Interview: Chris Reifert (Autopsy, Death, Abscess)

In the an(n)als of metal history, the name Chris Reifert sticks out like a red flag to anyone tracking the progress of the development of the genre. After a partnership with Death, he formed Autopsy for the sake of recording “death metal” in the late 1980s, and has moved on from Autopsy to Abscess, a grind/punk/metal project, as well as several other bands in the quest for loud and grindingly horrific music. We were able to catch up with Chris through a system of coded messages sent via colonically-violated seagull.

What motivated you to get into metal?

Just my infatuation with heavy music. It started when I got hooked on KISS in 1978 and has only progressed since then. Also being exposed to ‘Rubber Soul’ and ‘Revolver’ by the BEATLES as small child got an early intestest in psychedelia cooking. Nowadays we are really merging psychedelic influences with (emphasis on) extremely brutal metal with a healthy injection of ‘FUCK YOU’ punk. AAARRRGGGHHHH! (to quote Venom)

Have you ever gotten in trouble with the law for your metal affiliation?

No, just for alcohol affiliation.

What do you see as the primary difference in mentality between underground metal bands and the people you hear on the radio?

In general, everything. Otherwise, I guess it depends on who you are talking about. Besides that fuck the radio! Even at its best moments it sucks Carrot Top’s unwashed red and brown ass! The radio for the most part is controlled by one piece of fecal matter sitting at the top caring for nothing artistic unless you count dollar bills as art pieces. DESTROY THE FACTORY!!! The sick thing is, alot of fucks in the underground just wish they were that piece of fecal matter but just haven’t achieved it yet. It all comes down to this, is your music good or crap and to whom? hmmm….

in autopsy, what were your influences on drums and why did you pursue the musical style that you did?

I think I was my biggest influence in drumming at the time cause there was no one else to look up to in my mind. If you ask me about that now I would say Keith Moon and Dave Lombardo as a two headed four armed eight legged mutant with a up of insanity added.

In Abscess, you are trying something more punk or grind than metal, but with metal influences. Why the big change and what advantages has it brought you?

I really hate analyzing specific riffs or feels or whatnot. It’s the spirit that matters. I suppose after Autopsy split all we really wanted to do was get drunk and go crazy. No we still do that but really hone in on maximum heaviness and mindfuckitude. ‘Tormented’ dove into that pod and our newest ‘Through the Cracks of Death’ is swimming to the bottom or maybe into the air above. It’s all the same I guess. Quesion is: What would Lester Bangs say?

What are your favorite punk/hc bands?

Mostly older ones cause punk has suffered the same commercial assfucking that metal has as of late. Just a few: GG Allin, Ramones, Sham 69, Capitalist Casualites, Gaia, Poison Idea, Dwarves, Discharge, Stooges, MC5, Dead Boys, Pagans, bla bla bla…

If you could exist in any musical movement in history, what would it be?

I can’t think that way. I’m always obsessed with laying down the next brutal eyeball gouging, runt raping, flesh flinging track.

How has Abscess been received by the metal and punk communities, and what have you learned from the differences in the two?

Everyone still hates us 8 years into it. Mostly I hear “When is Autopsy reforming?” How about “When are you gonna let me spurt jizz into your armpits?” Fuck it! I’ve always thought and still do metal and punk are two sides of the same coin. Its all about energy, aggression and getting your sick kicks in an eardrum pummeling way. Call me old fasioned. har har fucking har de har!

Why do you think underground metal began when it did, 1983-85, with bands worldwide suddenly converging on the same sound?

Fuck knows? Its the way it goes with any movement (bowel-haha!) I suppose. Who cares really? Theres good and crappy in any situation like that. Lizard poop for everyone, thats what I say!

Do you think anything in nature has a single cause?

I dunno. Maybe somehwere between Bukowski, Casteneda and Nietzsche lies the truth. But I doubt it. Most likely humans just wonder too much about some secret key or meaning to life. Maybe Nietzsche was right but ‘Maldoror’ is pretty fucking entertaining!

Do you hate the internet? If so, please tell us why, in detail (including the following topics if possible: AOL, porn, FBI)

I don’t hate it, I’m just not interested in it. If I ever owned a computer (which I don’t) I probably would never turn it on. I’d rather call someone and hear their voice with no screen to hide behind in my admittedly warped mind there’s something deeply good way. I seem to be in the minority…

Please comment on any rumors linking yourself to VON here.

What rumors? Our bass player Joe used to be in Von. That’s as far as it goes.

Where do you think metal will go next, what will become?

I think the big question is, where will the bat boy appear next? Fortunately the weekly world news will keep us in the know.

What do you think of nu-metal?

Where did they get the metal part from? Heavy guitar tones and seven string guitars do no add up to ‘metal’. On top of that some worthless fizzlefuck slobbering about how his father came in his face too many times or some gopher entrails like that. TOTAL FUCKING GARBAGE FOR TOTAL FUCKING DUNCES!!

Enlightenment is man’s release from his self-incurred tutelage. Tutelage is man’s inability to make use of his understanding without direction from another. Self-incurred is this tutelage when its cause lies not in lack of reason but in lack of resolution and courage to use it without direction from another. Sapere aude! (“Dare to be wise,” Ars Poetica, Horace) “Have courage to use your own reason!” — that is the motto of the enlightenment.

– Immanuel Kant, Foundations of the Metaphysics of Morals

Many thanks to Clint Carr for his help in obtaining this interview.

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Interview: Mr Blaash (Where’s My Skin? Zine)

Those on the prowl for interesting literature about the metal movement may be familiar with Mr. Blaash of Where’s My Skin? zine. His misanthropic commentaries on metal, death, life, self-mutilation and guns are gratifying to those of us who have experienced enough alienation to hate any form of sociability. Blaash kindly granted an interview between reloads on his MP5 during a streetfight in Houston.

How did you get into black metal: was there metal before it that you liked, did it alone appeal to you, or did you find it through a non-metal genre?

Hm. When I was a little blaash, back in the 80s, I found early bands like SLAYER, early METALLICA with Cliff (no remorse, no regrets, we don’t care, what it meant), early MEGADETH (its black Friday!), a little POSSESSED(7 churches), early SABBAT (a history of a time to come – from the UK before they turned UltraGay), and a fucking healthy LOUD dosage of RIGOR MORTIS ( DEMONS).. from there I instinctively turned to the glory of death metal, with DEMIGOD, XYSMA, FUNEBRE, PHLEGM, IMPETIGO, BOLT THROWER, CARCASS and so on.. mainly by listening to a radio show at like midnight by Wes Weaver (now of INFERNAL DOMINION) called Sweet Nightmares… around the time of my first issue oh, lets say 92 or so, I was introduced to the TAOG EHT FO HTAO demo from IMPALED NAZARENE.. I immediately made contact with the man and from henceward I followed with IMMORTAL’s “Fullmoon..”, MARDUK’s “dark endless” and COF’s “principle”.. it culminated with the first slicing as I heard the EMPEROR split with ENSLAVED.. truly an honour to have heard such albums before they have long since “progressed” or some such thing.. it is a shame that the younger generations (rightfully perhaps) spit upon these bands because they were introduced to the LATTER releases, instead of realizing that back in 93 or so that these were skullfucking releases at the time..

Describe what black metal sounds like to you.

As it should – Extreme, in at least some sense of the word.

Describe what black metal communicates to you.

Ah – An aura of violence followed by an intrinsic self destructive honour; that it is still within our grasp to end our own existence or that of another… feelings of no self worth, but with the knowledge that one does not need to have any.. perhaps this is sounding a bit confused; but for me it fuels the fire of negativism in my person; of continuing a fight with the knowledge that in the end I will lose; but that is not the point; the point is the struggle itself, and how many I plague, harass, molest, spread the seed of propaganda onto (heh or into)and/or horrify/depress or encourage others to do so….

What “is” black metal?

As with any form of medium; propaganda – a weapon to encourage negativity in the extreme to others…

How did you get into writing, and why did you choose to do Where’s My Skin?

When I was a young maggot I always had the penchant to write.. I used to write cynical opinions about world events.. I especially liked the LA riots (the darkies were outraged about something, so they destroyed THEIR OWN neighborhood.. shouldn’t they have at least destroyed somebody elses) and also Maggie Thatcher, and CNN (I really think they start the wars, just to have something on TV)…As I delved further into the scene, I ran into some killer zines like billy nocera’s COVEN zine and others.. however, I also ran into shittily written pieces of fucking nonsensical crap – I could not tolerate the extremely poor grammar and just outright usage of the same ‘its brutal man’ reviews. Fuck I couldn’t fucking stand it. Theres nothing wrong with a shitty looking zine – hell look at mine; but at the very least compose it competently.. a good current example would be HELLISH MASSACRE from Sweden.. also TALES FROM THE EIBON (france), tho needs A LOT OF WORK… seems to be showing improvement..

Do you believe as did Georges Bataille that human life in part consists of looking for a good method of expenditure, meaning a means of expression that culminates in the depletion of the life itself?

I believe this is simply a metaphor for ‘finding a goal’ in life. To find ‘meaning’ – be it rape, serial killing or an accounting position at KPMG.. as one attempts to reach these goals, he is confounded (and/or arrested or shot, depending on what goals one pursues)… and eventually dies. Bataille was quite a healthy pervert and an esoteric/violent thinker, from what little I know of him. Would probably great to trade stories with over whiskey.

Let us consider in particular how concepts are formed; each word immediately becomes a concept, not by virtue of the fact that it is inteded to serve as a memory (say) of the unique, utterly individualized, primary experience to which it owes its existence, but because at the same time it must fit countless other, more or less similar cases, i.e. cases which strictly speaking are never equivalent, and thus nothing other than non-equivalent cases. Just as it is certain that no leaf is ever exactly the same as any other leaf, it is equally certain that the concept ‘leaf’ is formed by dropping these individual differences arbitrarily, by forgetting those features which differentiate one thing from another, so that the concept then gives rise to the notion that something other than leaves exists in nature, something which would be ‘leaf,’ a primal form, say, from which all leaves were woven, drawn, delineated, dyed, curled, painted — but by a clumsy pair of hands, so that no single example turned out to be a faithful, correct, and reliable copy of the primal form. We call a man honest; we ask, ‘Why did he act so honestly today?’ Our answer is usually: ‘Because of his honesty.’ Honesty! — yet again, this means that the leaf is the cause of the leaves.

– F.W. Nietzsche, On Truth and Lying in a Non-Moral Sense

Is there any division between love and hate for you?

Well. They’re spelled differently. Hows that?Hm. Both are strong emotions…. I myself am trying to move to that cold, negative feeling that one gets when listening to the ANTAEUS interludes from CYAWS.. of simply Not caring. Par example “No I don’t hate that person, because that would mean I care about them – I just want them dead”… I realize in our pseudo nihilistic coalition it is necessary to have those with passion (and strong emotion like hate); those who enjoy their work – these men (women?) will be the brutal, sadistic serial killers that truly define us.. while we just sit back and guffaw when we read about the newest missing daughter’s breasticle found in her mothers shoe…

Most art in this postmodern time outside of black metal seems to focus on finding a convenient way to express the idea that human life is valuable. Why is it artistically, politically and socially valuable for you to think otherwise?

The morals of the current American society have attempted to teach this; however, I believe it is having the opposite effect.. the morally deviant can obviously see the hollowness of this deluge; hell, even the supposed xtians are doing the opposite these days..I have always been wary of society and socially accepted principles – I see nothing but mediocrity and hypocrisy .. that is one reason I have embraced the path of self destruction and disdain for the majority of society…

Do you think armed political uprising is in the American future?

No. Big Brother has too much of a stranglehold.. if we in turn manage some decent domestic terrorism, it will only serve as a carte blanche for the government to act in silencing us further.. still. It would be interesting to bring down the wrath of oppression – as it nominally, at the least, brings forth rebellion and then violent repression.. so.

What is your preferred method of killing humans?

Havent killed any, so unfortunately I cant give a first hand account and/or description and high points/low points of such an activity. However, I am very, very prone to projectile weapons.Again, those with the passion to properly enjoy this activity should be on our payroll; but me, hell, I just want to get the job done; I have a bar I have to go to afterwards anyway.

You live in one of the most ethnically- and culturally-diverse cities on earth, Houston. What do you like about Houston, and what do you dislike?

I can see you giggling as you write that statement. What the fuck .. we have a dangerous VietCong Mafia, 4thWard NigsAplenty, the BlackHand Messican mafia, and more Nigerian cabbies then I can shake my willy at.. there is NOTHING to like.. fuck. The only interesting thing is that there are Europeans (women) that come here, due to Houston being a port city. It is a nice break from the fucking Huge FuckinG MOO-Cows we have runnin’ around here that pass for women. Shit.

Isn’t it fucking hot as hell there?

Prozak – I’m gonna kick you in the groin for that one when/if I see you at the SatanTonio Fest in December. Fuck yeah its like breathing in a nuclear cloud – I don’t fucking care if its sunny in all of the south, we’re in a fucking sewer in Houston – the humidity makes it feel like youre in a sauna – to boot, it rains a lot, and then its SUNNY at the same time – great for blinding you and making you sweat your ass off. I guaranFuckinGtee satan thinks that even Houston might be a good training ground for some of his potential executives.

What do you like and dislike about Texas?

Likes –
Waco – hehe. Killed us some ATF agents we did. In the name of god too. Hehe
Guns. Lots of em.
Not too many Yankees – The northern aggressors
Space – nice, open non populated, flat space.
Cheap consumer goods – food, clothes, cocaine, whiskey, porn etc

Dislikes –
COPS – there are four fucking kind of cops in Houston alone that can shoot me – the Department of public safety (they have cowboy hats and BIG guns), Houston police, Houston Constables, County Sheriffs, METRO police.. shit
THE WEATHER – see above
The sports teams – they all choke/suck and I still watch them
THE WEATHER
The women – MOO.. they have trained the men to like them and think its okay theyre fat, overweight and whiney. The men feel They Have To Like Them because that’s ALL that’s around here. Shit they showed some pics of dallas women lookin’ all hot and slutty like – I bet they weren’t from dallas.. I’m exagerattin’ a bit I suppose – but its especially horrible in Houston.. when you can get a .99 cent hamburger and a .79 64oz coke and NOT do any exercise.. shit. You get an inflated heifer

Of course.. I ll plug them here I suppose

Are there any local bands you find excellent?

KATHONIK – most underrated band of houston – the front man for this band has been around for 10 fucking years, 4 demos, an unreleased (never will be) older album and a newer cd (that still needs proper releasement) – killllller razor in your face black with a touch of doom.. http://kathonik.cjb.net
ADUMUS – hehe. I know you don’t like the keyboards, but heh.http://come.to/adumus
BRUTALLY MUTILATED – old style IMPETIGO worship
BLACK BONED ANGEL – satanic celtic frost Johnny cash
TO SCALE THE THRONE – basic straight forward mid paced black..www.geocities.com/toscalethethrone
INFERNAL DOMINION – ex IMPRECATION .. fast as fuck brutal satanic death
THE DRUNKS – VIOLENT WHISKEY ROCKNROLL – excellent live shows.. good cover of witching hour..
UNCHRIST – newer band – good demo release – kathonik members
HIDEOUSLY DEFLESHED Uhm.. I liked their vocals – that is what saved me from just walking away from the stage in boredom…http://www.hdsproductions.cc/
I’m sure I forgot someone.. I suppose I’ll just get thocked for it.

What do you think distinguishes Texas as a locality from other areas, aside from climactic and geographical concerns?

We have a lot of satanic Hispanics? I don’t know. For some reason, I’ve noticed, even when in other countries, that I state I am a Texan first… I guess its because I’ve personally become enamored with the right of Texans to shoot and kill anybody attempting to steal property at night. Or the “trespassers will be SHOT” signs I see on open roadside (where I’m sure some redneck with a sniper rifle is just waiting for a city boy to try to piss on it)… just the fact that we up and stole this land fair n square from the Mexicans two centuries ago and that we joined the yankee coalition of states as a Favour to them. We have our oil, NASA (for space defense) and our own ground/air forces, so I don’t see a problem with becoming the United Texan Front or something…

Do you think there will be another truly great band from Texas?

You mean besides RIGOR MORTIS and ABSU .. and NECROVORE (I ‘m unfamiliar with this band however, but it is greatly appreciated it seems)…I think so. The climate and road construction leads to so much rage I figure it will manifest itself in another project. Who this might be.. I don’t know.

What are your feelings on Texas seceding from the Union?

See above.

do you think metal music is a form of rock-n-roll?

I am not a metal geetarist per se- but many I know seem have all started out with the older bands of rocknroll and such… and many still admire the technical proficiency of said artists.. I would like to say we’ve defined our own sub genre that cannot be categorized with simple rock bands; however though that argument may hold true for younger dragoons within the metal ranks, it might not hold much veracity with the elders of this genre – mainly with more experience there usually comes further education into other forms of music etc..

What is most important in a metal band, composition, production or attitude? Can these be separated?

1st Attitude – what is the goal with the propaganda – to just make racket and keep mum and dad awake at night. too much jerkin’ off so may as well try the geetar? Play in a rock band to get chix? Which is it?

2nd Okay – youre an evil motherfucker trying to seduce young jedis to the darkside, now what? Can’t play an instrument to save your life eh? Well fucking learn the basics before composing the propaganda – badly formulated propaganda encourages Ridicule..

3rd Production – low production means youre heavy – bad production means youre raw and kult – good production means you did it ABYSS studios and sold out.

When you hear something for the first time, how do you analyze it? For what do you listen?

Drums … I like blasting violence THEN.. vocals – horribly painful vocals like FUNERAL MIST, BETHLEHEM or ANTAEUS (live or rehearsal) can easily encourage Violence and Suicide.Lastly, geetars.. I can’t stand solos.. so unless its horrible I judge these last.

Do you believe the values and beliefs of artists shape the music they produce?

I would like to think so – ive noticed a change as of late.. in the early days of WMSitude, I used to ask bands the equivalent question of their beliefs and the reflection into music… most early bands (death, grind) simply liked playing aggressive music.. with the advent of black metal, it seems that it is Very Important that life imitates the music they produce.. and that is what I prefer.. THOUGH, there were some early satanic death and VIOLENT porn/rape/gore bands that were totally fucking into mass murder and of course endless sodomy of young pigtailed little catholic school girl anuses… so…

Does this explain “Christian metal”?

I have no logical explanation for xtian metal. IF this is to exist, I want more like David Koresh – he played that thar geetar, fucked everybody’s wives, and then done and shot and kilt some Federales…

In your opinion, what is the symbolic value of “Satan” to a modern society and those who wish to reprogram it?

It is an easy symbol to recognize as negativism… easiest put – the baphomet, the upsidedown cross, etc, represent to normal society something “bad”. It is then those who are wearing it that bicker/personalize what it means to them..

Do you believe “terrorism” is a valid way to describe the tactics of America’s current “enemies”?

Yep. Good for them. Fucking smartfucking towel heads. I comment on this greatly in upcoming issue h8te, which will be out in November.

What zines do you read?

I just got FINAL SOLUTION from spain – good interviews in that one; correct mindset for writing.. I naturally have a liking towards the JenOside33 issue#1.. heh. I like older DESCENT mags and also NORDIC VISION (its pretty)… HELLISH MASSACRE is number one on my list right now.. its gonna take a lot to get me away from that one.. IMPAIRED (mKm’s zine) was huge.. I would like to get hold of 666 zine from france…

Do you think black metal ever had a clear direction, or is that something we assume looking back into the past?

The latter. Too many of the so-called visionaries of the black metal elite got themselves stabbed or put in jail. The propaganda machine splintered into different factions, and thus we stand where we are now.. a re emergence of nihilism and flesh mutilation… not a bad thing. But it does seem to be circular…

Do you believe history “exists,” or that each age invents an interpretation of previous events to justify its position?

Heh, I believe those who Won The War Write The History. If you got fucked, well, history will put you as getting fucked, even if you put up a helluva fight. Yes, we do manufacture history as we need to, but not like the good ole days in 1930s germany. Man did they come up with some good shit. And also W.A.R here in the US has some need ideas on history, and its placement of the Zionist Occupational Government and the Gubment Cheese Getters (darkie)

Is there any “hope” for the human species?

Hope for what? I’ve read some of the manifestos at http://www.anus.com/anus/ideology/index.html …very interesting and I can admire the thought put into rationalizing Stupid Human Tendencies… But honestly, it doesn’t concern me… Shit will continue in one form or another after I’m gone, and you’re gone. So why do I care for the future?

These idiots who failed at that bank robbery in Norfolk, NE – how did they manage to do such impressive shooting yet utterly flail when it came to taking the till?

HEHE. I was happy to finally seem some people killed in a bank robbery.. but again. I would prefer if it were authorities. No, nobody is innocent, but if youre going to go on a shooting spree, go on a SHOOTING SPREE. If you’re gonna rob a bank, GET THE CASH. I heard there were like 4 or 5 head shots.. so I guess they just panicked, and started putting bullets in peoples heads. First way to get on the bad side of the law.

Are there any historical figures who have impressed you?

Ho chi minh – gotta like anybody who fucked the French right? (sneak and surround French man drinking wine in valley called dien bein phu)Joseph Goebbels – Nazi Minister of Propaganda.

What was the last book you read that made a lasting impression?

I live off the horrible gore of this man alone – Edward Lee. If you don’t know him – you must – fuck all other horror out there – this is The Shit.The last book I read was Sex Drugs and PowerTools – fuckin’ Christ. Check out whatsaheader.com for more info also heheh movie rights were given to them…http://www.necropublications.com/titles/sexdrug.htmI rarely indulge in the reading of any of the nihilistic writers.. though I suppose I should since I consider myself mostly nihilist.. ennui once again stunts my growth…

Awaiting the intention is neither a reflection upon the “goal” nor an expectation of the imminent completion of the work to be produced. It does not have the nature of a thematic grasping at all. Nor does retaining what is relevant mean holding fast to it thematically. Handling things is no more related merely to what it handles than to what it uses in relevance. Rather, being relevant constitutes itself in the unity of awaiting and retaining in such a way that the making present arising from this makes the characteristic absorption in taking care in the world of its useful things possible. When one is “really” busy with… and totally immersed in it, one is neither only together with the work nor with the tools nor with both “together.” Being in relevance, which is grounde din temporality, has already founded hte unity of the relations in which taking care of things “moves” circumspectly.

A specific kind of forgetting is essential for the temporality that constitutes being in relevance. In ordre to be able to “really” get to work “lost” in the world of tools and to handle them, the self must forget itself.
– Martin Heidegger, Being and Time

Black metal was born right as the internet began being popularized in American and European homes. How has black metal been changed by the net, and vice versa?

Well now I can find anything out it seems by just typing it in the google search engine. That’s both good and bad.. now I have the information, but I cant hoard it and feel self important when I name drop.On the other hand, every bob, akhmed and zimboobma can make a cDr and put it on their webpage so now we have Afrikkkaner Black SpearChucking Metal.. sheesh. It allows for ridiculous crap that would have been stifled because it would not have been cost effective. The internet allows stupidity to be free of the righteous pain it should attain; after all, stupid should Hurt…

Is there human consciousness outside of the brain? In another phrasing: is the brain where the body, mind and soul exist, or is there another world in which these functions exist?

I am of the notion that there is something after my brain receives too many 9mm hollopoint bullets fired from a SWAT team members mp-5. I think it will equally suck.

Why do you think people go hogwild for religion? What do you suggest instead of religion to take care of the same need?

Sigh. Nothing. Too many persons are weak and need a crutch, or are hypocrites who have learned that just coz you say youre xtian, hell that means you can fuck your daughter and the dog in a 69 position and sell it on the internet as long as you ask forgiveness on Sunday. .. and give the minister a copy of course…It is convenience – religion is already set up; humanity as a whole is lazy, and is predisposed to go with what is at hand. Me, I’m gonna go jerk off. That’s what I feel about religion.

Where does one buy CDs and related stuff in Houston?

Sound exchange. http://www.soundexchangehouston.com/ Used to be a KILLER place called SOUND PLUS.. but sadly, it died a couple years ago.. that’s where I was first able to get Osmose releases (first and second IMMORTAL etc) WITHOUT paying Osmose prices (though it was still 20 bux for imports..)…

What do you think of the art of suicide bombing?

Good fucking Job. Good idea. Hell. We need some of those kids. Why the hell don’t we have our own suicide bombers. Damnit. Somebody get the Procurement Department on that one.Man. Tho.. I would at least want a good ole fashioned 12 hour orgy of catholic school girls BEFORE I go meet allah….

What lies next for your zine?

Issue H8TE young Prozak, Issue H8te. Finally to be released with a 12 page (I think) diatribe dedicated to hatred… examples taken from the school yard, from work and from terrorterrorterror… yessirrree bob. I guarantee you this will be just as shitty as before, with the same fucking horrible humour and tasteless porn and violence and bloodletting. Bands also.. confirmed KRIEG, WATAIN, MALICIOUS SECRETS, URGEHAL, HORNA, ARKHON INFAUSTUS, DAWN OF AZAZEL, NECROPLASMA, ARMAGEDDA.Who am I waiting on: AZAGHAL, HELL MILITIA and TEMPLE OF BAAL..And theres always issue 9…

I’ve always been impressed by the mix of metal, mutilation and machine guns. How did you come across this combination?

Death metal to me should have been simple – propaganda encouraging death. Most accessible are sharp knives and guns. Thus, logically, I should incorporate the instruments of death with the metal of death neh? Black metal brings to mind suicide and violence, with a little perversion to boot. Thus, some black metal causes blood to drip from my flesh. That goes in the issue, as it relates to black metal. You forgot porn too. I am one of the most perverted motherfuckers out there – and I guarantee you, if youre into metal, youre into porn – the two just go hand in hand.. so you see, its all a marketing strategy (heh)Yeah right. That’s why ive sold I think less issues then well.. not a lot of em. That’s fine. My goal is not to have many copies floating around.. I assume that those who want to read this shit, will find it.

Do you think there’s been a demographic shift in the black metal movement during the past few years (since 1998) to a younger audience?

Yes. See way, way above. Younger persons in the extreme scene have the benefit now of being able to pick and choose, and also ignore the first monuments that came out in the early 90s. Not a problem really.. but now also with all this CDR trading replacing tape trading and these high tech doodads that allow music to be taken from sites.. it leads to a proliferation of short term shit – what I mean is, yes, of course, there are those who will take this propaganda to heart; but there are those who will take it for a short while, and then find yet another form to entertain them; what I mean is that they leave their crap around for us to step in; before hand, in the days of Paper, one had to write and send tapes and such – it cost money ; nowadays, one can put ones fecal matter on a webpage and spread their e-coli music as such.

If you have any hopes for the future of metal as both a musical movement and a political/social one, please detail them here along with anything else I forgot.

It’s all in issue h8te son. You do us a service, mr. Prozak – I gather both a smirk of approval to an all out heil prozak with the material you have written and continue to produce – a true architect of propaganda you are, and should be bestowed the mandatory schoolgirls for slavery and sodomatic rites.

Mr. Blaash
http://wheresmyskin.cjb.net/

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Interview: Cory Allen (Acerbus)

Acerbus have for some time been the enigma of the Texas scene: music that takes the furthest extension of death metal extremity known to humanity, the technical deathgrind genre, and expands it with a progressive and conceptually advanced edge that leaves most typical listeners of any genre standing open-mouthed. Well-versed in conventional music, Acerbus are exploring for new ground, and we were lucky to be able to talk to guitarist Cory during a break from his rocket science experiments. “Can the man behind the mask answer a few questions?”

What do you see as the distinction between art and entertainment, if one exists?

I definitely think a dichotomy between art and entertainment exists. I believe that art is a mental expression through your physical self, releasing any number of emotions, creative ideas, or in some cases rather scientific musical ideologies based on charted biological responsive “information.” I believe that entertainment is more based around the ever-popular biological survival ticket, or the dollar. Entertainment is something that 47-year-old men sit around in boardrooms concocting trying to blend the perfect ideas to entertain the masses and rake in an easy 1.5 billion in 2 weeks. You know, prime time television shows, game shows, reality shows, family movies, blockbusters, etcetera.

Do you believe art begins as a conception independent of its medium, or is it strictly configurations within the medium that inspire an aesthetic appreciation?

I believe that this varies from individual artist to individual artist. Speaking personally it’s a mixture of the two. Without a doubt it’s more of an inspired aesthetic appreciation and vision yet independent conceptualism does play its roll in some of my song writing. As in extremely awkward things that related none what so ever, not even related percussivly to music induces a spawning of musical ideas.

Do you think it’s possible that a band make significant art with only a handful of power chords?

It all depends on your definition of “art”. It’s like a space-time continuum paradox similar to Schrodinger’s Cat or Einstein’s mouse. I mean, the most beautiful and amazing piece of art to me could be garbage to you, so it’s possible or impossible depending on your perception of what art is. Short answer Yes with a capital N and long answer No with a capital Y.

Are emotions part of the logical process of the mind in your opinion, or are they of the mind?

I think that emotions are stuck somewhere in our time-evolved mammalian primitive minds. They are thoughts that cause nothing more that problems and weakness yet they are necessary so that the human DNA strand will survive and not kill itself off. It was VERY smart and sneaky of our DNA strands to slip that anti self-destruct mechanism into our biological programming.

Are you a materialist (no other words besides this one) or do you have any forms of transcendent mystical belief?

In no way am I a materialist. I do have what I believe is a very open minded transcendent belief. A belief really consisting nothing more that knowing that there are an infinite amount of possibilities and a complete void of fact behind any of them. Even if there were “facts” remember what a very smart man once said, “There are no facts, only interpretations.”

Marijuana seems to be a divine substance to many. So you think this is an accident of nature, something we’ve conditioned ourselves to find, or an accidental property of the substance – or another possibility?

I was actually discussing this yesterday. Once again, there are millions of scenarios containing endless amounts of speculation within each but I will tell you about an interesting theory that I had on the subject. Say the earth is a living organism. Thriving physically and possessing an extremely advanced consciousness that of which is beyond our imaginations or comprehension, i.e., growing wood on its surface for its experiment “humans” to use to build devices to help them live easier therefore longer. It distanced itself the seemingly PERFECT distance from the sun so with its what we see as annual rotation calculated its experiment could live comfortably under the climate conditions. Basically, the miracle plant is just another thing that the earth has grown for us as it watched its experiment get more and more hostile toward one another and boxed into ridiculously small reality tunnels. The growing of the plant by the earth provides its experiment with calmness, happiness, heightened physical pleasure and expanded thinking modulation to help shatter some of those miniscule sized reality tunnels that the humans that are too scared of their own existence want you to reside in forever. But hey, it actually doesn’t sound that far from the truth does it? (You know you read too much philosophy when you answer a question with a question! HA!)

What would your ideal lifestyles be, if you were exempted from the problems of resource scarcity?

I would begin by eliminating 90% of the population, which would be a huge step in the right direction of an ideal lifestyle. Other than that, all I would really yearn for is to be alone in a huge building consisting of a giant music and book library, a state of the art professional studio and a musical instrument library consisting of every instrument in existence. I suppose a gigantic INSIDE pool heated to 98 degrees would be in order as well. I love water. Looking at it, being in it (when it’s clean), drinking it, and thinking about it. It’s pretty amazing to me. It’s the mystery substance!

Do you think some bands are better at aesthetics than music, and should be lauded for opening doors that musically competent descendants will explore? (Think: Venom)

My answer to that question is a rather repugnant one in that I do not approve of artists that rely strictly on aesthetics because 9 times out of 10 that reeks of gimmick. Yet as you noted bands of that illustration have opened doors for artists who have created relevant and meaningful art. Therefore, I think that the grandfather artist (ones of aesthetic dependence) should not be glorified simply due to the fact that their gimmicky “act” unbeknownst to them happened to influence an artist of substance to create something momentous.

What do you see as the ideological, musical and social roots of the death metal movement?

I think that bands such as Deicide, Suffocation, Carcass, Morbid Angel (barf), and Napalm Death fundamentally established the foundation of the death metal movement. Actually, I think almost every new band’s ideologies and “social” roots (not something I enjoy at all in the death metal world) are still somehow based and JUDGED (its VERY harsh these days) on what thoughts the revolutionaries first had. It’s as if these bands created a steel mold for the rules of the genre and all that really happens even after 10 years of existence is bands just filling that mold and ever so slightly expanding on it. That’s definitely something I try to focus on during song writing, to try something new for the genre, and by new I don’t necessarily mean undistorted jazzy fills and adagiated bridges but just in a compositional manner or how the over all conception of the endless possibilities of an instrument are conceived. I think that some people that have yet to get up and peek out of the top of that mold that they’ve been sitting in the bottom of for the last few years will be jaded by this but I think the genre will dry up, get old and fizzle out if some people don’t start having an open mind about the genre’s amazing possibilities and its future and if someone doesn’t have the gallantry to take a chance on expanding the genres limits. You know you can only eat your favorite food everyday for lunch for so many years before it become bland and uninteresting. Music needs spicing up ever so often just like food.

In your opinion, what are the primary musical differences in form between black metal and death metal?

First, touching lightly on the more prominent definitions of the metal genre, and what I would look at as somewhat stating the obvious to any competent individual, I think that DM’s energy is generally fueled more by gore and technicality and BM’s energy is usually fueled more by rage (as blind and unguided as it may be sometimes). The vocal style usually sticks out like a sore thumb as DM vocals prefer the guttural growls or pig noises and BM vocals usual prescribe to the high screechy or I just slammed my genitals in a sliding glass door vocal style. BM guitars are generally consisted of standard tunings, which goes along with the high screechy vocals, where DM bands enjoy the tuned down sound (which in my opinion has become rather ridiculous these days. ACERBUS tunes to CFA#D#GC which is two full steps down on each string and that isn’t really considered that low in comparison to some bands in modern times), once again the deep guitars are coinciding with the vocal style.

Now to get slightly more in depth with my segregation descriptions, I will try to expand more. The musical stylings that I hear in BM songs are primarily composed of mutated minor chords. Quite often I find BM bands utilizing natural minor chords, which lacks a major seventh. While “eerie” or “whiney” sounding it provides no real power or emphasis to the root note of the chord. Harmonic and Melodic minor chords are intermingled with the natural minors to provide power and still retain a “dark” sound. These Harmonic and Melodic minor chords are used to strengthen the minor keys, there for giving way for some dark powerful sounding riffing. As far as an individual riffing style I think audibly there is an obvious sound that is generally more “open” and “breathing” even a somewhat dissonant and definitely more disharmonious sound with a tendency to move in shapes and patterns based on a full note chord to a two and a half step dropped minor chord reverting to the previous full chord with a slight half step rise minor alteration then reverting back to a lower minor chord plus and uncontrolled arpeggiation to follow with implied and increased attack to end and finally execute one performance of a riff. As far as a BM orchestration goes, I think BM focuses more on long-winded repetitious movements using the vocal pattern as lead point of which to follow and adhere to, almost defined as a somewhat deranged classical definition of the term symphony.

I think that the majority of death metal band’s riffing focuses on using diatonic chords intermingled with modulated minor pentatonic single notes tremolo picked scales to provide a constantly powerful, even, and bludgeoning barrage of whole note patterns and movements. Unlike BM, DM bands are not partial to letting songs “breath” or become “dissonant”. DM bands are usual very heavily infatuated with a song structure that has no musical “holes”, or a lack of sonic intensity at anytime in anyway. Unfortunately, I think during composition a lot of DM bands lose sight of the meaning behind the word orchestration. Ive noticed that a lot of DM bands just seem like the write 50 riffs, put them into a hat and randomly pull them out in no order yet string them all together using drums fills.

Today there are plenty of modest and worthy laboreres among scholars, too, who are happy in their little nooks; and because they are happy there, they sometimes demand rather immodestly that one ought to be content with things today, generally — especially in the domain of science, where so much that is useful remains to be done. I am not denying that; the last thing I want is to destroy the pleasure these honest workers take in their craft: for I approve of their work. But that one works rigorously in the science and that there are contented workers certainly does not prove that science as a whole poesses a goal, a will, an ideal, or the passion of a great faith. The opposite is the case, to repeat: where it is not the latest expression of the ascetic ideal–and the exceptions are too rare, noble, and atypical to refute the genreal proposition–science today is a hiding place for every kind of discontent, disbelief, gnawing worm, despectio sui, bad conscience–it is the unrest of the lack of ideals, the suffering from the lack of any great love, the discontent in the face of involuntary contentment.

– F.W. Nietzsche, Genealogy of Morals

Is there such a thing as musical novelty? (a combination of notes striking or distinctive for purely musical reasons, with no other implications) or do you attribute what is commonly identified as such as being more of a stylistic novelty?

Yes, but I don’t think it is as much a musical novelty as it is a programmed effect that has thwarted us as time and “standards” have evolved. It’s almost more of a comforting thing to the ears of the close-minded more than a stylistic redundancy. Over time people have been “programmed” to recognize what sounds “correct” and “incorrect” in music, and really all other aspects of life as well. It’s quite a shame but its true. Certain progressions of musical notes or chords have been labeled “incorrect” because to most people they sound “ugly” (minor chords, several notes played at once which are out of key with on another), while others are considered beautiful (whole note chords, several notes played in octave). They both sound beautiful to me, just different. Who are we to say that certain notes grouped together are right or wrong? My interpretation of this ridiculous dilemma is that it clearly seems as if this musical decision coincides with the rest of general human ideology. Humans are always trying to label “beautiful” or “normal” people/animals good and “ugly” or “different” people/animals bad. This reflects onto all aspects of general human thinking so why not let it bleed into music as well? We are brainwashed into thinking that what is disharmonious is “bad” and what is harmonious is “good”. Some people might think its preposterous for me to make a statement such as this but I think its preposterous for people to be trapped in a musical box which has been assembled by their “peers” and guaranteed by record labels which focus on the business of music rather than the music of music.

In ancient Greece, poetry was considered incomplete without accompanying music which united the significance of the words with the significance of certain tones and musical shapes. Is there any relevance of this idea today?

I think so. Music completes life. Certain songs complete and are appropriate for every, and any occasion. The choice of this music is, of course, up to the individual and will never be the exact same for any two people. I’m generally awake 19 or 20 hours every day and there is literally no more than two hours or so of my day, everyday, that is void of music. Working in a music store definitely contributes to my habits.

What inspired you about the deathgrind genre, or was it a culmination of other influences?

It has been countless influences, and the influences that influenced the people that influenced me. As Einstein said, you must honor the gift of evolution that is life, which has been worked on diligently for millions of years. People often tend to look that fact of existence over. I try to take the same approach to music, it seems like great men in the past have already done all of the really hard things in music for me and I think that now, anyone who picks up a musical instrument is on easy street in comparison to these previous achievements. Do you know off the top of your head who invented the first sound recording device?

I will try and stop from getting to far away from the question at hand and get back to my most prominent influences. I guess in the very beginning, 6 years ago, when I was 14 years old and had picked up a guitar for the first time, I was worshiping 3 bands. The Jimi Hendrix Experience, Primus, and Deicide. I loved the sound experimentation and groundbreaking abstracting of music that Hendrix had, I loved the sense of humor and unconventuallity of Primus, and the aggression and technicality of Deicide. Those are the bands that made me want to pick up a guitar and that eventually drove me to create a band of my own that I wanted to contain all of the things that drew me to my early influences, in one single band. Now days the only thing that REALLY inspires me is avant-garde classical composers, i.e., Philip Glass, John Cage, Steve Reich, Kronos Quartet, ect.

What do you normally listen to in your time off from being death metal terrorists?

Actually, I enjoy listening to almost every genre of music. I really like Modern Psychedelic music, tons of obscure Classical composures, truck loads of Jazz and all of its sub-genres, of course Metal, Electronic music, Meditation music, Noise artists, and International (there are some really amazing eastern musicians). The list really has no end. What I’m listening to from each genre always changes but I can give you some things that are currently finding their way off the shelf into my CD player.

Kronos Quartet – “Black Angels”
Tan Dun – “Ghost Opera”
Suffocation – “Peirced from Within” and “Effigy of the Forgotten”
Jonas Hellborg/Shawn Lane/Jim Sipe – “Personae” and “Zenhouse”
Uncle Moe’s Space Ranch – “self-titled”
Clinic – “Walking with Thee”
Godspeed You Black Emperor – “Lift Your Skinny Fists Like Antennas To Heaven”
Philip Glass “Glassworks”
John Cage “The Seasons” (Margaret Leng Tan’s toy piano piece is amazing!)
Flaming Lips – “Soft Bulletin” and “Yoshimi Battles the Pink Robots”
Autechre – “Gantz Graf” and “Tri Repeatae”
Gyorgy Ligeti – “Ligeti Project II”
Medeski Martin and Wood – “The Dropper” and “Uninvisible”
John Zorn/Mike Patton – “Hemophiliac”
Pat Martino – “Live at Yoshi’s”
John Adams “Naive and Sentimental Music”
Primus “Pork Soda” and “Sailing the Seas of Cheese”
Nusrat Fateh Ali Khan – “Body and Soul”
Anoushka Shankar – “self-titled”

That’s what ive listened to heavily this week, but like I said the list is ever changing and I have a ton of CDs or so, so I’m always listening to something different.

Is there such a thing as political ideas expressed in art, or do you see there being a necessary connection between political ideas -> social ideas -> perceptive concepts?

There are political ideas expressed in art and rightfully so. Political ideas need expressing so why not use one of the most affective methods of convoying ideas as your medium?

I know you bastards read philosophy; what are your favorites? What did they express that was not seen articulated elsewhere?

Yes indeed. I guess a few favorites are Friedrich Nietzsche’s “Thus Spake Zarathustra”, Immanuel Kant’s “Critique of Pure Reason” (if you can make it through this book, read it again and ponder each line he writes, as each sentence holds at least a paragraph’s worth of metaphorical ideology. I own the Cambridge edition, it is abridged appropriately and edited in a way which makes the text easier {well I should say possible for most people to understand} for those who haven’t taken a Kantian philosophy course.), and while it is sort of a culmination of such topics as physics, philosophy, non-Aristotelian logic and semantics, I enjoy Alfred Korzybski’s “Science and Sanity.” I enjoy most titles by Robert Anton Wilson dealing with philosophy/consciousness expanding. While I believe most of his books are nothing more than other peoples’ ideas funneled down and regurgitated so people with “lesser intellectuality” can understand them and begin the process of consciousness expanding. Normally I would disagree with this method of funneling information/writing but he actually notes when he is taking from someone else’s thoughts or literature so that makes it valid in my eyes. His books are fun to read, he makes good points and has a great sense of humor. Stephen Hawking’s book, “A Brief History of Time” is good for the most part. I could go on forever here but I will list another good one, Carl Sagan’s “Demon Haunted World: Science as a Candle in the Dark.” To answer your second part to this question would be a whole other interview. The ideas expressed in these books that were not articulated elsewhere are so deep, vast and lengthy that a summarization of all of these individual ideas within a few pathetic sentences typed by myself, to me, would be an insult to the writers who I look at as some of the intellectual iron men of writing. Although, I believe a quick summary to someone who is interested and has never read or heard of any of these books is due. As basic and stripped down as it can be put, the over all point of all of these books is to force the reader to look at life in a different light. Metaphorically speaking, your mind is like a parachute. Closed you will die, open it will save your life and you will float above as you watch the others hit the ground screaming.

In spiritual practice, which is more important: coherence with natural schema of patterning, or symbolic adherence to human desires?

I think both are equally unimportant. Both are nothing more than a subconscious choice that is made of how a person perceives and interprets his/her own reality based on how their brain programs cropped and filed away the information of spirituality that has been directed to them and imprinted in their brains based on what experiences and information (or misinformation, really) they happen to come in contact with during their life that has consequently shaped their perception and beliefs according to these random events.

What do you think about Falun Gong?

From what I have read or been told about falun gong it’s really nothing more than Chinese yoga for people whose reality is based on pseudoscience. I know it involves physical postures accompanied by mediation which will supposedly promote mental/spiritual well being. I read an article in a magazine once with the “leader” stating by mastering falun gong you can obtain such metaphysical abilities as levitation and other supernatural powers. In my eyes, falun gong is as ridiculous as any other type or brand of a spiritual salvation that is defined by one living person (on an upside, at least their “leader” isn’t fictitious). Master Li, the “leader”, is the only person who can define the ways of F.G. therefore the ideology immediately causes me to burst into laughter and look at F.G. as nothing more than another man (Li) who is probably semi-intellectual who uses shills to control the minds of the mentally weak and needy. To me, the idea that a carbon based life form is to be looked at as a bringer of salvation is hilarious, pathetic and simultaneously horrifying in the fact that there are about 2 million people in the world that prescribe to the theory of falun gong. It’s a shame our species has bred beings that believe one of their own kind could be their bringer of salvation and are so mentally weak and distorted that they are sucked into a thin, as in lacking of content and containing no scientific relevance, vision of salvation in hopes of obtaining “supernatural” powers for no more than time and a likely weekly fee. I think the first step in demystifying any method that promises to bring salvation is if biological survival tickets (money) fit into the equation. I would imagine that a being that brings salvation would not be of biological content therefore would have an absent need for our (note the first word after the parenthesis) biological survival tickets.

Do you have any opinions of pornography? Do you feel it turns humans into symbolic structures in the same way religion does?

I think pornography is humorous. Not really from the point of view of the female who is baring her hide but from the male’s perspective. I think guys and women alike who enjoy pornography are either not aware of certain aspects of their existence or the worse scenario, are aware yet don’t care. Males tend to drool, stew, fantasize and obsess over pictures of naked females and critique their body in comparison to their personal preferences. Here is where the humor comes in. What males don’t realize whilst they enjoy porno is all they are doing is acting as the primates that they are, filled with a genetic structure that does not want to die out therefore possesses the constant need and want to reproduce. For example, when a guy says, “that bitch is hot”, unbeknownst to him he is thinking “the fat distribution and reproductive organs of the opposite sex in my sight seem extremely healthy and from what I’m perceiving visually has the ability to provide extremely healthy children for me.” When a guy looks at a pair of naked breasts he quivers, when in actuality that thought of lust running through his mind is nothing more that his deeply rooted and distilled thought that these mammary glands (plump breasts) will provide perfect sustenance for his offspring therefore promoting the longevity of his DNA strand, which is the most important aspect of a living organism. Apply this ideology to all other focuses of lust and there is a similar truth such as above behind each one. Peacocks spread their feathers to show the females the array of colors and the amount and fullness that their feathers possess which is a trait of a healthy male that in turn attracts the female, just as the human male works out, combs his hair, and wears becoming clothing etcetera, to attract the female. Unfortunately cars, money and so on are signs of power and well being which also attracts the human female. This is where the humor in pornography lies for me. When some pathetic male is gawking at or masturbating to a photo of a naked women he has no idea he is simply bleeding for his master, the DNA strand that is programmed to reproduce at all costs. Just as it is stereotypical for a male to feel and act “Zen-like” and feel necessary to reminisce of his previous nights copulative affairs with other males. He is satisfied physically that he has fulfilled his biological purpose in life and must tell the other males in his “tribe” of his affairs to gain a top dog status. Watching or hearing of these events provide me with endless laughter and entertainment; therefore the idea of pornography is extraordinarily humorous to me.

Another counsel of prudence and self-defense is to react as rarely as possible, and to avoid situations and relationships that would condemn one to suspend, as it were, one’s “freedom” and initiative and to become a mere reagent. As a parable I choose asociation with books. Scholars who at bottom do little nowadays but thumb books–philologists, at a moderate estimate, about 200 a day–ultimately lose entirely their capacity to think for themselves. When they don’t thumb, they don’t think. They respond to a stimulus (a thought they have read) whenever they think–in the end, they do not but react. Scholars spend all of their energies on Yes and NO, on criticism of what others have thought–they themselves no longer think.

The instinct of self-defense has become worn-out in them; otherwise they would resist books. The scholar –a decadent.

I have seen this with my own eyes: gifted natures with a generous and free disposition, “read to ruin” in their thirties — merely matches that one has to strike to make them emit sparks — “thoughts.”

Early in the morning, when day breaks, when all is fresh, in the dawn of one’s strength — to read a book at such a time is simply depraved!

– F.W. Nietzsche, Genealogy of Morals

What activities do you have outside of music?

I don’t do a lot that doesn’t relate to music in some way. I enjoy drawing, writing text in a style I call “metaphilosophtry”, which is a mixture of metaphor, philosophy and poetry. I love reading philosophy, physics, and psychology books and really enjoy psychotropic experiences. Not sleeping much and drinking lots of coffee fits in there. I rarely go “out” as I hate loud noises (yes I know its sort of contradictory to being in a band but loud music is the only loud noises that are enjoyable to me) or being around people. Other than that there isn’t much I do that doesn’t have to do with music in some way or another.

What do you do to relax and have fun?

Well, there is the obvious, I play in Acerbus, I write music at my home and record various guitar or keyboard pieces on my digital studio. I try and have an intellectually stimulating conversation with someone every now and then. I’m quite the hermit and often refer to myself as a “misanthropic nihilistic introvert”. I love studying and thinking about the psychology involved with musical notes and progressions and I suppose the previous question will answer the rest.

If music is a language, what distinguishes certain pieces as impressive relates to the poetic content they express. Is there a difference between content and form in music?

I definitely think that certain progressions or orchestrations in musical notes, patterns of notes or chords will draw out certain emotions or trigger thought patterns that are unique to each listener. This is where my main interest in music lies. With every piece of music I write I keep in mind how it (the piece) will affect the listener on individual levels as well as in cohesion with the rest of the composed piece. I hope this is subconsciously apparent to people who listen to Acerbus. When people come to me after our shows they will tell me that we just sound “different” and that they cant quite place their finger on what it is but we just sound “different” to them. Hopefully this is a result of my psychological study of music at play since I write music utilizing certain aspects and attacking the listener’s ear in such a way that their brain cant help but to register these sounds on their musical spectrum as “new”, hence people telling me Acerbus just sounds “different” to them. Hopefully this method is at play but one can never be absolutely sure.

What’s wrong with humanity?

Do you want me to write a 2000 page essay here? I’ll give it to you as stripped down as possible. Humans have “evolved” to a biological life form that holds horrible traits called narcissism, ego, deceitfulness and personal dogma. America has arrived at a point where everything is based on biological survival tickets (money) and milking and flexing the primitive aspects of humans for all that their worth. Everyone in America (99%) has the mindset as follows: me first, I’m right you’re wrong, I am not successful without loads of money, I must outdo everyone else in the world on every level to retain top dog status, I’m the most important being on the face of this planet that would shrivel and die if I were to cease to exist. It’s sad really because life would be grand if everyone would drop all of this self important hogwash and read a book about, or at least an introduction to non-Aristotelian thought. Unfortunately, this will never happen so I say it would be in our best interests as a species to destroy all existing political and social parties and try to start over again with an actual democracy instead of one that spoon feeds its residents the illusion of freedom, the illusion of choice and the illusion of safety.

if you could be one non-human species (imagine reincarnation or other “magical” occurrence) what would it be?

I’d settle on being a viperfish. There are amazing and undiscovered things in the deep sea that would provide an infinite amount of eye candy for me as I enjoy looking at things and pondering on them. Having photophores that cause light to emanate from your body using bioluminescence would be amazingly amusing. Knowing reality as an air breathing life form would make living underwater very interesting. As an added bonus viperfish are extremely gnarly looking so that is a definite plus for me as well.

Which book would you most likely have written, not being already given to a career in musicianship?

Without a doubt I would have written, “Prometheus Rising” by Robert Anton Wilson. It’s a great book that anyone on any intellectual level can understand that will help him or her expand his or her reality tunnel resulting in higher intelligence, understanding of their self and others and awareness of one’s own biological nature and an introduction to the ways brain programs work. All things I think humanity could use sorely at this current time.

What do you think of the Austin scene? Do you think a city’s collective attitude determines what music will emerge?

I’ve gotten asked this question EVERY interview I have ever done since Austin has the reputation for being the “live music capitol of the world”, which is total bullshit (there is probably at least 200 bands that play in clubs all over Austin every night, it doesn’t mean that they have any real musical substance to them), so forgive me for not elaborating in great lengths one this one. Let me say this, we play a lot of out of town shows and most of the people that are into underground metal in Austin are in bands. I think the attitude of a city has little effect on what bands will emerge. I see where bands from certain areas have certain “sounds” but I think that is probably just a factor due to a psychosomatic suggestion that bands from certain cities hold a certain sound that must be emulated. I’m sure bands from the same areas experienced the same influences and I would imagine that would have something to do with it as well.

Do you see yourselves as expressing the ideas of your environment, or reacting to those ideas? (not to be confused with reactionary opposition, or an emotional/irrational response of rejection)

I guess I create music based on my influences, perceptions of what I think is musically divine, my own thoughts and on what ways I think that music can and needs to evolve.

Do you plan to have a family and “normal” life, if the opportunity rises?

No. An American “normal” life is nothing more than the lowest common denominator.

When you are playing, do you visualize the difference between the shapes you are touching/pressing on the fretboard, or do you have another method of preparing for the radical sweeping fretruns that seem to be easy for you?

This is a hard question to answer, but I will do my best. I hope my response remains coherent to everyone because I know exactly what I’m talking about but it’s difficult to put certain brain/body functions in to text form. When playing I visualize geometric patterns on the fretboard that are segregated in a grid-like pattern (as in each fret contains 6 lines which can be looked at in cohesion with all others as a giant piece of graph paper, each line holds a tone and is programmed into my brain accordingly) with the boundaries for each possible note change being each fret and string. This method of playing is extremely critical during my four fingered tapping solos. Most times when I play I do it in a sort of subconscious manner, I just kind of let me hands go to work. The best comparison is typing on a computer keyboard; each key is assigned a certain character just as each string is assigned a different note. Certain words you type, after typing them a few times become natural and this allows you to type in a fluid and fast way. This is just like how I play guitar. After I write a guitar riff the hand movements that are necessary to create the sound of the riff become like a stamp. Once it’s forged all you have to do is apply it and its there in perfect relief. The assemblage of many riffs, rhythm, transitional or lead, form together as one giant hand pattern or in other words about 40 different “riffs” or stamps compiled will create one giant “stamp” or song. I think that is the best I can explain it. I hope it made sense.

When you interact with normal people, how much do you self-censor what you’re going to say?

Unfortunately I do. I don’t censor what is considered “foul” language but I majorly censor what I would like to say intellectually. While people are talking they generally want their opinion to be heard and they don’t want to feel inferior. If I say something to someone that is what I consider a slightly deep thought, people will most times not understand you and think your just trying to be a “know it all”. So whilst in conversation with people whether it is friends or strangers I just strip down what I’m thinking so everyone understands and no one feels left out forcing them to lie their way through a topic since humans can’t stand admitting to not knowing something. I consider doing this a social Valium, but I never said I had the best social skills.

If you make people feel that they know something, they will adore you, if you make people realize they know nothing, they will loathe you.

What does Acerbus do to prepare for a concert?

We all stretch our muscles, tune our instruments, and arrive at a mentally self-confident state of readiness. Larry prescribes to the athletic abstinence of all physical indulgences theory for several weeks before any show or recording. I suppose that is all.

Have any labels woken up and signed you yet?

No. I have sent promotional packages to countless labels but every response I have gotten has been that we are too “extreme” or “out there” to bring in a large quantity of sales therefore the labels are unwilling to take a chance. I guess I’m out of touch with the metal community because I thought in the early nineties when Suffocation, Carcass and Deicide were breaking new ground being as extreme as possible was the name of the game. I don’t mean this in an egotistical way at all but I’m not worried: I know we will get signed eventually its just a matter of when and who is willing to take a chance.

What do you see as the primary differences between classical music and jazz?

Another essay style answer is in order here but I’ll try and keep it to a few sentences. This will probably only be funny to 1 out of 10,000 people but here it goes… I’ll try and be “the minimalist” while answering this question about classical music. HAHAHA! Man that’s funny in a cheesy way! Anyway, most Classical music is very refined and often referred to as “educated” music that is based on theory and what is “correct” (except for my favorites), while jazz is a style of music, while still well refined, is characterized by improvisation and experimentation. Hopefully everyone reading this already knows this fact but the alternate definition to the word “jazz” is miscellaneous or unspecified things. There we go, short and sweet and without speculation as promised.

What are the most significant musical innovations in the last fifty years, in your opinion?

This is another hard question to answer, but I’ll give you the most prominent things that stick out in my mind. The invention of several instruments (electronic and others) has done music well. The fact that in the last 20 years musical genres seem to have been mixed up a lot more. Unfortunately, this genre mixing has not been good all the way around but it has produced a few gems. It’s like mixing paint colors together, if you do it right you get vibrant unique colors. If you do it wrong you get brown. I can tell you some artists that I think have really pushed the limits of music as a whole in the last 50 years. Philip Glass (whom I happen to be listening to as I answer this interview), Steve Reich, Jimi Hendrix, John Cage, Miles Davis, Ornette Coleman, John Zorn, Primus, John Coltrane, Black Sabbath, Thelonious Monk and the Kronos Quartet. These are just a few but I think that they have all have had a profound impact on music over the last 50 years.

Do you feel ambient music brings any theoretical change or alterations in form to popular music, and, if so, what do they signify in the mental processes of artists in this time?

Slightly, and by that I mean everything has an effect on everything. Any slight alteration or event will affect an infinite number of reactions that will cause change throughout the world. Introducing new musical ideas or genres will work in an identical fashion.

Is history cyclic, linear, or linear within cyclic? Please explain.

The thought of history being cyclic is not feasible to me. Charting reoccurring events and loosely comparing them to more recent events suggesting the idea that history is cyclic is very similar to people who believe in psychics or faith healers. Weak-mindedness and deluding myself into believing coinciding similar facts cause factual relevance in certain events is not something I’m a fan of. Believing that history is linear within cyclic patterns sounds like someone who is one the edge a cliff preparing to jump off but just can’t quite do it yet. I think history is linear and I think people that believe history is cyclic could probably be diagnosed with infophobia and need to get hobbies, try pseudoscience it will be right up your alley.

How do you reconcile the view that art is a matter of individual interpretation (#2) with the idea that all listeners are affected similarly by certain musical combinations (#1)?

A sense of relief falls upon me to discover that the perceiver asks for further information on questions that have what could be seen as contradictorily answers. I will attempt an explanation using metaphor with promises that my answer remains coherent. Imagine bottles of paint and a mixing palette. Each base color in the each bottle (red, green, blue, yellow) is pure and unaltered such as an un-interpreted message to your brain. Any disturbance to this pure thought or “pure color” (which represents and un-interpreted brain message) will cause the same amount of change to the final interpreted message (“mixed primary paint colors” or a thought that has been altered by your minds own personal perception. ) in the outcome. So, the fact that I stated that “art is a matter of individual interpretation”, resembles how everyone’s “final perception” or, a thought that has gone through your brain programs thus the outcome will vary based upon each individual’s “reality tunnel” or, the way they perceive reality. Now, when I say “all listeners are affected similarly by certain musical combinations” I mean that if I can find musical combinations that actually change the original unperceived signal (which is the same for everyone), then the outcome will be slightly different, yet different in the same way for everyone. I will explain again in a different manner to promote the illumination of my point. Imagine having 10 painters that are all using the same paint bottles. You tell them to mix the colors on their own palettes and to each paint a landscape. Therefore, each painter s final picture will be different based upon his or her perception of a landscape. Now to change each painter’s painting without changing their interpretation of the landscape we would change the base colors from red, blue, yellow and green to black, purple, orange and brown which would cause the same change to each painters painting without changing their perception of their landscape.

There’s too much to talk about, and I’ll keep asking questions forever. Is there anything else you’d like to add for benefit of broadcast to the world?

Thank you for reading the entire interview, I’m glad you made it all the way through! Thanks to SRP for writing an interview that owns questions of substance and once again I appreciate anyone spending the time to read this. Anyone should feel free to contact me if they wish: Acerbus@angelfire.com

Thanks Again for your time!

Cory

-ACERBUS-

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Interview: Quorthon (Bathory)

Black metal and death metal legend Quorthon of Bathory took some time to answer our questions while he was busy recording the Nordland series of albums. Among all the interviews we’ve done, this may be the most focused and articulate, with one of the most passionately intelligent figures black metal has ever produced.

The dominant influences on the earlier Bathory work appear to be Venom and Slayer. Were you listening to other music at the time, including hardcore punk like Discharge?

I think it is very easy for people to be making that kind of connotation, simply because those two acts in particular are perhaps among the first ones that comes to mind when the roots of extreme metal is being discussed. But actually, I have never owned a Venom or Slayer album. And I don’t give a fuck if people believe that or not.

I know some people believe the change of style for BATHORY, in terms of the music and lyrics around 1988-1990, happened because we must have got turned on from Manowar. That’s another total misconception. I have never owned a Manowar record. And I don’t give a fuck if people believe that either. Not that it matters though.

I have of course heard Slayer (an act, which by the way does have all my respect for being original and for sticking to their roots in much of what they do). And I have heard a handful of tracks by Venom.

In 1986-1988, BATHORY had a drummer who was heavily influenced by Manowar. He didn’t enjoy any other type of metal, but he was somehow sold on Manowar. It wasn’t like we decided to copy what they were doing. However, the typical heavy Manowar beat seemed to perfectly suit my new ideas for lyrics at the time. The way it came about was this; in an effort to get away from the whole “are they true satanists or not”-discussions that went on in the media at the time (sort of drawing the attention away from what was truly important, the music), I felt I wanted to replace the whole demonic & satanic bag with something that was pure from christian and satanic bullshit.

The pre-christian Scandinavian Viking and vendel era seemed perfect for lyrics and arrangements. Had BATHORY been a japanese act, we might as well have picked up the Samurai culture. Had we been an Italian act, it could easily have been the Roman empire era. Now, we happened to be a Swedish act and the Viking and Vendel era seemed exciting in terms of writing music and lyrics. The heavy Manowar beat that this one-time BATHORY drummer came up with one day in the rehearsal place, is a Manowar contribution. But I wonder if that’s enough to be called a source of inspiration or influence.

My personal reason for forming BATHORY was I wanted to create a mix of the atmosphere of early Black Sabbath, the energy of early Motörhead and the pace of early GBH. We were just three shit kids coming out of school at the time, with absolutely no knowledge at all about any other acts. Remember, Metallica released their first album around the time we entered the studio for the first time. Slayer too released their first album at the same time. We were totally in the dark about any underground movement in Europe. It wasn’t until way after we had already released our first album that we learned about tons of others acts in Europe and elsewhere playing basically the same type of primitive and dark extreme metal that we were making.

Around the time I formed BATHORY, I was listening a lot to an album by early GBH I believe was called “City baby in attack of the rats”. We based half of BATHORY’s initial sound and style on that GBH album. I may have listened to some Discharge, but I don’t remember any of their songs or any of their titles anymore. The “Ace of Spades” and “Iron Fist” Motörhead albums also meant very much when we formed BATHORY. So did the first handful of Black Sabbath albums.

Bathory has always stood above other bands by having a melody connected firmly to a rhythm in the anthemic style of most great metal bands. How did you learn to play guitar, and what methods do you have for conceptualizing the songwriting process?

I don’t think I worry too much about whether to include a melody line or not in a song. That will come along in a natural fashion. I have always said that a song and a lyric writes itself. I really don’t think too much about the actual writing, the arrangements or even the playing. It’s second nature by now.

I don’t know if having a melody line in a song would place BATHORY “above” other bands, but sure it does add something special to a song. Extreme noise and brutalities are always fun to do. But if you’re trying to tell the audience a story, which we do a lot in BATHORY, I think a melody line will add atmosphere and personality to the story.

I don’t see myself as a guitar player. I just use the guitar for writing songs. I may use the bass or a piano when writing other times.

I always write the music first. The lyrics will be added at a very late stage. The mood of the music will determine what the lyrics are to be about. Very seldom will I change anything in a song just because the lyrics might have turned a certain way. In the end it all works out somehow. It puzzles me as much as anybody else.

On Blood, Fire, Death an epic sound is present through the use of longer songs with greater symbolic significance to their movements and motifs. What inspired this change from the dark, heavy and primitively simple music of Under the Sign of the Black Mark?

Probably from reading biographies on masters like Wagner and Beethoven and their works. I began to listen to classical music shortly after forming BATHORY, and from 1985-1986 it was all I would listen to. I had been playing various types of rock in various constellations since 1975, so picking up Wagner, Beethoven, Haydn and others really broadened my musical awareness extensively. The motif signature naturally comes from the world of opera.

Around 1986, I realised we were actually just writing albums full of religious hocus-pocus, satanic rubbish and demonic crap. I was not a Satanist and knew absolutely nothing about occultism or demonic affairs, so I asked myself why should I really be writing about that shit. I mean, we actually got to make albums, so why not try something different. That’s when the idea to bring the whole pre-christian Swedish Viking era into BATHORY came about. Not that I knew any more about that period in time, but it was at least a fresh source to draw stories from.

When people ask me today, if I am ever ashamed of the early albums and the lyrics they contained, my answer is “no”. We’re not ashamed of anything, we all go through stages in life when one thing may be cool for a period of time, and then something else comes along that inspires you in a different way.

Originally, we picked the whole demonic bag up because we didn’t feel we could write the same sort of lyrics that the big boys would write. We didn’t know shit about riding down the highway on a Harley, drinking whisky out of the bottle while fondling all these loose women. We knew nothing about that life, so we picked up influences from the horror comics we had been reading while growing up, magazines like Vampirella and Shock, as well as all the horror movies we had watched as kids. It was all very innocent. I wouldn’t have known the devil even if he jumped up to bite my ass.

Thus if being-toward-death is not meant as an “actualization” of death, neither can it mean to dwell near the end in its possibility. This kind of behavior would amount to “thinking about death,” thinking about this possibility, how and when it might be actualized. Brooding over death does not completely take away from it its character of possibility. It is always brooded over as something coming, but we weaken it by calculating how to have it at our disposal. As something possible, death is supposed to show as little as possible of its possibility. On the contrary, if being-toward-death has to disclose understandingly the possibility which we have characterized as such, then in such being-toward-death, this possibility must not be weakened, it must be understood as possibility, cultivated as possibility, and endured as possibility in our relation to it.

– M. Heidegger, Being and Time

Do you think later Bathory was aiming more toward being a progressive or epic heavy metal band, where early Bathory had a good deal more punk/venom-style metal influence on it?

We didn’t have any ambitions at all to be any of that. About being progressive or epic, we weren’t thinking in those terms. It was just a natural evolution, it wasn’t planned or calculated. It just happened. It is so very easy for people in the year 2002 to sit back and name certain periods and labelling people and bands. When you have history and all facts at hand, people tend to file and classify past in a way we never did 20 or 15 years back in time. My recommendation to anybody who has problems getting a good view of all the styles and sounds out there is “- Don’t bother – just enjoy. It’s just fucking metal.”

How have your tastes changed across the years of making music?

Probably in much the same way we all change as people. We develop as we widen our perspectives. This is true for music as well. I’ll listen to everything from Glenn Miller to The Beatles, from Wagner to Sex Pistols, from Nick Drake to Beethoven. I hardly ever listen to metal. The only metal I will listen to, is vinyl that I bought 20 or 30 years ago like Mountain, early Kiss, early Saxon, early Motörhead or early Black Sabbath. I haven’t bought a metal CD in ten years. The last metal CD must have been Motörhead’s “Overkill”. The last CD I bought of any kind was last summer, George Harrison’s “All things must pass (1971).

Do you think that ideology changes the worldview of an artist, and that this is reflected in their music?

I have personally never allowed for any personal ideologies to influence my music or lyrics. For some years German metal media would say BATHORY was glorifying war and the holocaust in the lyrics. This is not true. We were writing about war and the holocaust in the very same way we were writing about all the other things we have written about; incest, the nuclear arms race, the world wars, the environmental issue, female BATHORY fans, serial killers, religion and fuck knows what else. In other words, as facts, not glorifying. I am not religious and have no political ideals, so for myself personally, writing lyrics is just painting with words and creating a scene.

Black metal today has gone through a shaping process of which Bathory was part. What do you think are Bathory’s contributions to the methodology of metal making?

I have absolutely no idea about what’s going on out there. I am not going to shows, I do not read the metal media and I do not buy or listen to any modern metal albums of any kind. If you’d play me ten tracks by ten different top extreme metal acts I couldn’t tell you what you’re playing. I wouldn’t be able to tell you where even one out of a hundred extreme metal bands comes from. People seem to believe that I have great knowledge and full view of the scene. I tell you, I know nothing. Nothing. Period.

The funny thing is, a lot of people insist that BATHORY’s so called Viking period had a greater impact on today’s Black Metal scene, than pure Black Metal of the early 80’s. The good thing about evolution is that what’s called Black Metal today, may not remind too much of what Black Metal was 20 years ago. Black Metal, Death Metal and all types of extreme metal, will develop further. The ones who get the most out of a diverse scene and constant evolution, is the audience.

As far as BATHORY’s contribution is concerned, back in 1986-1991 we used acoustic guitars, harmony backing vocals, intros and outros as well as sound effects to create that specific BATHORY atmosphere. Many bands have been copying that so thoroughly in the past 10-15 years, I believe this special atmosphere itself could perhaps be our greatest contribution.

From what I heard of your solo work (band named “Quorthon”) it seemed you were moving into a genre where you could use the broad style of rock music to fit in a number of melodic but hookish pop songs. Is this a return to your influences, or a changing of taste?

It’s funny that some people actually believe that the solo records is what I really want to do and that I only kept on working with BATHORY because it would sell like crazy. This is not true. I have written everything from extreme brutal metal to string quartets, and neither of the solo albums I did gives a more true image of what my inner music is like than anything else I have written.

Everything on the first solo album was accidental. I had absolutely no ambitions or plans. What happened was, I said I wanted to take a year off from music. Then the record company told me that I perhaps should think about a solo record, just to keep myself active. Now, that’s a very interesting situation. Not too many guys get to make a solo record. Myself, I had no idea what it would sound like. The offer to make a solo album was a challenge too exciting to ignore. So I wrote some pure guitar based crunchy metal rock material and went down a small studio for a week and a half. I brought with me a guitar, a bass and a drum machine with only one intention and that was to make a record that wasn’t going to be anything like BATHORY. Not that I didn’t like working with BATHORY, I just thought it was a good opportunity to “kill” the very erroneous image of “Quorthon” which had developed in fanzines and within the metal scene in general. People thought I was a neo-nazi satanic Viking who drank blood and ate infants, who lived in a bats cave in the north of Sweden and tons of other stupid things. I figured, if I produced a solo album that was miles from BATHORY, incorporating a little rock, blues and even punk, perhaps the most fanatic nut cases would be scared off.

The second solo album came about because people wrote me and said they were now very interested to see what I would come up with on a second solo record. So I wrote a lot of material, mixing The Beatles, Sex Pistols and Mountain plus punk. I have no plans for a third solo record, but having said that, I might just as well record a third solo album in future if I feel like it.

When you see bands today making black metal in the style of the nordic generation after 1987 (inspired by your Blood, Fire, Death and Sarcofago’s INRI in my supposition) what do you see as the possible future directions for that style of music?

Like I said previously, I do not think in terms of “genuine” or “true” metal versus “not-so-genuine” or “untrue” metal. My philosophy is; the more versatile and innovative a scene is, the more the audience will get out of it. It would be a very poor testimony if a scene were to contain only one style of music played exactly the same way, with the very same type of lyrics and image and so on. I think it’s more “posing” to be copying a certain style of clothing, wear make-up and use the exact same production as tons of other acts simply because it is the flavour of the day.

As far as the future of extreme metal is concerned, I do not worry at all. I know there will be tons of great bands in the future as well. The scene will be forever. There will be new names, new styles and new topics. The dark, evil and demonic will always be a part of the scene. The mythological themes will be there as well. I agree it would be interesting to see what else will happen as far as topics are concerned.

Do you think the world is on the edge of great change? If so what will change, and what is forcing it to change (what needs to change)?

I really don’t bother about the world or society at all. I’ll be dead in 30-40 years and neither people, politics, religion or society interests me at all.

Is the metal underground an effective way of distributing niche music according to its artistic integrity, or a justification for the kind of independent distribution needed to move relatively small numbers of CDs?

There’s more than one way to look at the underground distribution; firstly it will allow for acts to target the very type of audience they’re targeting specifically. Secondly, people interested in a specific type of music will be able to easily get a hold of very special CD’s and vinyl through underground distribution network.

Let’s face it, some extreme metal productions will never reach sales figures around 10 000-20 000 copies. A lot of acts will be happy to sell 5 000 or even 3 000 copies. With such a small quantity of CD’s sold, few record companies, even pure metal companies will even touch certain bands. The underground will be able to distribute albums made during less expensive circumstances, albums that still will have a lot to offer in terms of interesting arrangements etc. So in that respect, I think that the underground is doing a pretty tremendous job.

But the underground is also exploited by pirates, assholes, haemorrhoids and parasites. There are more illegal BATHORY CD’s circulating in the underground than genuine official BATHORY albums released. There’s fake “BATHORY live albums” out there, I have heard of “Quorthon rehearsal” cassettes and “lost recordings” on CD, and this absurd list just goes on and on. I will occasionally email these mailorder companies and underground metal shops, and tell them that they are distributing BATHORY fakes and illegal crap. Also, I will tell them that not only are they violating international laws of copyright and publishing rights, they allow the bootlegging pirates and haemorrhoids to use their network for criminal purposes. That’s not underground, that’s theft and breach of trademark laws etc.

I have heard of some really awful quality bootleg BATHORY CD’s and feel sorry for the fans that buy them for 15-25 dollars. All they get is crap quality copies of tracks released on our Jubileum volumes. The fans could easily just get the genuine thing from us directly. I came from the underground and I hurt like hell when I hear how young fans are being exploited this way. Any underground shop or mailorder dealer who will help in distributing bootleg crap is killing the underground.

Do you have any spiritual beliefs, or strong ideological concerns?

Nope, not a glimpse of spirit in me at all.

It seems to me that most metal musicians start their lives more antagonistic to society as a whole, and eventually as they age begin to acknowledge the need for a society but a dissatisfaction with its design. Do you have any comments here as general observations?

I am sure a lot of people will mature with age and realise down the road the need for a functioning society. But that probably has less to do with social awareness or a philanthropic pathos. It will have a lot more to do with the fact they’re beginning to pay taxes and want to see some results for their money paid.

How do you compose a song and, how integral are the lyrics?

I will just strike a guitar riff and continue from there. If it sounds good enough to work on further, I’ll write a song in an hour or so. A day, a week or a month later I may listen back to it and just taste a few words and see what comes out of it all. I rarely plan before writing a song what it should be about. All that will come along the process. I’ll say it again, I think the music and lyrics writes itself. I’m just a tool used by the demons of music.

Is Twilight of the Gods a rock opera in the style of the who, progressive bands from the 70s, etc?

I don’t know where that rock opera thing came from. I guess people had no idea what to call that kind of heavy bombastic arrangements 10 years ago. It wasn’t Black or Death Metal, so some people felt compelled to come up with some label for it. But to call it a rock opera is laughable. “Twilight” is no mot a theme album in any way, no track two off “Twilight of the Gods” has got anything to do with eachother, they are all individual tracks with totally different stories.

“Requeim” is more a theme album than “Twilight”, because it contains with the subject of death in all forms may it be suicide, murder, culture death, genocide or death in war or by cult.

How do you unwind/relax, or, what do you do for recreational purposes? (what do you enjoy besides music)

I’ll read a book or stride my Harley-Davidson motorcycles and go for a ride. I used to build a lot of plastic models, paint a lot or collect war memorabilia in the past but not as much these days.

Is it possible to return to metal with a different style after one has become one of the founding names of a certain style?

Depends what you mean by “return to metal”. I am the same metal underground shit kid today that I was 20 years ago. I’m still playing as brutal a guitar as I have been for 20 years. So it can’t be that I’ve been all of a sudden sliding back into a metal slot for some reason. It’s not like I have been travelling the world with a can-can orchestra since last time around.

I can’t see what a “return to metal” should point to. If there’s no BATHORY album out for a period of 5 years (as was the case between “Blood on Ice” and “Destroyer of Worlds”), some will call that a comeback. That’s absurd. Just because you’re not in people’s face all the time, it’s not a come back to have a new album out even if it’s more than a year between it and the last release.

People are so stuck with labelling acts and individuals, calling things and circumstances by so many names and whats more just to make life easier for themselves to live, it makes me sick.

The Odin mythos present in Blood on Ice, Blood, Fire, Death, and Twilight of the Gods seems to derive inspiration from the Nietzschean/Jungian view of the human psyche and the culmination of some of its historical inabilities. Do you think these ideas are gaining prevalence at this time, or becoming more obscure as society degenerates?

“Blood on Ice” was a saga based loosely on the Siegfried legend and an original story by Robert E Howard. The “Blood Fire Death” album really has nothing to do with Vikings at all except for the title of the track “Oden’s ride over Nordland”. But that’s not really the issue. It’s not important if an album or a track is or is not about this or that shit. The important thing is if it gives you the kick inside.

I think people see and hear more things then I really meant to put on them albums. The “Blood Fire Death”, “Hammerheart” and “Twilight” albums has been linked together as the “viking-albums”, the same way the first three albums “Bathory”, The Return” and “Under the Sign” has been tied into a trio. I gave up years ago trying to talk people out of all that crap. It’s just atmospheric metal, I don’t really bother much about the depth or context etc.

I really don’t remember why I picked some stuff up from Nietzche 10 years ago, I wasn’t reading much by him. It may have been through Wagner. I think cults, theories and views of all sorts will exist in much the same way for as long as there are people around.

Please insert any commentary on the questions, issues addressed, things missed in the interview, or general concluding remarks you may have.

We’re just right now finishing a 14-15 track new album to be released in September/October this year. Look forward to it and take care.
Hail the hordes !

Quorthon

In a sequence of words, i.e. by a chain of symbols, something new and greater is to be represented: rhythm, dynamics and harmony again become necessary on this level of expression. This higher sphere now governs the more limited sphere of the individual word; it becomes necessary to select words, to put them in a new order; poetry begins. The spoken melody of a sentence is not just the sequence of the sounds of the words; for a word has only a quite relative sound, because its character, the content presented by the symbol, varies according to its position. In other words: the individual symbol of the word is constantly being re-defined by the higher unity of the sentence and the character this symbolizes. A chain of concepts is a thought; in other words, this is the higher unity of the accompanying representations. The essence of the thing is inacessible to thought; the fact that it has an effect on us as a motive, as a stimulant of the will, can be explained by the fact that the thought has already become a remembered symbol for a manifestation of the will, for a movement and a phenomenon of the will in one. But when it is spoken, i.e. with the symbolism of sound, its effect is incomparably more powerful and direct. When it is sung, when melody is the intelligible symbol of its will, it reaches the summit of its effect; if this is not the case, it is the sequence of sounds which affects us, and the sequence of words, the thought, remains something distant and indifferent.

– F.W. Nietzsche, The Birth of Tragedy

Thanks to Black Mark Records.

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Interview: Les Evans (Cryptic Slaughter)

Cryptic Slaughter, the quintessential 1980s thrash band, where thrash means crossover music of a simple and effective nature. their music, of short bursts of song with explosive drumming and ragged punkish speedcore riffs, projected a forerunner archetype of what grindcore would soon be. Albums like “convicted” and “money talks” displayed the formative techniques of death metal. But even independent of its historical role, this music crushes with its efficiency and organic texture. Les Evans, guitarist of Cryptic Slaughter, was kind enough to answer some questions for us via email. working on this interview has been one of the high points of the experience of writing about metal, and it is a privilege to interact with a founding mind of a band such as Cryptic Slaughter.

Do you think a generational difference exists between bands, in terms of how the thinking that inspires them to make their music changes?

Sure, and every generation thinks that theirs is the most relevant! Your immediate surroundings, differing time frames included, will always impact your creative output. But music crosses generational, race, and class divisions. So even bands from different eras maintain a common thread. I’m just happy that there are still “thinking” bands out there.

How was music composed in Cryptic Slaughter?

Generally, we wrote songs individually, after which we would present the rough sketches to the rest of the band. We would then tweak arrangements and embellish. Lyrics usually weren’t written until the music was finished. A rare exception was Lowlife. Scott came up with that opening drum riff out of the blue, and I wrote the accompanying guitar part right on the spot. I can’t remember if the rest of the song had already been written or not.

Do you conceive of songs as rhythms, or riff patterns, or abstract ideas or melodies? What has been for you normally the genesis of songwriting?

This will be difficult to put into words. I can’t say that I really have a conscious formula. Usually it’s the melody first, then the rythym. Sometimes I’ll hear music in my head and then try to translate it into something tangible. Or I’ll just play around loosely with the guitar. If something promising comes up, I immediately record it and then attempt all manner of variations on the pattern or riff to see which sounds the best to me. After I come up with something I’m happy with, I’ll put it aside for a few days and then listen to it again. If I still like it upon the second listen, it’s a keeper. When Jimi Hendrix was asked a question similar to yours, he replied that he was like an antenna, or an open channel through which ideas were allowed to flow. In other words, his songs came from somewhere else. And while I would never, ever, try to compare myself to Hendrix, I do understand what he meant. Occasionally, I’ll write music and suddenly, it’s like it’s not me playing. Almost as if I’m outside of myself as an oserver. There’s a great mystery behind art.

Rap (and the synth music that inspired it) seems to be digital-technology-dependent, where other forms of music are less so. How does this affect the viewpoints of the artists?

I embrace the technological advances, but I do believe that any artist that relies too heavily on technology runs the risk of having his music sound like it was written and performed by a computer. But then again, that’s exactly what some bands are after. They want it to sound as cold and inorganic as possible because it evokes a very sinister feel. Whatever yanks your crank.

Of all the thrash guitarists, your work was seemingly the most unabashedly punk in raw dynamics while having a metallish sense of arrangement. In what ways did each genre influence your songwriting?

When I was a kid, I was metal to the core. I turned on to hardcore right when Cryptic was first coming together. Back then, those styles of music were so underground that I automatically gravitated towards anything new I could get my hands on. And I was influenced by everything that was fast and raw. We wanted to do something different to stand out from the crowd. The ultra-speed stuff kind of just evolved without any direct intent. But as we got faster and faster, it definitely necessitated a change in the way I was playing. So what eventually developed as my style was never pre-meditated.

What bands inspired you when you were starting out, pre- and post-Convicted?

Before Cryptic formed, the most important bands to me were Slayer, Metallica, Venom, and Motörhead. Then I started listening to GBH, RKL, Suicidal Tendencies, Discharge, and Minor Threat. I had friends in high school who were into punk, so we would borrow each others records. I think they really wanted to convert me, and I guess it worked. Before Convicted was even recorded, we had taken a definite turn towards hardcore. The earlier songs on that record, Rest in Pain, War to the Knife, & Rage to Kill, were more metal. Whereas M.A.D., State Control, & Nation of Hate reflected our new direction, lyrically as well as musically.

Do you think the metal genre has been obsoleted?

I don’t think any musical genre can be considered obsolete if there is still an active fan base. It’s almost impossible to be original anymore because it seems like everything has been done to death. So hats off to the modern pioneers like Strapping Young Lad, who have brought something new and distinct to the scene.

I could find no reference to Cryptic Slaughter demos anywhere on the web (the net is often useless). Were there any and if so, can you give a brief demography?

There was only one, recorded in May, 1985 entitled “Life in Grave”. Five songs, two of which (R.I.P & War) we re-recorded for Convicted. It was much more metal influenced.

Before us there is certainly left only nothing; but that which struggles against this flowing away into nothing, namely our nature, is indeed just the will-to-live which we ourselves are, just as it is our world. That we abhor nothingness so much is simply another way of saying that we will life so much, and that we are nothing but this will and know nothing but it alone. But we now turn our glance from our own needy and perplexed nature to those who have over-come the world, in whom the will, having reached complete self-knowledge, has found itself again in everything, and then freely denied itself, and who then merely wait to see the last trace of the will vanish with the body that is animated by that trace. Then, instead of the restless pressure and effort; instead of the constant transition from desire to apprehension and from joy to sorrow; instead of the never-satisfied and never-dying hope that constitutes the life-dream of the man who wills, we see that peace that is higher than all reason, that ocean-like calmness of the spirit, that deep tranquility, that unshakable confidence and serenity, whose mere selection in the countenance, as depicted by Raphael and Correggio, is a complete and certain gospel. Only knowledge remains; the will has vanished.

– A. Schopenhauer, The World as Will and Representation

How have your own musical tastes change through the years?

Mainly they’ve broadened. I still like heavy music, but my CD collection is pretty eclectic. Around 1987, we realized that there was a revolution happening in music that was being led by bands like Jane’s Addiction, Fishbone, Faith No More, the Chili Peppers, Mr. Bungle, Soundgarden, etc. Together with Wehrmacht on tour, we would get everybody from both bands on stage and play “Fight for your right” by Beastie Boys. People tripped on that because it was the last thing they expected.

Do you think the underground exists, still?

I do. It’s just that the underground has much more exposure now than it ever did before the advent of the internet. There is some real irony here. In 1985, it was hard to get any information on new bands outside of the mainstream. Now, there’s so much goddamn information available on every band imaginable, good and bad, that you couldn’t process it all in three lifetimes.

Some would say, as Wagner did, that music is a form of paint one uses to create art (narrative, descriptive or poetic works, normally in structure); others would say that music provides art within itself and has no correspondence to a more generalized “artisticness.”

Both points of view are correct. It all depends on how you define and perceive “art”. And that, of course, is a very personal distinction. Wagner and his contemporaries came from a much more rigid time in music history, which required a very strict adherence to form and theory. Imagine what those guys could have come up with had they been given complete musical freedom.

Do you see Cryptic Slaughter’s lyrics as having more of an aspect of the political, or as being social commentary?

Whenever we addressed a political figure or situation, I think that inherently, it becomes social commentary. For instance, when we bitched about Reagan, it was because he was making decisions that were affecting our lives. Political agendas, no matter how convoluted, eventually have a direct effect on the population. Of course, we were great about complaining, but offered very little in the way of solutions. But what do you expect from four young punks?

You said “Around 1987, we realized that there was a revolution happening in music that was being led by bands like Jane’s Addiction, Fishbone, Faith No More, the Chili Peppers, Mr. Bungle, Soundgarden, etc.” – after some research, I am guessing this means a funk/rap revolution in music. Do you think this revolution is still ongoing?

Actually, I was referring more to the punk ethics employed by those bands. They all have roots in the underground and, against all odds, managed to break into the mainstream with varying degrees of success. Let’s not forget, popular music in the early to mid 80’s was abysmal. It was all about Richard Marx, Kaja Goo Goo, and an endless array of butt rock bands. Jane’s, FNM, etc. were innovators and the driving force behind turning the tide. There was an enormous amount of creativity and risk taking in this respect from 1987-1992. And at the time, it was truly inspiring because it felt like the rest of the world finally got hip, and that meant that anything was possible for the rest of us. I should probably broaden my list by adding some more very influential bands; Ministry, Voi Vod, Primus, Butthole Surfers, Rollins Band, The Pixies, and it goes on and on. It’s also important to note that these bands made their impact on their own terms. They didn’t change for the masses, the masses came to them.

How do you describe the music of Cryptic Slaughter, and do you assign it to any subgenres (thrash, crossover, metalcore)?

I still like the original tag line I came up with in 1985, “Hardcore Thrash”. Pretty good marketing for an eighteen year old. It’s simple, yet it tells the story.

How has this revolution changed our perceptions and expectations of music as a whole?

It effected me greatly, and certainly had an impact on music as a whole, because it was really more than just a fusion of metal/funk/rap/punk and whatever else. A new musical paradigm was created, one in which bands were no longer confined to specific categories. This, in turn, forced a shift in general perception that allowed for much more artistic freedom. The audience came to expect bands to be more multi-faceted and eclectic. It changed music forever.

If you could do it all over again, what would you change about your discography?

Well, I’d like to re-record the first three records. I was never happy with how any of them sounded, especially “Stream of Consciousness.” And there are certain songs that I absolutely can’t listen to, like Hypocrite. I realize that it’s probably sacrilege for me to think these thoughts out loud. We really didn’t know anything about recording or production, so we basically just plugged in and played. Maybe that was part of the charm.

Two rumors: that your albums were to be re-released by a Pennsylvania label, and that the new album will approximate “speedcore” or crustcore – can you tell me anything about these and their degrees of veracity?

The plan at this time is to re-issue the first two individually, both with the original artwork. For bonus tracks, we will include the demo, along with a substantial amount of live and rehearsal material, most of which has never been heard outside of our circle of friends. Regarding the new material, I’m really happy with what we’ve written, but I have no idea which category it will fall into. We were always a band that people could never agree on anyway, in terms of genre, and I don’t expect that to change now. It’s fast, brutal, and angry.

How did the members of Cryptic Slaughter meet and come together?

We all played soccer, and had all been playing for years. That’s the truth. If not for the the American Youth Soccer Association, there would not have been a Cryptic Slaughter. Bill and I went on to both play for the same high school team, although not at the same time. I met Scott and Bill through a guy named Adam Scott who was actually one of the original members of the band. I used to give Adam guitar lessons and he was younger than me by a couple of years. He told me he knew a drummer through soccer. So when we first started jamming in the summer of 84′, I had just turned 17, Adam was 15, and Scott was 14 & 1/2. We stank on ice, but just finding other pepole into the same music back then was so rare that we bonded pretty quickly. Bill, another one of Adam’s soccer buddies, joined up after school started that Fall. We steadily got better, and played a lot of covers. I remeber that we did Ace of Spades, Aggresive Perfector, Welcome to Hell, and City Baby Attacked by Rats fairly well. Adam’s parents, who were both teachers, began to put a lot of pressure on him to quit. They were just looking out for him. but he started to miss rehearsals so we kicked him out and became a three piece. Rob (who was not a soccer player) came into the fold about a year later, two months or so before we recorded Convicted. We didn’t even know him, but it worked out better than any of us could have imagined. Rob’s playing and songwriting had a huge impact on improving our sound.

Do revolutions in music like the one you describe exist until they get mainstreamed, and then somehow get consumed? Or are they ongoing?

Everything gets ruined when too many people find out about it. But you enjoy it while it lasts. Once there’s a “new sound”, every major label tries to jump on the bandwagon. That kind of over-saturation and dumbing down of the music is what kills originality. And what’s worse, you’ve got these copy cat bands that emerge in an attempt to cash in. Remember how many Nirvana wanna-be’s there were? I’m not saying there’s anything wrong with having influences, but when you’re gearing your music towards what you think will be the next big thing, you’ve lost sight of what’s important. Take Faith No More’s example. They had a huge hit with The Real Thing, and then proceeded to turn their backs on commercialism in favor of following their instincts.

Was Stream of Consciousness a live or studio live album, or did it acquire its deliciously noisy production another way?

It was recorded in an abandoned beer vat, previously owned by Pabst Blue Ribbon. No shit. It was basically a wherehouse. That record actually sounded a lot better before it was mastered. My buddy Jason, Cryptic’s only real roadie, recently foud a test pressing for Sream that Rob had given him fourteen years ago. As is typical, it had a blank label with a section for comments. And what Rob had written summed it up with two words; “IT SUCKS”. Don’t get me wrong, I think the songs on that record are by far the best we ever wrote as a band, but none of us were happy with the production. And for all intents and purposes, by the time that record was released, we were already broken up. An interesting footnote, also thanks to Jason; we have a rehearsal tape of those songs that sounds better than the record, including a tune that was never released. We want to have it released with the re-issues.

On the metal history page (http://www.anus.com/metal/about/history.html) metal is grouped into several waves, based on what worldview they had because of historical events current to the time of each wave. Do you see a difference in the musical approach between bands of members born in approx. 1968, 1974, 1982 and 1986?

Oh yeah, people from different eras grew up in different worlds. I came up in the laid back 70’s when pot was decriminalized (thank you, Jimmy Carter) and sex couldn’t kill you. Then, just as I was ready to start having some of that fun, along comes the “Just Say No” Reagan years and AIDS. And this was also when the Cold War got really ugly and the threat of nuclear war loomed large. I was confused as fuck. And pissed. Someone born in 74′ would probably tell you about their fear of being drafted into the Persian Gulf War. But I think another reason for the difference in approach is simply the desire to do something unique. the same thing over and over again gets old, so music has to grow and evolve.

Some musical thinkers claim to be able to visualize music as shapes or patterns, and from there conceptualize the song as an aesthetic object. How do you conceptualize sound, or is it a conscious process at all?

I tend to experience music more in terms of colors, but then again, I’ve eaten more acid than most people! For me, writing music is about intuition. There are no rules or perameters or formulas. It’s either good or it’s not, and you have to be objective enough to tell the difference. Because even the greats have written crap, but were smart enough to recognize it as such.

What do you think of the overall prospects for humanity given the state of our current treatment of our environment and selves?

Well, humanity will be going away, possibly within the next couple of hundred years. I believe that we’re too far gone now to change our ways enough to make a signifigant difference. Some of us will probably take off for another planet so we can begin the cycle all over again. But after we leave, the Earth will eventually heal itself. Throughout the millenia, it’s been through a lot worse than humanity.

What was the best part about being in Cryptic Slaughter during the innovative days of 1980s thrash?

The high point was the many many friends we made. I got to know people from all over the world, and I was lucky enough to experience a lot of great music.

What future directions do you see opening for people wanting to create loud, heavy, violent music? Do you think the ideals that make one wish to make such music have changed, or do you see the impetus as emotional?

Music is accessable in way now that we couldn’t have imagined in 1986. Back then, before the internet and MP3’s, kids in Nebraska had a hell of a time even finding Cryptic records. Even in L.A., I couldn’t find our records half the time. With the software available for home recording, there really are no limits. You just have to be motivated and creative in the art of self promotion. I’m sure the reasons vary depending on the person, but at the core it’s always driven by emotion. That goes for all forms of music.

Was it difficult to start a band and make it successful at such a young age? I believe you were 17 when Money Talks came out.

I had actually just turned twenty when Money Talks was released in July, 87′. Scott, if I recall correctly, was seventeen and a half. It wasn’t difficult at all because we had no idea what we were doing. We didn’t have anyone telling us what to do or what not to do, which is both good and bad. At the time, I don’t know that we necessarily considered ourselves successful. We saw bands like Suicidal Tendencies as being successful. we were just happy to have a an outlet to create.

Do young people today face a different world than young people of previous generations? How will this affect their music and the ideas they associate with the sounds they are making?

Young people most assuredly face a different world, and the world at present seems to be changing more rapidly than ever before. As a result, any feeling of stability that existed previously is now deteriorating. I don’t think anyone can accurately predict how this will affect how music is written and played. It wouldn’t surprise me, however, if it turns out to be pretty fuckin’ grim.

How did you learn to play guitar?

I took guitar lessons for years from the same guy, a studio musician. He was mainly concerned with teaching me advanced rythyms and chord structures that are most closely identified with jazz and music theory.I took music theory in high school and college as well. It’s funny how I put so much energy into learning “the rules” of music, just to turn around and break them all.

From who/where did the idea for the cover of Money Talks originate?

It came primarily from the artist, Jeff Harp, who also played guitar for Final Conflict. We gave him a lot of freedom, and he created quite a statement of the time. That cover got us on Tipper Gore’s list, and it wouldn’t surprise me if the F.B.I. opened a file on us around the same time. They’ve always kept a close eye on politically-minded musicians.

Santa Monica has always seemed to me to be a hyper-accelerated version of America in transition. Did it influence the topics of early Cryptic Slaughter songs?

I’m sure it did, although indirectly. Santa Monica was a pretty ideal setting in which to grow up. I spent a lot of my youth on the beach as well as the soccer field. Much of S.M. is very rich, but I come from a middle class background. No place is perfect, but we had it better than many kids. By the time we started doing Cryptic, we had begun to realize that the world around us left a lot to be desired.

Do you work on music full time? Family?

I wish I could do music full time, but alas, I work 40 hours a week like most people. I’m married and have a son who will be four years old soon. So I can’t afford to be an irresponsible slacker musician anymore. But I guarantee you that I rode that train for as long as I possibly could.

Do people ever beg you for re-releases of the Cryptic Slaughter albums?

Not really, but I guess the fact that people were paying between $100-$200 on Ebay for our early CD’s could be constued as a form of begging.

Now that the band has reformed, what do you aim to create in a different musical scene and perhaps style?

What we’re doing now is pretty over the top in terms of speed and heaviness. I don’t know that we’re breaking any new ground, but we are attempting to improve on what we helped to create way back when. And we’re setting the bar very high for all aspects from song writing to production.

Do you watch television?

I do, but not a whole lot. Through the influence of my son. our TV is usually set on the Cartoon Network. I’m absolutely addicted to the Sopranos and I usually still watch Letterman and Conan. One of my all time favs was Mystery Science Theater 3000, which finally ended it’s run after twelve years.

What do you think will be the effect of mp3 files and file sharing in a music industry controlled by a few titans, but with many smaller labels and distros?

I think that Napster and the like was a good thing for music. But it was especially crucial to the relatively unknown bands because it helped to get their music out there. Back in 1985, what held the underground together was a network of hardcore tape traders. They circulated hundreds of live shows and demos and helped bands like Cryptic get on the map. No record stores would carry a demo, even if you could somehow get it distributed. Many fans obtained our tapes by trading through the mail, and of course didn’t pay us for them. But the free publicity was well worth whatever we lost in short term profits. It got a buzz going, and pretty soon we were getting contacted from bands, labels, and fans who otherwise never would have heard of us. As far as major labels go, they’ve been bending over their bands and the fans for decades now so I’ve got no sympathy whatsoever. And besides, when I was a kid, I always bought the records I really liked and borrowed the rest from my friends and taped them. It’s the same principal. If you want it but don’t want to pay for it, you can always get it somehow.

You said, “What we’re doing now is pretty over the top in terms of speed and heaviness” – how can these things be increased in music? If you could describe more of your new music, that would be great.

I didn’t mean to imply that we’re going to come along and redefine fast and heavy music. I just wanted to get the point across that this is not going to be “Speak Your Peace, Part ll”. Don’t get me wrong, I love that record, but it’s not where we’re at now. Our new stuff combines blast beats with good rythymic structure and it’s not too complicated. It’s paced well with a definite emphasis on speed.

Catch-all “did I miss anything?” and “anything you’d like to add?” question – if there is any information in those categories you would like to see published in this interview, please fill in now.

Thanks to everyone for the continued support and interest after so many years. Please contact us if you want to be on our e-mail list. And thanks to SRP for probably the most comprehensive interview I’ve ever done.

[This] goes for writers and thinkers: if they resist the predominant use of time today, they are not only predestined to disappear, but they must also contribute to the making of a ‘sanitary cordon’ isolating themselves. In the shelter of this cordon, their destruction is supposed to be able to be put off for a while. But they ‘buy’ this brief and vain delay by modifying their way of thinking and writing in such a way that their works become more or less communicable, exchangeable; in a word, commercializable. But the exchange, the buying and selling of ideas and words, does not fail to contribute, contradictorily to the ‘final solution’ of the problem: how to write, how to think? I mean that they contribute to making even more hegemonic the great rule of controlled time. It follows that public space, Öffentlichkeit, in these conditions, stops being the space for experiencing, testing and affirming the state of mind open to the event, and in which the mind seeks to elaborate an idea of that state itself, especially under the sign of the ‘new.’ Public space today is transformed into a market of cultural commodities, in which ‘the new’ has become an additional source of surplus-value.

– J.-F. Lyotard, The Inhuman

Cryptic Slaughter at the Dark Legions Archive.
Interview with Scott Peterson.

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