creation; demons I managed to partly exorcise upon the completion of said album.

As a direct answer to your question, my intentions were to express certain feelings and images that were ‘tormenting’ my psyche at that specific point in time.

Dark Ambient can be regarded as a fertile ground for entrancing creations of obscure soundscapes and sound experimentation. Do you see Accurst as a dark ambient project per se, pertaining to a certain musical framework or simply as a means to express a certain facet of your artistic creativity which can expand into other areas as well?
 
Although Accurst’s foot is planted firmly in Ambient music, subsequent works will incorporate other musical styles as well in order to being closer in expressing each album’s concept behind the music.

Whether it is even with the debut release, considered as an Ambient project or not, does not directly concern me.

In relation to the previous question do you see Accurst as part of any sort of musical scene?
 
Would that sort of assumption help in anything other than how the album is marketed? Having said that, it is up to the label releasing any of the works brought forth to categorize and advertise said work however they see fit.

Although influences on such a musically intangible genre as dark ambient remain on a subtle level, I have to say that there is tinge of Aghast's ritualistic ambience on the more minimalistic and brooding parts of 'Fragments'. Would you care to cite any other 'influences'?
 
Even though I appreciate the work of Aghast, Lustmord, Caul, I Burn, Amon, and other artists of said genre immensely, I cannot say that the main influence is any of such projects.

Accurst’s main influences are the images coming from my subconscious (and therefore, as some would argue, from everything I’ve ever experienced), and various sounds one hears throughout any given day. The coincidence of a variety of sounds working in unison often produces a peculiar sense of satisfaction for one reason or another. A keen ear, and a sharp mind’s eye is all that is needed in order to ‘gather’ such sounds and attempt to reproduce them (sometimes with slight variations) in a piece of work.

If I had to be more specific, I’d name Goya as one of Accurst’s most vivid influences.

Can a listener be gratified in a cathartic sense after listening to your work? In other words, do you see Accurst as something of an audio jigsaw puzzle comprising of many sound elements simply aiming to project a grey-hued image of perdition or do you see it as more of a music-trip passing through various soundscapes before the listener can attain that certain Accurst feel of Horror as you describe it?
 
I cannot speak for the few people who’ve experienced the work. I am aware of the fact that some people have been unable to ‘piece together’ the sounds in any given track off Fragments, and coined it simply as noise. It would be a romantic misconception thinking that it would produce the same effect in everyone.

I personally consider it as a journey with a beginning, a middle, and an end. The part about the jigsaw puzzle can be found in the tracks when separated from each other I’d think, but as a whole I don’t consider it as a jigsaw puzzle.

One could argue that Accurst's sound can not be tagged as music per se and that it is more of a coalition of discordant soundscapes clashing with each other in mid-air, petrifying the senses with their audial vibrations. Would you describe Accurst's sound as essentially music in the purist sense of the word?
 
We’ve had a similar discussion (on “What is Music?”) amongst the Sérpéné Héli Music Collective, and needless to say that we never reached an adequate conclusion.

To some it might be music, to others it might appear as noise (as has happened).

But still if we were to confine music to strictly as any means of expression then Accurst’s sound can be definitely categorized as such. On the other hand if music is something that pertains to a predefined song structure paved on a coherent rhythm then we can henceforth dismiss drone, ambient and even some of Schoenberg’s serialist compositions as mere noise. Would you say that music as such, even though subjective to its interpretation, can attain its certain musical stature simply when undergoing a thorough mental processing or does it necessarily have to be expressed always within conventional musical concepts?
 
I wouldn’t be quick in generalizing to that extent. There has to be a division between sound, noise, and music. We could end up with a dogmatic phrase like “all music is sound, all noise is sound, therefore music is noise, and vice versa” which could hold a grain of truth considering taste, culture, experience, and other factors.

Having said that, I am still none the wiser as to “What is Music”. If music’s aim is to connect directly to the psyche without the use of symbols and representation as in say, Painting or Poetry, then the generalization that “anything that achieves that can be called music” can be made, albeit with caution. On the other hand, that would rule out music which uses words to accentuate meaning, which would rule out music which uses words in the “opposite direction” the music is moving in to give a different meaning altogether. Since conventional musical concepts change all the time, and as the years go by we try to compose simpler and even minimal music, the same question arises, “What is Music?” And since music has taken various forms and obeyed a variety of “rules” over time, what makes noise not being music?

Onwards to your second album which you are currently working on. How exactly does it differentiate both musically and thematically from the first album?
 
I would rather not comment directly on it yet. I will only say that it will be slightly more complex, more saturated, and will carry even more pictures for the mind’s eye than the debut.

If the debut was more of a “compilation” of various styles expressing one specific state of mind, the follow-up builds on that by taking various points and sculpting them into something more easily identifiable.

Accurst will follow a three-album cycle as mentioned on your website. Could you elaborate more on the central themes underlying each album and how exactly they interconnect with each other?
 
The first album is supposed to represent the Primal Stage of humanity, or the first conscious years of an individual; the aural embodiment (if that oxymoron is possible) of the anxiety, the constant doubting, and the incessant fear gnawing at our psyche.

The second album is supposed to represent the Cerebral Stage of humanity, or the development stage of an individual, using the same theme as in the first album yet placed in a more ratiocinative and intelligent context.

Finally, the third album which is to be recorded in the near future, is supposed to represent the Modern, and consequently the Post-modern Stage of humanity, or the apogee, subsequently the decline of, and finally the deterioration of an individual; using the same theme as in the first album yet placed in a more structural, mechanistic, and philosophical context.

You describe the third album as being in a more "structural, mechanistic, and philosophical context". By "mechanistic" do you mean that the album will attain a more impersonal outcome straying far from the first one’s primal intimacy or is it something else?
 
Taking under consideration that the third album will incorporate a post-modern style infused into a Wundtian type of structural psychology in conjunction to anthropic mechanism, I would assume that it would be far from impersonal. It would rather be more intense than the previous two albums, and maybe even incoherent to some.

It will be an attempt to ‘destroy’ the second album’s more cerebral approach (sound-wise), and therefore closing the circle.

How exactly would you describe this thematic circle as you portray it?
 
Bearing in mind that the first album is somewhat ‘crude’ in its form as it has been described above, with the second album being more ‘mature’ on the surface, and maybe even, dare I say, delicate in the way it portrays the subject, as if it has evolved into something more complex; the third album will be tearing apart any progress made as in using the knowledge one has acquired through such a journey in reverse therefore returning to another ‘primal stage’ yet in a more cerebral and at the same time ironic style.

Obviously, Accurst is a one-man project but are you considering any 'guest' appearances on any future releases?
 
It’s not an idea I rule out, so the answer to this is a simple maybe.

Coming from a musically stagnant scene such as the Cypriot one, something as obscure as dark ambient will certainly raise an eyebrow or two. Was there a significant response from the Cypriot audience?
 
Taking under consideration that this kind of work is not conventional music, and how Cyprus is mainly a Lilliputian conservative society, it would come as a surprise if there were any sort of response from the Cypriot audience.

What exactly is the Serpene Heli Collective that Accurst seem to be in direct relation to?
 
The collective is an organization of people who support and promote unsigned bands (including our own).

We have been active since roughly about 1999, and even though we started as a music organization (and seem to be limited only to that on the internet), we have plans of expanding in the future to something which embraces other forms of artistic expression as well.

Ok I guess this pretty much wraps it up, Adon. All the best to Accurst; the last words belong to you.
 
If interested please visit our website at this address http://www.serpenehelimusic.com/ for more information on the Sérpéné Héli Music Collective, or http://www.serpenehelimusic.com/accurst/ for more information on Accurst.

Thank you. 

(originally written for Tartarean Desire)

Antaeus (interview): Straight From the Woundz CoC talks to MkM of Antaeus

Pernicious, bleak, hateful; simply Antaeus. The pragmatics of black metal was never a complex matter for these French blacksters, or an ostensible one at that. From day one their mission was quite simple: the abrupt searing of hope or any other positive emotion through deflagrating musicianship -- something which their output to date can vouch for, par excellence, and their latest is hardly a shift from their modus operandi. CoC caught up with mainman MkM to discuss the latest Antaeus assault and more.

CoC: Hailz MkM! You were on the road recently with Secrets of the Moon presenting your latest album, how was it?

MkM: Hails, well this tour had been surrounded with a lot of indecision from our side; since our drummer left the band right after the recording of _Blood Libels_, we had to secure someone to fit behind the drums for that tour, which was not an easy task considering the conditions we could offer: close to nothing. Took some time, but Fabrice from Horrid Flesh did fit in and helped us out for those ten gigs. Turn out wise, it went from 40 to 350 paying tickets, with usually 150 to 200 people attending, which is rather numerous considering the fact that both acts remain very underground rooted, and obviously we were the "outsiders" when it comes to touring at the same time as bands like Enslaved, Satyricon and others... We couldn't really present _Blood Libels_ as we wished, since we never had the opportunity to properly soundcheck most of those gigs. A frustrating situation that did lead to some tension, easily perceived by anyone surrounding the band. On the Nuremberg aftergig night, it became obvious that AntaeuS as a live band was over, we had to cease performing. Now Antaeus will go on, with a different line-up or not: time shall tell... but we won't enter stage again. Positive aspects about that tour: gigs in Paris and Padova (Italy); the rest was not worth it for AntaeuS. All hails to Steve and all in SotM for all that they managed to achieve, they get my eternal hails for granting the band such a last tour.

CoC: I understand there's been a rough time for you and your bandmates what with financial problems and dissent within the band, yet still you've managed to produce the third album proper for Antaeus, tenaciously unwilling to settle down to more "acceptable" forms.

MkM: The situation got worse and worse with the years passing by. The deal with Osmose nearly did lead the band to dead. Norma Evangelium Diaboli managed to save us somehow. Though we do not fit the "bankable" kind of bands, we do not represent a "benefit" for any labels.

CoC: The paroxysmal, chaotic nature of Antaeus' sound is undoubtedly still present, dissonant and merciless, with the drum work having intensified considerably. Yet some say that when compared to earlier efforts the effect is not as caustic as one might've expected, even relatively tamer. How would you say _Blood Libels_ compares both aesthetically and in terms of musical dynamics to previous albums?

MkM: To those complaining about the album being less "caustic" as you say, well they can still find chaotic noisy acts around; for once we have a drummer that could perform both live and in studio, we would not complain. All past work was just random drumming that could never be reproduced live... so irritating after a while. _Blood Libels_ remains truly an Antaeus release, but for once, you can hear the guitar work, the song structure and the various elements added, still having a necro approach in the sound. We are far from the sterile sound of _De Principii Evangelikum_ for instance.

CoC: Rendering inherent razor-sharp qualities from earlier efforts with more structured and streamlined musical forms, _Blood Libels_ sees Antaeus progressing from the mind-numbing blasting of the past to a more refined and cohesive delivery. Would you say that this is possibly Antaeus' most mature album to date?

MkM: Without any doubt, it is our most mature album to date, what we were striving for. For once we did reach our expectations.

CoC: Ironic as it may sound; Antaeus have actually used female vocals for some of their songs in previous releases. I'm referring of course to Diamanda Galas, whose maniacal vocals can be heard many a time on _Cut Your Flesh and Worship Satan_'s eerie track intros. I have to say that there is something about her performances that chimes well with Antaeus' bleak mindscapes.

MkM: If you pay attention, Diamanda Galas has always been a reference in AntaeuS; all our releases have included at one point or another a "tribute" to Her and her vocal performances. For instance "Sono L'antechristo" was used on _CYFaWS_, _De Principii Evangelikum_ and "Covered" was also used as the ending part on the latest _Blood Libels_. I wouldn't use the term "ironic" to define such a combination, female vocals such as Diamanda Galas or Katie Jan G. (Queen Adreena) did reveal power and intensity in their work (as well as numerous others I don't feel like mentioning here or else it wouldn't be understood by most readers).

CoC: _Blood Libels_: two chained, blood-ridden hands stretching towards the heavens, seemingly yearning for salvation through unanswered prayers against a cold, black background. What is the lyrical subject matter behind the album and what is its thematic connection with the simple yet expressive cover?

MkM: "Sacrifices" mixed with achievement are the keys that are symbolised through the dynamics depicted on this cover. As you pointed out, the idea of "salvation" could be considered at first, since the idea of elevation could be seen through the "skies" reaching position of those arms. While the sigil and its aura are reflecting filth, rotting process...

CoC: Satan (or the figure of) has enjoyed a prominent fixture in your imagery. It is quite obvious though that it's not simply intended to project an antithesis towards Christianity; rather it attains a more sophisticated presence of something stemming deeply from your own personal angst. Who exactly is Satan then, under the prism of Antaeus' ideology, and what does it symbolically stand for?

MkM: The answer you seek resides in the way you did formulate your question. For once someone managed to sum it up properly.

CoC: Awash in negative emotions, every release has never had even a hint of melody; it seems you creatively thrive on pure negativity. Where does it all gush from?

MkM: Education, adversity and our relation even within the band, this tension reaches its peak if we all get gathered in the same place. To give you an idea, we cannot stand each other, and studio wise, we went to record our parts one after the other, making sure we wouldn't affect the amount of time we had. All is genuine and that doesn't fool the few selected ones paying attention to such "details" that are primordial for Us.

CoC: Being one of the few bands that actually live as they preach, the pertinent question that arises in this case is what exactly can be attained through premeditated self-destruction/denial: enlightenment (if so, how would you define it), an eventual state of self-delusion, or something else even?

MkM: Enlightenment: yes, through the conception and the healing process as well as the final results and the connection you would have towards the results. No self-denial, rather elevation and ecstasy combined with devotion through sacrifices of images / self / skin / blood.

CoC: Essentially what is black metal for you; a necessity, or a conscious choice? Is it a medium which aids in achieving a higher goal, or do you see the music as the ends itself?

MkM: The range of choice is limited, it could be an achievement reached through a well thought decision.

CoC: Black metal has remained adhered to more or less the same musical paradigms since its early inception back in the late '80s / early 90's, yet the ideologies therein exhibit a considerable disparity; from outright Satanic idolatry to Pagan themes and from there to sheer nihilism. Ideological differences aside though, there is a "link" that bonds the true and devoted black metal units and differentiates them from the rest of the herd. Your opinion?

MkM: That term "true" tends to make me raise an eyebrow, especially when referring to the black metal scene, its use over the past years has destroyed its initial meaning, I guess. You mention "ideological differences", I just can't put those aside, but still I would perceive the genuine approach of some acts in their musical work.

CoC: Arkhon Infaustus, Deathspell Omega, Blut Aus Nord, and of course Antaeus. Although relative latecomers to the scene, it seems that French black metal has come a long way since its Les Légions Noires days (back in the early '90s) and has successfully managed to become the inspirational hub for modern European black metal, drifting it away from its Northern fountainhead. How do you see the local scene evolving, or devolving even, from a first-person perspective?

MkM: Yes, "relative" latecomers! 1993 or 1994 would already be twelve years... Most of us were involved in the scene in a way or another prior to those bands you mentioned: I had my zine / distribution / label, others had numerous previous acts, so I wouldn't label us as the "flavor of the month" either. About the Northern formations, they somehow ruined it through their evolution maybe, I wouldn't care much. I still hail some of those individuals, while others only belong to some memories. About our scene as it is now, I simply lack interaction with it to really get to comment its possible futures. For instance, "death metal" wise, a band like Gojira is now getting all the media attention and touring massively...

CoC: Antaeus have recently signed unto Norma Evangelicum Diaboli, a stalwart French label with a keen eye for high-brow, intelligently themed black metal. How are you associated with the label, and what is its prime aim?

MkM: When NED did emerge; I somehow helped them out as much as I could, since they did represent all I ever dreamed of when I started SPK, without having the keys to reach such high schemes... Somehow, NED simply makes sense. In days when black metal and extreme metal is conceived / marketed, like any other generic musical form; getting to see such skilled individuals gathering their forces with a view to creating a label combining quality, devotion and Art provide the breathing I did search for in this sterile scene. About further details on their aims, I guess it would be smarter to ask them directly.

CoC: Deathspell Omega, Malign, Ofermod, just to name a few bands on the NOEVDIA roster, all exhibit a more intellectual grasp of the genre's ideological potential. Is this the next step for the genre's maturing and eventual survival against temporal pressures, by having a select, dedicated few centralized around a tightly-knit black metal intelligentsia?

MkM: I do not think that this is the next step, but yes, we are part of the EVILution, presenting, upon our standards, a more mature output than most of those acts based on nonsense and without the capacity to fully understand what IT all stands for. The term "intelligentsia" would imply that we would spit upon the lower acts, which shouldn't be used there, since we simply do not care, we do evolve in other realms.

CoC: What's your opinion on this ever-growing "revenge of the kvlt kiddies" subculture where any disgruntled teenager with personal recording equipment can produce sub-par, low-fi musical output and sport it as "black metal"? Isn't black metal losing part of its seriousness with these attention-seeking endeavors? Of course there are notable exceptions.

MkM: Mmmm, the Internet only made this more obvious, since anyone could open up a webpage and present their work, but I think it has always been like that. But since they are outnumbering themselves, any of those bands without convictions usually end up "buried" by time and dust within ten months. Simply do not pay attention, the worthy acts would come out anyway, though they'll get even more credit since they are facing a different kind of underground (compared to what we used to see back in late '80s / early '90s).

CoC: Finally, what does the future hold for Antaeus? Any planned tours?

MkM: The tour with SotM was our final tour, Antaeus can now be considered as a studio act only. We do feel like we have performed enough under such conditions. No need to go on that way. A split vinyl with Katharsis is the only release we have in sight so far, and we do not have a clue on when we will record it. Now, the band mostly focuses on the _Blood Libels_ release.

CoC: And I guess this marks the end of our interview. Feel free to direct any curses to the unsuspecting masses.

MkM: AMSG. Hails to you for the interview and the time you gave us.

http://cyfaws.free.fr

http://www.myspace.com/antaeusdpe/

(article submitted 10/11/2006)

Bludgeond (interview)

Ingestible delicacies (souvlaki, halloumi etc) aside, Cyprus may just have another thing to offer to the world: quality brutal death metal. Impressed, firstly because an outfit belonging to this particular genre rose from Cypriot soil and secondly because of the band's apparent high calibre when it comes to instrumental dexterity and sheer aggression, I soon found myself in direct correspondence with the suspects in question to uncover the driving impetus behind this ear-drum ripping experience. Here's the inside report that ensued.

Hail Bludgeond. So give us a brief history of how it all started.

We formed the band in July 2005. It started out just a couple of guys jamming and eventually we started writing our own material. Next summer we released the demo. During that period we had a lot of member changes. After that our sound changed and basically it was like a different band.

How was the reception for your first demo? Is it still available?

The demo received pretty decent reviews and we got a lot of good feedback from people in the local scene that got the demo. You can find some of the reviews in our MySpace site. Most of the demos got sold but we might have some stashed somewhere hehe. Trades are welcome.

Your interesting metal rendition of Tears for Fears' "Mad World" featured on the aforementioned release came as a bit of surprise. How did this come about?

I’m not completely sure how that came about. But we liked the song and we thought it would be interesting to metalize it. We gave it a more aggressive feeling instead of its original slow and melancholic tones. It turned out pretty ok we think. Simple but to the point.

I understand you've upped the ante with your upcoming work. Where 'Bludgeond' was more Swedish in terms of melodic overtones and structure, your more recent songs seem to be much more technical and more prominently USDM in style. Care to comment on this stylistic shift?

After releasing the demo and changing members, at the period we were writing the new material we had a lot of ideas and a lot of influences. We kept an open mind about what we were writing. The new stuff is as you said more US death metal oriented but there are a lot of experimental elements in the new songs.

You mention 'experimental elements'. Could you expand on this?

The way the songs are structured and all the material itself is quite unorthodox. There’s a lot of variety in most of the songs. Every one of the songs has its own aura, its not just blasting all the way, it’s more rhythmic and we use a lot of off beats and uneven time signatures in the songs. You’ll get the idea when you listen to the EP.

From your song titles one can easily discern that you deal more with personal issues such as inner strife and tumultuous states of mind rather than the typical gore/splatter fare. What are the basic themes of your lyricism?

The songs talk about various moods and human behavior mostly. The gore/splatter theme just doesn’t seem appealing. We’d rather talk about something more realistic like all these fucked up thoughts we all have and what’s happening around us in everyday life rather than just blabber about senseless fictional violence.

There have been a lot of changes going on in the band with members coming and leaving. Have you finally settled with a solid line-up or are you still on the look-out?

As of September 2008 our line-up has been me on rhythm guitars, Dan on drums and Miguel on bass... Still looking for a lead guitarist. The guitarist not only needs to be skilled but has to put up with extreme filthy jamming room conditions, vile smells and hard drinking.

Do you feel satisfied with the state of affairs in Cyprus as far as metal is concerned? Any other bands who play extreme metal worthy of mention?

I don’t follow the Cypriot scene that much but I think there are some pretty decent bands here. There was a Terrorizer special on the Cypriot scene where Bludgeond and a couple of other bands got interviewed for those that might be interested in learning a bit more.

What are your main influences when it comes to music composition - bands, artists or otherwise?

Well a lot of bands have been an influence on Bludgeond but also our current working environment and routine, the drugs… But as far as bands go its bands like Immolation, Origin, Akercocke, Cryptopsy, Meshuggah and a lot of non extreme metal bands that have been a major influence on the band.

Have you played live in recent time? Any upcoming shows?

We haven’t played live since september 2006, a bit shortly after Stefanos left the band and after that it was mostly a time to experiment with new ideas and sound. We’re trying to find a suitable time in December.

So when should we expect your second EP to be released? What's the working title for it at the moment?

Most of the songs are all done, just some mixing and mastering work needed but it’s as good as done so anytime soon. There are 5 songs on the EP and its duration time is about 25 minutes. We haven’t decided on the title yet.

Any way of contacting the band - website, email or otherwise?

Our email is bludgeond@gmail.com. There’s also a MySpace site www.myspace.com/bludgeond and we’re currently working on an official site.

Right I guess that wraps it up. Any last comments?

Thanks for the interview.

(September 2008 for Tartarean Desire)

Macabre Omen (interview): As Worlds Collide... CoC interviews Macabre Omen

Intergalactic invasion insinuations aside, the heading is more or less an apt title for a band's musical conception, which has managed to amalgamate two scenes of such notable disparity into such a congruent outcome. A far cry from being an otherwise ostentatious figure within the black metal realm, the sole person steering this one-manned wagon has been silently occupied with his projects since the early '90s. Following his own intransigent path with Macabre Omen and after a decade of active involvement in the underground, his first album, _The Ancient Returns_, was released in 2005. Succinctly, it is an interesting aesthetic sundry of elements from both Scandinavian archetypes and his native Hellenic scene. So, without further ado, I bring you "The One" in his own words.

CoC: Hail Alexander! What news from the _Macabre Omen_ camp as of late?

Macabre Omen: Xaipe! Sooner or later mankind shall come across the long awaited Macabre Omen / Order of the Ebon Hand split 7" (limited to just 250 copies) tribute to Bathory! A kult piece of art covering Bathory's Viking era classics. Also out soon, the vinyl version of _The Ancient Returns_. Other than that, I am mainly focusing on The One for this period of time.

CoC: Would you mind giving us a history of the band up to now?

MO: The band was formed back in 1994 A.B. by myself and two other individuals. Since then, a number of demos, split 7" EPs and a split CD with Judas Iscariot, Eternal Majesty and Krieg have been unleashed. From 1998 onwards, Macabre Omen has consisted only of The One...

CoC: It has come to my knowledge that this album took almost ten years in the making. Are you satisfied with the final outcome of this long-brewing endeavor?

MO: It took indeed over a decade to release the debut album, but it was worth the wait as the results are awe inspiring! The One is very pleased with the final outcome. It is exactly how I have pictured it, if not even better. Of course there are minor issues that I would have done differently, but overall it was worth the delay.

CoC: Taken from one of the album's track titles, "The Perfect Sound of North vs. South" is an adept description of your debut, which is essentially a clash of paradigms so to speak, where the more effervescent Mediterranean sound conflates perfectly with the, shall I say, more cold, 'true' forms of Northern black. How would you comment on that, with regards strictly to the musical influences on your album?

MO: Absolutely. The way I see black metal is different from where black metal stands today. I grew up listening to early '90s to mid-'90s black metal hordes from the North and South of Europe. Bands that followed no trend but what they truly believed in. Nowadays every new band has to be inspired by what the current trend is, such as the Black Legions trend or the Orthodox religious black metal crap. Black metal is not music to please the masses, but music to please the composer. Regarding the song title, in a way it sums up the whole album as you clearly noted, but it also is a metaphor for issues such as the importance of "balance", "perfection", "superiority" and so forth...

CoC: Epic on a multitude of levels, _The Ancient Returns_ sounds to me like a call aimed at a hidden, archaic part of ourselves to revert back to antediluvian, forgotten values where the human spirit roamed free, unrestricted by today's materialistic, lowbrow social norms. Conceptually, where does the album revolve around?

MO: In order to achieve the description you have just mentioned, the music needs to be grand, monotonous, repetitive and melancholic. All these elements can be found in _The Ancient Returns_. There is no point to mix hundreds of riffs with virtuoso solos as the listener (in this case myself) will lose the plot and will not be able to evoke those aforementioned images. Generally speaking, the album wants to evoke an image of what once was... of a utopian world full of values and respect. A world that I have yet to come across in all its glory -- but I am still searching...

CoC: Both vocally and in terms of atmosphere, the album at times is quite reminiscent of that unmistakable Burzumness, invoking similar cold apparitions of utter desolation. Indeed, you are one of the very few units that have successfully managed to enmesh that definitive coldness into their sound as their own. Has _Burzum_ simply been an influence, or more of an inspiration over the course of the album's inception?

MO: I grew up listening to Burzum, and for me Burzum and most of those early '90s hordes are the true definition of what black metal is all about. Bands like Rotting Christ, Bathory, old Mayhem, Darkthrone, early Celtic Frost, etc. had all a very different unique sound and didn't give a shit about sales, pleasing the fans or following trends. Vikernes is a confused personality and sometimes has a confused direction and opinions that contradict each other. In other words, I consider Burzum purely as an influence mainly out of respect. Actually I try to only think highly of myself these days... I have no interest in humanity whatsoever.

CoC: Schopenhauer once wrote that "Music never expresses the phenomenon (i.e. the external, the perceived), only the essence, the thing-in-itself, in other words it expresses Will itself in its purity". Would you say that music in its pure nature is inherently unbound from human symbolism and values?

MO: I consider music as one of the most powerful tools of propaganda, that if composed in the right manner it can provoke elements of fear, pessimism, melancholy, hatred and so forth. Quality music comes first from within to satisfy the needs of the composer, and then to any external circles. If this is not the case, then we are talking about music by order, commercial music, pop music, advertising jingles and so forth. Most black metal today is music for ordering... it cannot be explained otherwise how a band can release eight split EPs and two full albums in a space of twelve months. It is simply ridiculous.

CoC: It is quite obvious that all black metal bands of notable quality retain an omnipresent feeling of despair and hostility emanating through their musical output, although different musically and even ideologically, be it Satanism, Nazism, et cetera. Do you think that what might ultimately lurk behind the fundamental nature of black metal is a certain sentiment of existential alienation, or angst if you will?

MO: I agree with this statement. Black metal is not for everyone and black metal is not music to unite or satisfy humanitarian needs. It purely exists to reveal a clearer image of hatred, destruction, misanthropy and even alienation and angst. I cannot see the reason why true black metal should be spawned by a certain country, by certain individuals with a certain subject, but at the same time be accessible and sold in large quantities. True black metal can only be achieved if the feelings of hatred, desolation and anti-humanism are there. If those feelings are true, then the sound will be true. If not, then something is missing and the material will just be forgotten in time like most of the crap out there.

CoC: Although _The Ancient Returns_ has been well received by the underground, Macabre Omen has remained, for the most part, rather unnoticed by the greater black metal fan-base despite possessing undeniable quality. Is such a status a conscious effort to keep your work within a selective, tight-knit circle?

MO: Not at all. I think this is simply and purely because of the minimalism in imagery, lyricism, etc. -- and this is the way Macabre Omen will stay... or am I supposed to adjust in order to attract a larger number of people that will be pestering me with their ignorance? I would rather things remain as they are!

CoC: Macabre Omen has been dwelling in the Grecian underground for over a decade now. Over the years, what is the main driving force behind your artistic inspiration?

MO: As previously noted, it is purely a need to express myself. Maybe if this was a perfect utopian world I would be a different man and I would not need music to express my "wish of total destruction" and the total disgust that can constantly be found within me! Until these sentiments vanish I should often eradicate humans of no importance.

CoC: With bands such as Deathspell Omega and Drudkh conveying more artistic and intellectually stimulating themes, it seems that the genre is experiencing an aesthetic reawakening as of late. What is your view on the black metal status quo as it is generally purveyed today? How much do standards differ, in terms of quantity and quality, from when you first entered the scene back in the early '90s?

MO: I don't really like this kind of neo black metal, to tell you the truth. Drudkh and Hate Forest are remarkable achievements, but nothing really excites me anymore, as it is either trendy, or has been done before. Sometimes neo black metal sounds like it is composed to satisfy someone else... basically it sounds like pop music to my ears. Manufactured, cliché, predictable and using a certain formula for "success". I prefer unique material that has no fear of being ignored by the masses. Sick, pioneering and insane material with pure feeling and no use of stereotypical characteristics.

CoC: In the long run, what do you hope to achieve with Macabre Omen from a personal perspective? Do you see your music as a means to an end or as the purpose itself?

MO: Music is a way to express myself. I cannot keep these things in my head, as I can only remember so much. I want to record the material when the opportune moment arises, in order to remind me why I am here and where I am going. I have no target with Macabre Omen or any of my projects. However, that does not mean that I shall record crap whenever it is required. What will be recorded will purely be a classic release. Something that will withstand the fall of time... otherwise there is no point.

CoC: You are involved with several distros and 'zines in your home island, namely Demonion Productions and Ancient Tragedy fanzine. How are things going with these activities?

MO: All these things are mid-'90s activities of mine. The 'zine I have stopped for a long time. Rare and kult material indeed! As for Demonion Productions, it is a label I had since '96 that has spawned bands such as Keep of Kalessin, Warloghe, Pest, Der Sturmer, Moontower, Satanic Warmaster, Utumno and so forth, by releasing their demos or 7". At the moment Demonion Productions is just focusing on distribution. The mail order has some 1500 items, so feel free to ask.

CoC: In regards to your other band, The One, there is a direct contrast between the majestic approach of MO and the more brooding and menacing feeling of the former. Are both bands the sides of the same coin, or is there a distinct underlying thematic difference?

MO: Indeed both bands are the sides of the same coin. Musically and lyrically they are so different, but the final result is the same. Superiority, power, ignorance, destruction. It is a different way to express the same thing, if you understand what I mean. I want to see if one day both bands could become One. That would be an achievement, but it will take a long time, I think!

CoC: What are your future plans with Macabre Omen and your other projects? Should we expect your sophomore release any time soon from MO?

MO: As I previously expressed, I am currently focusing on The One. It has been three years already and this new album will crush the masses! Aere Aeternus is also a priority for me, as in a way it stands along the same lines as The One, yet in a more industrialized, militaristic approach. After all that is out of the way, I will try and put down the layers for the new Macabre Omen epic. It will be grand like the first one and in the exact same way and direction. No innovation!

CoC: Alright Alexander, it's been a pleasure. Last words belong to you.

MO: The future belongs to the brave. I shall return stronger than ever with my new assaults... even if it takes me another decade!

(article submitted 10/7/2006)