Ildjarn entire catalogue re-pressed on Season of Mist

ildjarn-re_releasesDuring most of its active life, this one-man band (with occasional collaborators) was ignored for being primitive, primal, raw and feral. Its few-chord songs and droning incessant beat made it an obvious target for mockery; from a distance, it sounded like a mis-tuned Toyota with a broken fan belt.

However, as the 1990s wore on and it became clear that black metal had expressed itself fully and wasn’t “coming back,” people listened to the advice of our reviews and decided that Ildjarn was, after all, part of the essential black metal collection.

In the mid-2000s, Ildjarn re-surfaced with a spate of re-releases on Northern Heritage Records and Full Moon Productions, but then vanished as its creator moved on to other things. However, as of this month, Season of Mist Records plans to re-release the entire Ildjarn catalogue, first digitally and later, on CD and LP.

  • Norse (EP)
  • Ildjarn (album)
  • Strength and Anger (album)
  • Landscapes (album)
  • Svartfråd (EP)
  • Forest Poetry (album)
  • Hardangervidda (album)
  • Hardangervidda part 2 (EP)
  • 1992-1995 (compilation)
  • Eksistensens Jeger (single)
  • Nocturnal Visions (EP)
  • Minnesjord – The Dark Soil (EP)
  • Ildjarn 93 (EP)
  • Ildjarn Is Dead (compilation)
  • Sort Vokter – Folkloric Necro Metal (album)

All 15 reissues will be available digitally in the upcoming weeks and most of them will hit the stores in physical editions later on.

The label warns us: “Please note that Ildjarn ceased all musical activities a long time ago and therefore does not do interviews and does not run any official web page or social network.”

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Osmose: Ildjarn / Hate Forest split forthcoming

Cold minimalist black metal got a bad rap back in the 1990s when people figured out that it had basically taken Darkthrone’s techno-influenced Transilvanian Hunger and recombined it with the thrash from generations before.

Ildjarn in particular sounded like an occult nature mystic version of DRI, complete with the idiosyncratic songs made of tear-off riffs. As black metal devolved, more bands tried the brutal short fast and minimalist approach, but none quite achieved the pristine chilling isolation of Ildjarn.

Now Osmose Productions has announced a split between Ildjarn and one of the bands it undoubtedly influenced, Hate Forest. This slab of forest metal, called Those Once Mighty Fallen, presents past unreleased material from both bands, which are now both non-practicing.

Here’s the official announcement:

From the cold blackened graves their shadows rise…. Osmose Productions releases unexpected ILDJARN / HATE FOREST split CD/LP, called “Those Once Mighty Fallen”. Both dead bands are presented with their lost and forgotten recordings, accidentally found not so long ago. ILDJARN’s songs were created in the dark year of 1994 and HATE FOREST’s during cold winter nights of 2000-2001. Now, carefully re-mixed and re-mastered this audio- terror is available first time. A real epitaph to sincere, true black metal. No release date yet to communicate. – Osmose on FacePlant

As a total Ildjarn fanboi, I’ll be seeking this out with bells on. For more interest, read our interview with Ildjarn from back in the hazy 00s.

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Interview: Vidar Vaaer (Ildjarn)

We caught up with Ildjarn via email to discuss the sudden release of earlier works, “Son of the Northstar” on Fullmoon Records, and the impetus behind his unusual art form. Taking black metal a step closer to the ambient, Ildjarn has with his self-titled unit and project Sort Vokter shaped metal into an atmospheric, spontaneous and subtly structured art form.

Do you see art as having a goal, or being pure aesthetics? Some would argue that art deliberately communicates an idea(s) or changes the listener through experience, where others claim that art is an experience unrelated to the thoughts and beliefs of the artists?

Well, I don’t know about art, and I don’t give a shit about art no matter what it is. I’m just doing what comes natural, and I’ve never thought about it as art. The things I do are for me, I’ve never done music for no one but me. Still, I think it’s satisfying to know that the truly dedicated out there find something in what I do.

What to you is most inspiring in nature?

To take a walk in the mountains, especially the highlands called Hardanger highlands, Norway (of course).

Do you see anything natural about human society, including its technology?

I try to mingle as little as possible with people and society in general. I find more pleasure in entering my own world.

Do you find it amazing that you seem to have discovered an infinite source of small patterns in your art form?

As I said, about art, others have to decide if what I do is art. About your question, I’m not sure what you mean…

When people say, “does art emulate life, or life emulate art,” do they mean life as human life, or natural life? If so, how could trees/birds/etc. emulate art unless there was a preexisting commonality between art and natural life?

I don’t have a fuckin’ idea.

On the Sort Vokter album Folkloric Necro Metal there is a statement about the drug THC. What does this drug mean to you, and how do you see drug use as fitting in with your beliefs?

I never use drugs, actually I never touch alcohol either. I want my senses to experience things in a natural way. I was the only one on the album not using drugs during the recording process.

You briefly played bass for Emperor; what do you see as the differences in approach between your art and that of Emperor?

Emperor have to make a lot of compromises, being a band, whereas I don’t have to. I’m my own master, I do what I feel like, and I never ask anyone if they like it. If I like it myself, that’s enough. Also, my music is more improvised at times, being the only one in the making of the music.

While many artists consider improvisation a key to perfection of idea, in your case it seems as if perfection is not the goal as much as setting a glimpse of man + nature into music. Do you think there is any truth to this statement?

If you had to name recent bands from the metal or ambient genres that had impressed you, could you list any? If so, what are they?

I really like Biosphere from Norway, it’s the ultimate ambient feeling. I think there’s a lot of crap bands these days, and I really wouldn’t know which ones to mention.

What seems amazing about Biosphere is the way that radically different, small parts are woven together to produce a feeling of immersion that to me most “sounds like” connections between ideas across time. Do any of these concepts influence your music?

I don’t know. It’s hard for me to tell, because I just do what comes natural. It may be that I’ve been influenced, but I wouldn’t know.

Some people view violence as inherently evil. as a naturalist, what do you feel is the role of violence?

It’s natural in nature. It’s not evil in my eyes. Evil is beyond all this, something only one can know oneself. If you stab someone for no reason and laughs about it afterwards, you’re not necessarily evil. You might have had a bad childhood or whatever. As for myself, I despise my own race. I don’tsee this as evil, I just don’t think humans are worthy of living. When I take a walk up in the mountains, I always hope I won’t meet someone. Animals, on the other hand, have my total respect and admiration.

There is a hypothesis that the earth is a living organism, called by some “Gaia.” In this hypothesis creatures are cells in a much larger interactive life form which regulates itself and develops for some reason known only to it. If you were/are a believer in this theory, what would be the role of humans in Gaia?

This is so far from my beliefs that I don’t know how to answer this one.

Let us admit to ourselves, without trying to be considerate, how every higher culture on earth so far has begun. Human beings whose nature was still natural, barbarians in every terrible sense of the word, men of prey who were still in possession of unbroken strength of will and lust for power, hurled themselves upon weaker, more civilized, more peaceful races, perhaps traders or cattle raisers, or upon mellow old cultures whose last vitality was even then flaring up in splendid fireworks of spirit and corruption. In the beginning, the noble caste was always the barbarian caste: their predominance did not lie mainly in physical strength but in strength of the soul–they were more whole human beings (which also means, at every level, “more whole beasts”).

– F.W. Nietzsche, Beyond Good and Evil

In death metal and black metal, there is a heritage of both fantasy (metal) and pragmatic, hard-hitting politics of an anarchistic nature (hardcore). Do you feel this is true? If so, where do your beliefs influence your music in terms of these two extremes?

I don’t think these combine. As for my own music, my intention is to capture the feelings I have, call it evil or whatever, and in order to do this the music has to be capable of doing this.

What was the impetus for you to switch to keyboards on Landscapes, and what prompted the unusual decision to forego harmonic depth for a trueness to the form you established with guitars?

I’ve had these overwhelming feelings towards Norwegian nature for many years, so I just had to record some stuff. The two discs are composed and recorded during two nights only, and it’s 90% improvised. The feelings expressed here are a bit different from that of my metal releases, but also some of my metal tunes, I think, capture some of the same feelings, even though they’re expressed differently.

In your process of creation, what is the seed of the songwriting process? In other words, what is the first piece of any song around which you build the rest?

I’ve usually had the song inside my head, and then I first record the drums.

It’s very difficult to record the guitars first, because then you don’t have the same feeling of rhythm. All my stuff is recorded on a 4-tracker, so it was tricky to get the mike in the right place, but I don’t think that my music could have been made in a studio. I have to be alone when I make my music. I’ve also done all engineering and production myself. The 4-tracker is now destroyed, so I can never make any more Ildjarn music. The sound would not be the one I’m after.

Ancient Hindu mythos used the Age of Kali (a goddess of death, destruction, absorption) to characterize an age of great instability and apocalyptic outcome. How far away do you think the Age of Kali is?

It’s coming very soon, and I’ll welcome it with all my heart.

Are you familiar with Godflesh – Streetcleaner? It seems to have some similar aspirations in songwriting, and some stuff that is vestigial from the former generation of metal.

I can’t really compare my stuff with other bands. I don’t care about other bands, so I’m not capable of doing a comparison.

Nidhogg listened a lot to Industrial many years ago, and he had all Godflesh recordings. I discovered some elements of aggression in them, but I don’t think I’ve been influenced by them. I was at a concert in Kristiansand, Norway, many years ago, Godflesh being the headliner. Nidhogg, of course, had to drag me along. Actually I was bored the whole time. I’ve never liked gigs, they just don’t give me that feeling I get when listening to music all by myself.

In the newspapers today, in America, the following snippet of text appeared in an article entitled “survey finds few in U.S. understand science.” What do you think is the intent of this article?

The scientific validity of astrology — the belief that an alignment of the planets can affect events on Earth — is rejected by 60 percent of Americans, as is the idea that some numbers are lucky while others are not. But 43 percent say they still read the astrology charts at least occasionally in the newspaper.

Seventy-seven percent of those surveyed believe in the theory of global warming, that the planet is being heated by an excess of carbon dioxide in the atmosphere. Of those surveyed, 86 percent said global warming is a serious or “somewhat serious” problem. (Source)

I think people are too stupid and ignorant to really understand this topic.

Who is your favorite world leader from all of history? Would you ever aspire to a leadership role?

Leaders appear just because people are so weak, stupid and follow in each other’s footsteps. I’m my own leader, in my own world. I don’t have any interest in leading anyone.

Your misanthropy is legendary. What is it about humans that makes them detestable in contrast to ideologically silent plants and animals?

Humans are weak, always have to act contrary to what they really want, and they have also destroyed an entire planet. In short, they don’t live in allegiance with themselves and I will always hate my own race.

What do you think of vegetarians and recycling? Some say they are sell-outs for picking intermediate steps when much more radical action is required.

I’m a vegan myself. I became vegan when I was 17, I’m now 30. I never touch anything with milk in it, meat, fish, whatever. I respect animals, and consider them worthy of life. Humans, on the other hand… I think my misanthropy is to a large extent a result of the disrespect towards animals seen among filth of the human race. Still, of course I hate them for other reasons as well. I’m not one of those who hate just because of a bad childhood. I had the perfect childhood, being very often on my own, exploring. I also had many friends being a child, but at some time I realized that friendship actually doesn’t exist. Sure, you can respect someone, but friendship? I don’t think so. About recycling, I’m careful about littering, but it’s just because of the animals. I actually don’t care about the planet, animals are in hell, anyway. I confess that I’m a bit confused as to how I should explain this. Anyway, I follow my conscience, which is my guiding star through life and, eventually, death.

If you could change one aspect of your artistic career, what would it be?

I never regret anything. What’s done is done, it’s a part of the process. I’ve also never progressed in any way with my music, I think, and that’s important in it. The feelings have always been the same.

Do you think there is a “purpose,” or ongoing overall goal, to the process of life?

We’ll have to wait and see. Hopefully I’ll be dead in a few years time (5 years, tops), and I really look forward to it. Although I find great pleasure in observing nature, I welcome death even more.

Are there any theories or mythos of the creation of the universe to which you subscribe?

No, I have my own thoughts. Too fuckin’ weird to mention, too extensive. (I’m afraid I’ll get “mouse disease” from this interview.)

I have seen statements attributed to you which say, in effect, that you record on a whim with a portable recorder. Is this still true? Do you have any plans for further musical releases?

This is described above. I used the same 4-tracker that was used for the Emperor demo, but I arranged the sound differently. I will make no new music, but I feel that some of my songs are redundant, so I’ll maybe release an album with what I regard as my best songs.

What is the history behind the Son of the Northstar CD that full moon productions is selling as a full-length?

It was intended to be released 6-7 years ago. I actually sent the guys a DAT with a couple of songs to be released as a 7″ EP. I didn’t know anything about this until a week ago. In the writing moment I actually don’t have any copy myself. It’s a possibility that Fullmoon will release the CD I mentioned above.

What aspects of the metal underground would you change, if possible, and how would you change them?

I know only of a very few people dedicated to the underground, so I don’t know.

Scientists believe they have identified an “expansive force” which separates galaxies from one another with ever-increasing speed, as a counterpart to the gravity which is drawing the universe toward compaction. Does it seem natural that such a dualistic force would exist?

NASA’s Hubble Space Telescope has spotted a burst of light from an exploding star located much farther from Earth than any previously seen – a supernova blast in the early Universe that is casting light on a mystery of truly cosmic scale. This stellar explosion is extraordinary not only because of its tremendous distance — 10 billion light-years from our planet — but also because it greatly bolsters the case for the existence of a mysterious form of “dark energy” pervading the cosmos. (Source)

We would never know. It’s only after death that we’ll know the true meaning, if any.

Which thinkers, writers, artists and musicians have most influenced your learning?

Musicwise, I’ve listened to black metal since 1983, but I don’t know how much it has influenced me. I don’t care about thinkers, writers etc. I don’t need them.

If you could become a state of mind for eternity, which state of mind would it be?

My biggest fear is to live for eternity, either in mind or as something else.

Who was “Nidhogg” of the Ildjarn-Nidhogg split? By reputation, it is someone from the industrial/ambient band Dagda Mor (apologies for incorrect spelling); how did you meet this person and using what principles did you achieve collaboration?

We’ve known each other for 13 years, through music and ideas. It’s not the same Nidhogg as the one you mentioned, that’s just a bad copy.

Will those who appreciate your music be hearing more from Ildjarn, Sort Vokter or your other side projects? If so, please let us know by names which ones are to be ongoing.

The only thing would be the “Hardanger highlands” CD; it’s already recorded, but we haven’t thought of releasing it yet. It was finished in 1997, and it actually took us 3 years to do it. It’s kind of like “Landscapes”, only at least 10 times better.

This sounds amazing. I liked Landscapes and found its moments of intensity to be revealing of something spirited in existence itself. Can I ask who “we” are? Is this less improvised? Does improvisation bring out ideas hidden within the subconscious, or does it force them to be created through lack of time? It seems like a natural method to use stress to induce variation.

“We” are me and Nidhogg. The recording is one hour, and it took a lot of mental energy to do it. It’s not improvised at all. The compositions are exactly that; compositions, whereas “Landscapes” was more or less improvised during two nights. As I’ve said, being two in the process of making music, there have to be some compromises, and we’ve done all of them. The result, however, we both find pleasing, although some people may believe Ildjarn has become a fuckin pussy, after hearing it. What’s important in this respect is to understand that it’s all about nature. And I admit, I’m totally engulfed in Norwegian nature. It’s a hymn to this grand nature, and the music has nothing to do with love in the ordinary sense. We plan to release it before I enter the kingdom of death, but we don’t know exactly when.

For reviews of Ildjarn’s music, please check here.

But it is the will of the individual that sets in motion the whole mechanism, in that it urges the intellect, in accordance with the interest, i.e., the man’s individual aims, to produce for its present representations those closely related thereto logically, analogically or by proximity in space and time. But here the will’s activity is so direct that we often are not clearly conscious thereof. It is so rapid that at times we are not even conscious of the occasions for a representation that is thus brought about. Here it seems as though something quite unconnected with anything else has entered our consciousness. That this, however, cannot occur, is, as I have said, precisely the root of the principle of sufficient reason, and has been discussed more fully in the above-quoted chapted of my chief work. Every picture or image that is suddenly presented to our imagination, also every judgement that does not follow its previously existing ground or reason, must be produced by an act of will which has a motive, although such motive is often not perceived because it is insignificant, and the act of will is frequently not noticed because its fulfilment is so easy that this and the wish are simultaneous.

– Arthur Schopenhauer, The Fourfold Root

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The Best Underground Metal of 2016

2016 is over. The funderground mentality continued spreading forth, infesting metal over the last year just the same as it had in the decades past the genre’s artistic high-point in the early nineties. Rehashes of past greats pandering to a lowest common denominator audience continue to dominate the release schedules of metal labels all too willing to please the lemmings with music fit to safely ignore during drunken socializing. Ever-flowing streams of posers are desperate to be rock stars, pumping out plagiarism, and paying their way to record deals. File sharing and streaming reducing the cost of hearing new music to essentially nothing has led fans to constantly consume whatever is new regardless of quality. However the purging is at last at hand. The day of doom is here. The filth who have lied and corrupted the underground must be cleansed while the commendable elite few will remain.

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Sadistic Metal Reviews 11-26-2016

shit-snake

We get this poop in the mail. We don’t trash it unlike our readership, we use it for target practice with our AR-15s!

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Miscellaneous Turn-of-the-Century-ish Recommendations

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In view of our recent emphasis on the fact that post-1994 metal landscape is a desert of creativity with very few well-realized projects, most of which were pretty underground efforts. By the turn of the century, death and black metal aesthetics had been absorbed into the mainstream mindset and so we can not automatically consider bands with said genre tags as underground. But the ones recommended below are, indeed, high-quality efforts (in the way of music writing) that were never hyped to any wide audience.

The turn of the century itself was one of the darkest moments in metal history when there was no relevant innovation being worked into metal. In place, a superficial re-mixing of styles done by the thousands became the obsession of scenes. Something had happened: Metal had reached its young adult life. Until now, childish enthusiasm and creativity had been enough for it to keep making discoveries. A spirit of rebellion  had propelled it in the search for a deeper romantic meaning that drove it forward. Once this bottomed out with with mid-nineties albums by projects like Burzum, Ildjarn and Summoning, it was evident that metal would have to rely on a refinement of its technical approach that could keep feeding the aesthetics needs of its spirit.

In the following recommendations, we have thrown some worthwhile non-metal releases that are also strongly recommended. The reader is encouraged to explore each of these with all their attention and in reflection of the trails that the golden era left that are only in recent years fully crystallizing into promising proposals for a real re-start and future based on the previously mentioned refinement applied to a study and digestion of the older spirit in order for the genre to continue. This future is precisely what metal needs and not a return to anything. The past is the past. Metal must look ever ahead if it is to be an artistic movement with life. This post is in part to honor those releases and to offer a glimmer of hope that although metal is suffocated, it is not dead.

Summoning – Stronghold (1999)

Mütiilation – Remains of A Ruined, Dead, Cursed Soul  (1999)

Worship – Last Tape Before Doomsday (1999)

Tenhi – Kauan (1999)

Jordi Savall & Ton Koopman – J.S. Bach, Die Sonaten Für Viola Da Gamba Und Cembalo (2000)

https://www.youtube.com/watch?v=CwxeE5LGgdA&feature=youtu.be

Paysage D’Hiver – Paysage d’Hiver (2000)

https://www.youtube.com/watch?v=8OgCIIqUzkI

Antaeus – Cut Your Flesh and Worship Satan (2000)

Immolation – Close to a World Below (2000)

Gorguts – From Wisdom to Hate (2001)

 

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How to get into black metal

varg_euronymous

An experienced music listener who is new to black metal asked for a doorway into the genre. This raises the question of how to appreciate black metal, which like most things in life is mostly mental preparation. Without context, black metal seems like any other loud genre, and it becomes harder to distinguish the newer tryhard junk from the original.

The best way to gain context is to walk through the history of the genre from oldest to newest. This approach, common in art, literature and philosophy, allows people to see what developed from what and what the reasoning for that was and therefore, what the reasoning is behind what is here now.

The result of this query was a simple list to urge people to explore this genre further. This list originates in the history of black metal music, but also in influences that can be identified among the bands as immediately relevant. Toward the end it extends more into general conjecture based on what shows up later in highly different form among the black metal works of relevance listed above it.

I. Proto- Metal

  1. Bathory – The Return
  2. Slayer – Hell Awaits
  3. Hellhammer – Apocalyptic Raids
  4. Sodom – Persecution Mania

II. Interim

  1. Sarcofago – INRI
  2. Merciless – The Awakening
  3. Blasphemy – Fallen Angel of Doom
  4. Von – Satanic Blood

III. Black metal

  1. Immortal – Diabolical Full Moon Mysticism
  2. Mayhem – De Mysteriis Dom Sathanas
  3. Burzum – Burzum/Aske
  4. Emperor/Enslaved – Split
  5. Darkthrone – Under a Funeral Moon
  6. Beherit – Drawing Down the Moon
  7. Varathron – His Majesty in the Swamp
  8. Havohej – Dethrone the Son of God
  9. Impaled Nazarene – Ugra-Karma
  10. Samael – Worship Him

IV. Second Wave

  1. Gorgoroth – Antichrist
  2. Graveland – The Celtic Winter
  3. Ancient – Svartalvheim
  4. Sacramentum – Far Away From the Sun
  5. Ildjarn – Forest Poetry
  6. Summoning – Dol Guldur
  7. Zyklon-B – Blood Must Be Shed
  8. Gehenna – First Spell
  9. Behemoth – From the Pagan Vastlands

V. Extended Contemporary

  1. Demoncy – Joined in Darkness
  2. Sammath – Godless Arrogance
  3. Mutiilation – Remains of a Ruined, Cursed, Dead Soul
  4. Absurd – Asgardsrei

For immediate death metal background to black metal:

  1. At the Gates – The Red in the Sky is Ours
  2. Carnage – Dark Recollections
  3. Godflesh – Streetcleaner

For heavy metal background to black metal:

  1. Mercyful Fate – Don’t Break the Oath
  2. Venom – Possessed
  3. Angel Witch – Angel Witch
  4. Destruction/Tormentor – Demos

For hardcore punk background to all metal:

  1. Discharge – Hear Nothing See Nothing Say Nothing
  2. Amebix – No Sanctuary
  3. The Exploited – Death Before Dishonour
  4. Cro-Mags – Age of Quarrel

For electronic music background to underground metal:

  1. Kraftwerk – Trans-Europe Express
  2. Tangerine Dream – Phaedra

For progressive rock background to metal:

  1. King Crimson – In the Court of the Crimson King
  2. Yes – Tales from Topographic Oceans
  3. Camel – Camel
  4. Greenslade – Greenslade

For classical background to metal:

  1. Anton Bruckner – Symphony No. 4
  2. Richard Wagner – Tannhäuser
  3. Franz Schubert – Unfinished Symphony
  4. Mozart – Symphony 41
  5. Haydn – Symphony 82
  6. Bach – Partita No. 5 in G major
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Interview with Viranesir

viranesir-band_photo

Some weeks ago we received a letter from a band called Viranesir who informed us both that they were creating metal music and that they faced a good deal of pushback for their treatment of controversial topics. Since 2014 is the year of political speech control, corruption and controversy, I wrote them asking if they would conduct a brief interview with us. From that arose this dialogue with Viranesir from Turkey…

“Sublimation is a great mystery.” — C. G. Jung

When did Viranesir start and who are the personnel? What musical influences inspired its creation? What does the name mean?

Viranesir started out in 2013 when I created it to score my first feature length film “Drink From The Fountain Of Uncertainty.” I remember it being initially on my thoughts for longer out of the influence that Quorthon made Quorthon as a creatively fuelling side project to Bathory and I wanted to do one for YAYLA, and with “Drink From The Fountain Of Uncertainty” came the opportunity.

Personnel are myself, Merdumgiriz and Ruhanathanas. We switch instruments and styles very frequently but its usually Merdumgiriz on drums, myself on guitar/vox and Ruhan on synth/vox. Musically speaking some common bands that all our current members enjoy in our blood orgies include Abruptum, Haus Arafna, early John Frusciante, Ildjarn-Nidhogg, early Deathspell Omega, G.G. Allin, Til Det Bergens Skyggene, Screamin’ Jay Hawkins and Poesie Noire. All of which I think to some extent can be traced as influences on our current and future discography. The name comes from where Musician ends up in “Drink From The Fountain Of Uncertainty” on his solipsistic quest for his personal redemption. The place he ends up is Viranşehir (means ruined city); we manipulated it as Viranesir (ruined slave).

From what I have seen, Raping Lesbians For Freedom is some kind of Swiftian satire. What are you satirizing with this album and its provocative title?

I haven’t heard Jonathan Swift’s name since grade school. Anyhow, before anything, I’d like to get some shit straight, we ain’t racist (we were all born into “hard to find more worthless” races), sexist (one of us is a female and all of us are bi) nor do we hold any “political” views (not in the sense that most mean). We hold the opinion that everyone in society is responsible for all the suffering in the world, therefore we kind of confess for others through this album. And yeah, we are bullies, genociders, rapists, murderers and animal torturers because someone committing that shit no matter when or where or who makes me as a human being responsible so long as I live.

I don’t think wearing El Che wristbands, mate calling in LGBTI parades or fighting for justice on the internet saves me from the fact that I am, like everybody else, a scum of this universe. All our hands are perpetually bloodstained in my book and metal and punk are among the most noble, healthy and effective mediums for expressing the heaviness of that burden through psychological sublimation, even raising awareness. But the political correct “authorities” are currently trying to sterilize these mediums so that their warzone is more of a fairytale. Well, we’ll rape their lesbian souls until they scream as their own sex!

Funny threats aside, I do not have a problem with these fascists under liberal skin until their elaborate self-contradiction becomes a means for oppression. I am and have been fed up with issues of freedom of speech. Especially from people who do not feel any responsibility for the suffering of mankind. Hypocritical educated pieces of shit who are deep racists, sexists, animal murderers, child abusers and torturers hiding behind so called racial sensitivities, feminism, vegetarianism, making children, naming, excluding in all its perverse forms; subliminally abusing the individualistic and promoting what they claim to fight against. Most artists who tackle these hard subjects directly are tired of dying for these people’s piece of shit sins as they have a good time in their festivals of peace as they exclude our “politically incorrect” work with their guilt propaganda and subliminal calls to censorship.

Wake up! People are murdering each other at family dinner tables everyday as they raise future killers by taking out their anger for their husbands on their children. We are the future of these very children and we need to take out our criminal intentions on songs we sing not your privileged lesbian assess. These mothers who raise us are the “politically correct” most of us worship. Why are they “politically correct”? I think it is because that is their confession booth in which they wash the blood of their hands with holy water. Well, nothing wrong with that except when they fuck with our temples in which we work with the blood through albums we make and sing about murder and abuse and rape, a more direct way of getting rid of the stench of blood that our, and their hands are painted with. Well, it pleases me that so far they have the right and tools to tell me that I am an inconsiderate up to no good piece of shit as I have the right to make this album. What a wonderful world.

How much does provoking the ire of religious people factor into your artistic work? Does it matter which religion?

I fucking hate the mainstream religions (jewism, footsmellam, gayristianity, atheism, nationalism), for the facts that most of their followers seem to A. otherise evil B. seek extension. Also, in footsmellam it seems the trend of using murder as a means of communication is at its peak, therefore I’d rather they all be degraded & destroyed as your rapper president suggests. With my music, I don’t want to merely provoke the ire of religious people because it is no different than kicking a huge dog. To make something happen with religion, I’d more so want to provoke the so-called “irreligious” people into acting like and realizing that they are the religious scum that they strive to fight against, and help them and myself craft more effective solutions.

In my opinion everybody is religious in that they form some sort of worldview that makes them relate to this uncertain existence and form a kind of “certainty matrix” through their vague and often highly distorted collection of memories. A matrix that tells them that if what they do in life brings them “success,” then the next unknown (eventually death) might not actually be unconquerable after all. Practicing their religion everyday through believing blindly in saying, doing and justifying things that make them feel good no matter how self-conflicting and half-thought they may be. It is a shame to admit that the mainstream religious are the ones who actually “in theory” submit to this tragedy. However, this does not at all mean that I respect or enjoy mainstream religious people. I just think it would be wise not to “otherise” in fighting against the tyranny of religion, because after all, it is a cheap weapon used by “pure religious radicalism” which is achieved exactly through fighting through otherising (see ISIS, Nazi Germs, guerilla, crusaders, Hollywood). And that is what most of us seem to do, however fighting without otherising can be achieved for example through discussion and self-criticism, which is only possible through total freedom of speech.

All religions, including in the cosmology sections of the most grimoires of Satanism that I became acquainted with (for example in their interpretation of the monarchic one God) have otherised and not considered the fact that the air we breathe is stenched with disparity yet we strive for unity. Of course Satanism (especially blended with quality black metal) is different in that it is an anti-religion and turning the spiritual theory on its head; in my interpretation and opinion, it is the gateway to a slightly more advanced cosmology and anti-belief system in that it is rooted in the depths of the human psyche and works with our need for certainty in a completely perverted manner especially in its alchemy of evil (that is why we formed Blliigghhtted).

Can you tell us where you are located? Are there any particular challenges about being a metal band, and having freedom of speech, there?

We are currently located in Istanbul/Turkey. No challenge whatsoever being a metal band and it gets me more pussy than most other countries I’ve lived in (Canada, America, England). I also run a record label here (www.merdumgiriz.org), my cheap ass fellow countrymen love us but never support us by buying our products, but its okay, at least they don’t behead us like the footsmellic sons of bitches they could have been. In terms of speech, there are no bigger issues than most of the west because we don’t have much of the idiocy called political correctness (Ruhan can often be seen around Turkey wearing a huge Swastika Mahakali shirt without getting any shit except from loser European tourists), however we have religious correctness to some extent, but not much.

I can actually say that between the respectable bigotries of the west and of east, Turkey is a calm little freedom center. Except if your speech is politically inclined; the only problem here is that if the government sees you as a threat, they will incarnate you. They are far from seeing Viranesir as a threat yet, which is our luck. Where fine art can go is way beyond the capacity of politics, and I am interested in such extremes that I can never even get close through politics. Yeah, yeah I know that I am actually sort of political even in saying that, but the particular challenge here that I am talking about would be to say shit about our government, certain political parties and its handsome leaders, a certain genocide, our blissful religion, our beautiful race and stuff, which except for footsmellam, I don’t really give two fucks to say anything about. Also, if I did, they might block access to DMU, which they do for many sites including all porn sites and many political sites. They got people on the tax-funded payroll searching and blocking “inappropriate” sites all day long.

It seems to me that freedom of speech is a bit of a paradox. Each society wants people to be able to express ideas, but does not want to be overwhelmed with speech for speech’s sake, which may not be relevant, true or important. How do we decide which speech is valuable, and which is not?

I contrarily think that society subliminally wants to be overwhelmed with speech for speech’s sake for a greater purpose, that is the reason for the blooming of social media. In my view speech is therapy, and the ejaculation of the unconscious; it is very healthy and to me, should definitely be totally set free.

For a merrier world, “no one should have to fear saying anything”. Since in my opinion deep inside society is aware of this, through saying a whole lot of nothing on twitter and facebook (and building a collective consciousness), it is getting ready for the future, which I feel is total freedom of speech. It is only a matter of time until we are all able to say many currently unimaginable things anywhere without getting treated as we are actually doing them.

Saying something is very important; for it is a lengthy and complex phase of contemplation (which inevitably leads to discussion, collective consideration and most importantly relief) before eventually doing it (except if you get in trouble for merely saying it) that most people skip. Saying something opens it up for contemplation and in my view, every speech is valuable; from the seemingly petty half-thought footsmellic rant of Arabic sand [redacted] to the meowing of a cat to a brain-dead high school girls vlog about relationships to a man-hating feminists blog entry on censorship to Quebecois peasants swearing disgusting French to each other in an alley way to Marxist-Lenninist bullshit preached by people who’ve never seen a socialist country to Schopenhauer’s aphorisms to spiritually enlightening Dissection lyrics. Something is to be learnt from all of them through interpretation and although many utterances can lead to unpleasant outcomes, it is the individual and the individual alone who should decide for what they should say. Irrelevant, untrue, unimportant, seemingly dangerous and/or extreme; I do not think prohibiting or censoring any sort of speech will get us anything but perpetual inner pain, stagnation and destructive destruction.

I’ve been told by others that Viranesir often gets compared to Anal Cunt, G.G. Allin and Impaled Nazarene, all of whom were very provocative. Do you see any commonality there?

I see much commonality, and personally feel that we have similar viewpoints for psychological sublimation in art. They too do not deny the blood on their hands and celebrate the fact that they are as human beings, no different than footsmellic arab murderers, rapists, torturers, bigots, animals, idiots. Viranesir, along with all those bands and many more all celebrate our impurity to be able to live with ourselves, unlike the hypocritical so called democratic bullies who not only otherise what they name to be evil and escape from their mental responsibilities, but condemn the ones who don’t as being extremists to raise hate for what they don’t understand. Speech can be beyond choosing sides or naming good & bad or love & hate.

Everybody is capable of bearing love and hate for the same thing, and they often do. Just as everything has the quality of bearing both good and evil qualities that also depend greatly on how one perceives them. Most things I do stem from the interaction of my emotions when I come in contact with these things that I bear conflicting feelings upon. When I say I hate something, I often mean I love it and vice versa. For example I can write a song saying “I love animal torture and taking advantage of women”. Although I “hate” both things in theory, I often use money to put a beast that I otherwise couldn’t have gotten closer than the eye can see to my plate, oh and I excuse the fact that it gets transcendent torture beforehand. Even if I think I don’t do it, I give money to restaurants that do it, or have friends who do it not if I let them pump their semen up my ass.

I also often use beer, money, my artistic projects and patience to insert my penis into some female vagina. Even if I don’t do it I give money to bars that it is being done in or have friends who do it not if I let them do it to me. I am with the thought that rather than denying the fact that I directly or indirectly participate in these tribal transactions through glamorous theatrics like vegetarianism and feminism and temporarily calm my conflicting soul until I bump into the next tragedy that reminds my unconscious that I am self-contradicting, why not sing about them in a more direct manner and rid myself off of the illusion that I can be consistent and just when what I am made of is inconsistent and unjust? To the party concerned, through direct speech and sublimation in art, perhaps I can say what most leave unsaid, grant relief, and raise more awareness and some real shame than to protest against this shit by guilt propaganda and trying to ban it, totally degrading free will and sense of responsibility. In other words, degrading my own humanity just like the mainstream religious scum.

Does Viranesir have previous albums? What were those like? Were they concept albums like Raping Lesbians for Freedom?

Our previous albums Kill Your Repulsive Child, Shoot On Mom’s Corpse and Fountain Of Uncertainty as their titles might suggest are all concept albums in my opinion. Kill Your Repulsive Child is our first venture into psychedelic synthpunk. It is a very personal album in that it is directly about my life, but very vaguely put together and useful for free interpretation. The music is crazy psychotic drumming mixed with schizophrenic vocals and chaotic fat synths. Shoot On Mom’s Corpse is the same thing, and is the continuation of the trilogy started with Kill Your Repulsive Child, however, it is better produced and both lyrically and compositionally way more concise. There is going to be a “father” album to conclude the synthpunk trilogy, which is very different and way grander than the other two.

All these three albums are based on my short story called Axiom Rotting, which as I said, is directly about mein leben. is a whole different thing; it is made solely by me as the music of the musician character in my film Drink From The Fountain Of Uncertainty which is a character based on me. It is a very dark sort of experimental metal with synths; way thicker produced than all other Viranesir albums. Me, me, me yes it’s all about me and know-it-all it may sound, I personally think that anyone claiming that anything that they do is not ALL about themselves are at best self-deceiving hypocrites no different than vegan bitches swallowing the cum of their McDonald’s consuming lovers.

As I understand it, “Raping Lesbians for Freedom” is based on a text that you and/or other band members wrote, and the characters in that text become voice actors on the album. What’s it like to write an album based on dystopian fiction that you’ve written?

Some weeks back Viranesir had a quarrel with Polish tourists who insisted Ruhan took off her swastika shirt. Ruhan was in shock trying to explain that it was ceremonial and stuff whilst a bitch in their group was screaming “Take it off, take it off” at the same time all of the others shouting how their Jewish grandparents died or got saved from the genocide and stuff while a Kurdish fag on the street joined their side and started cursing us for being Nazis. I basically stood between them and Ruhan and calmly improvised what would become the song titles.

I mirrored what I interpreted as their indirect anger and became their mouth to say what I understood they really wanted to say from their tone. After I said, “Don’t be a fascist and tell us what to do” to the slut, they magically stopped. Other than their following us for a while, no side breached the speech barrier and it was all good. Afterword we had a blast dancing in a superb club that night, then we went back home. We discussed what happened again and Ruh just uttered, “Political correctness is European ignorance” and exited the house. Merdumgiriz & me booked a studio and started recording the event as actors in a play. Re-interpreted the beautiful chaotic disparity that different races, thoughts and sexes bloomed as they came together that night into music and words. The outcome is a beautiful alchemical artifact of centuries old subdued hatred into rock music. All made possible through freedom of speech and sublimation of civilized people. I quite often do these kinds of things for creativity and it is safe to say that my life has become an album based on dystopian fiction that I’m constantly writing.

What do you hope the reaction will be? If people are interested in what you are doing, where do they go to see more?

The reaction will come from both sides, the rowdy, beer drinking have a laughers might love it for its psycho-ness, freeness and the raw music, while the educated elitist other might hate it for its uneducated music and political incorrectness and lack of sensitivity towards victims of rape, genocide, abuse and murder, which they will presume I have no experience of. I personally find both to be equally uninteresting reactions from a society that smells like the area between my balls and ass when it thickens with greasy filth as I lock myself home for days to write new music and screenplays while I jack off with cheap lubricants all day long. The reactions I care about will come from people who sit down and take a moment to interpret what I do into thoughts that I couldn’t have conjured by myself; negative or positive.

That is what art deserves, not “hahaha you guys are psychos”s or political piece of shit correctness, sensitivity or censorship or anything political. Where politics (social hypocrisy) is not enough to calm human soul that is where fine art comes to aid. I would hope to have intellectual, lofty, philosophical and existential conversations on evil about my album with people who don’t use “like” as punctuation marks and their Majors in Philosophy as proof of legitimacy. That was a joke, come as you are, as you were and chances are you will find me one surprisingly kind son of a bitch!

If people are interested in what I am doing, they shall go to:

To buy hand-made CDs and shirts:

All you need is serotonin.

https://www.youtube.com/watch?v=d5ESiyh2Ps0

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