Entrevista con Astarte

May 26, 1999March 22, 2020 Metallykon

Hell in Hellas

Cuenta la mitología que hace mucho tiempo existía en Grecia un reino habitado únicamente por mujeres. Eran las amazonas, mujeres guerreras de Temisciara. Su despiadada crueldad y salvajismo aún estremecen: Se extirpaban el pecho para poder disparar mejor con el arco y las flechas, y atacaban las regiones vecinas para secuestrar a los hombres, violarlos y asi asegurar la descendencia de la tribu, compuesta únicamente por mujeres. Después de la noche, mataban a los hombres, y al cabo de 9 meses, si parían un niño, también lo mataban, y si, por el contrario, era una niña, entonces la alimentaban y la adiestraban en el arte de la guerra. Su ferocidad las hizo famosas en todo el mundo de la Edad Heroica.

Miles de años después, de esas mismas tierras legendarias surgen tres nuevas amazonas: Astarte, la primera banda black metal compuesta totalmente por chicas. Pero no te esperes algo pastelero o melódico, ya que las Astarte tocan furioso y ultrajante black metal al estilo Darkthrone o Gorgoroth. La violencia y agresividad de su música no desmerece en nada la aterradora fama de aquellas míticas guerreras helénicas que una vez atemorizaron el mundo y de las que son herederas…

A continuación sigue una interesante entrevista con las tres amazonas, Kinthia, Nemesis y Tristessa.

Astarte es aún una banda relativamente desconocida. Por qué no nos presentas la banda? Cómo, cuándo y quién formó Astarte?
La decisión de formar Astarte fue tomada por las tres. Nos formamos en septiembre de 1995 con el nombre de Lloth y en mayo de 1997 grabamos nuestra primera demo “Dancing In The Dark Lakes Of Evil”. Después cambiamos el nombre de la banda a Astarte, que es mucho más representativo de nuestra música. Entonces la recién creada discográfica griega Black Lotus Records nos ofreció un contrato y a finales de 1997 grabamos nuestro primer álbum “Doomed Dark Years”, que contiene 8 canciones de las cuales una es un bonus (remix) de una de las que aparecía en la demo.

Vuestras influencias son más del black metal noruego que del griego, por qué? Qué os hizo escoger este “camino”? Cuáles dirías que son las principales diferencias entre el black metal griego y el noruego? Crees que es acertado separar las bandas por países?
Después de todo, todo es black metal, no crees? Es verdad, pero nuestro interés por la escena noruega no significa que no nos guste la escena griega o mundial. No separamos a las bandas por países. Es sencillamente que tenemos influencias noruegas. Somos un grupo que aún no ha concluído de definir un estilo musical personal, como le pasa a muchas nuevas bandas. Noruega tiene una importante escena metal que encaja mejor con nuestras preferencias.

Qué os inspira o influencia? Cuáles son las principales fuentes de inspiración? Qué tipo de emociones y sentimientos creeis que son necesarios incluir en la música?
Estamos principalmente influenciados por Gorgoroth, Darkthrone y Satyricon. Nuestra inspiración viene de la Naturaleza (la tierra y la luna y el espacio). También expresamos muchos elementos de nuestro interior. Por una parte alcanzamos nuestros deseos y pensamientos más oscuros y por otra sentimientos más atmósfericos y claros. Nos gusta combinar sentimientos extremos como la tristeza y la felicidad, la rabia y la calma. La música sin sentimiento (incluído el black metal) es una disharmonía y pierde su validez y vividez.

Quién hace qué en Astarte? Cómo es el proceso de composición? Cómo se divide el trabajo entre los miembros? Qué aspectos asume cada una de vosotras? Qué cualidades tenéis, que os hace ser la combinación perfecta para la marcha de Astarte?
Astarte se compone de Kinthia (voces, guitarras, guitarras acústicas, sintetizadores), Nemesis (guitarras, guitarras acústicas, sintetizadores), Tristessa (bajo, guitarras acúsicas, sintetizadores) y Aivar como batería de sesión. En el CD cada una de nosotras compuso dos canciones, así que el material es representativamente justo. Intercambiamos nuestras opiniones sobre cada detalle. Cada una de nosotras presenta sus ideas y elementos musicales personales, pero lo más importante para que un grupo sobreviva es una buena comunicación entre todos los miembros del grupo. Aparte de nuestra perfecta comunicación somos también muy buenas amigas y eso es nuestra fuerza conductiva.

Quién escribe las letras y de qué hablan? Qué temas tratáis y cuál es el mensaje que queréis transmitir a través de vuestras letras?
Mis letras versan sobre sitios y personajes mitológicos. Todo brota de mi imaginación y siempre intento transmitir nuestras creencias paganas. Las letras se presentan de una manera poética e intento darle vividez a mis historias. En nuestro Cd también hay una oscura história conceptual dedicada a Astarte. Del resto de mis letras escogería “Doomed Dark Years” como la más representativa.

En mi opinión el 90% de los álbumes black metal actualmente son de una calidad tan baja que honestamente creo que jamás deberían haber sido editados en CD. Cuál es tu opinión?
Es verdad que hay muchas bandas ahí fuera que no brindan nada nuevo a la escena black metal. Creemos que esto también va por algunas bandas viejas a las que se les han agotado las ideas pero también por algunas bandas nuevas que intentan copiar a las viejas. Hay muchas bandas que hacen que nuestra escena crezca y se expanda, como Jackal’s Truth, Sickness, Bakxeia Neraida (bueno, Bakxeia Neraida no son black metal; es música antigua griega de flauta -NDT), Godblood, Vechira, Obsculum Infame, Svartsyn, Handful Of Hate… Como ya he dicho las tres componemos. Nuestras ideas e inspiraciones son diferentes, así que las tres tocamos diferente.

Por lo que sé, tú, Tristessa, tocabas también en Vorphalack, aún tocas con ellos? Qué tocabas en ese grupo, y cómo ha afectado a Astarte el ser miembro de Vorphalack? Los otros miembros del grupo, tienen algún otro proyecto o grupo?
Fuí una componente importante de Vorphalack hasta que tres nuevos miembros se unieron a la banda. Algunos del grupo decían que las mujeres eramos seres inferiores y que no podíamos tocar en una banda black metal, así que me echaron de “su” banda. He dado mucho a Vorphalack. Yo y los miembros originales sacamos un split-LP con Zephyrous. Estoy muy orgullosa de ello y estoy convencida de que ese material era y es el más puro de Vorphalack. Pero bueno, les deseo un futuro mejor porque Vorphalack es aún una parte de mi experiencia musical y de mi misma. Ahora no tenemos ningún otro proyecto o banda, pero nunca decimos que no si una banda nos pide ayuda.

Qué opinas de la escena griega y cuáles son tus bandas favoritas? Cómo os respalda la escena griega?
Los últimos 5 años la escena griega metal ha crecido muy rápido. Ha habido una evolución en todos los géneros de metal. Muchos grupos han sacado sus álbumes a escala mundial y también les vemos tocar en directo. Algunas de mis bandas favoritas son Kawir (también conocidos como Kaveiros -NDT), Necromantia, Zephyrous, Legion Of Doom, Invocation, Obscure Noctis, Left Hand Path, Thou Art Lord, Order Of The Ebon Hand… Esperábamos más support de la escena metal griega, pero ya está bien porque recibimos respaldo de grupos y gente del extranjero y estamos totalmente satisfechas con ello.

Cómo ha sido la respuesta internacional a vuestro álbum?
Es cierto que parece que la gente de ahí fuera aprecia nuestra música. Recibimos cartas de sitios en los que jamás hubieramos pensado que hubiera metal como Serbia, Malasia, Eslovenia… Su support significa mucho para nosotras. Es muy interesante intercomunicarse con gentes de países de todo el mundo. Aprendemos cosas sobre ellos, sobre su cultura, sobre su historia… En tanto nos respaldan, les respaldamos.

No dudo para nada de que merecierais vuestro contrato, únicamente logrado con vuestro talento musical y en nada más, pero ya que vuestra discográfica (la griega Black Lotus Records) puso una etiqueta en el CD promocional que recibí diciendo “Primer grupo black metal íntegramente compuesto por chicas”, me preguntaba qué opináis sobre eso… Qué opinais honestamente de ser presetadas como “la primera banda black metal del mundo totalmente compuesta por chicas”?
Priemero, como tú dices, no somos responsables de la promoción de la banda, sino de hacer música. Nuestra discográfica se encarga de la promoción. Por supuesto que el hecho de haber sido la primera banda del mundo con todos los miembros femeninos nos va bien, pero jamás contamos con ello. Tenemos nuestras habilidades artísticas para sacar nuestra banda adelante. Si fuéramos un gupo horrible y no tuvieramos nada que ofrecer a la escena black metal, entonces sólo nos promoveriamos en esa dirección, pero no es el caso.

Por supuesto que no. De hecho, le he puesto cuatro eMes a vuestro álbum, así que… [Nota: 5 eMes es la máxima puntuación]Otro rasgo distintivo de la banda es la voz, que nunca pensarías que se trata de una chica. Es brutal! Sobre eso le pregunto… Kinthia, fué dificil aplicarse a tus agresivas vocalidades? Cuales son tus objetivos respecto a tu manera de cantar, continuarás en el mismo estilo que en vuestro debut? Cómo te las arreglas para cantar de esa manera?
No fué muy dificil. Mis caóticos gritos salen sin absolutamente ninguna distorsión. Continuaré cantando así aunque añadiré ideas nuevas más agresivas. También me gustaría hacer ciertas mejoras para obtener resultados aún más caóticos. Me las arreglo para cantar así porque somos una TRUE black metal band.

Cuáles son vuestros planes futuros? Conciertos, tours? Cómo ves a Astarte dentro de 5 años?
Ya hemos empezado a componer material nuevo, así que por el momneto estamos trabajando en él y cuando acabemos esperamos entrar a estudio para nuestro próximo álbum. No tenemos planes de hacer conciertos porque no tenemos batería fijo. En 5 años esperamos estar en el sitio que merecemos.

Bueno, eso es todo; añade lo que quieras para cerrar esta entrevista…
Antes que nada queremos agradecerte por esta larga e interesante entrevista. Esperamos el mejor futuro para la escena griega. Siempre suportaremos el underground. A big fuck off to all those who didn’t believe in us!

Entrevista hecha por Karsten Hamre de The Zodiac Chronicles (Islandia).
Traducida del inglés por Metallykon para Webzine Metalzin

Burzum – “Daudi Baldrs”

May 26, 1999May 4, 2020 Metallykon1 Comment

Esta es una traducción personal del texto que aparece -en alemán y noruego- en su último álbum “Daudi Baldrs” junto con mi interpretación de lo que Varg parece querer decir –Metallykon. Más abajo tenéis una visión sobre las diferentes ilustraciones que decoran el digipack “Daudi Baldrs”, según el propio Varg Vikernes las explicó a Tolis Yiovanitis durante una entrevista a Burzum aparecida en la Metal Hammer griega el otoño de 1997, además de en otros comentarios realizados por Varg.

EL TEXTO DE LA MUERTE DE BALDER (“DAUDI BALDRS”)

La lógica (Loki), guiada por su deseo de razón, une nuestra ceguera (Hodr) con las religiones de muerte (el parásito muérdago que se encuentra en el árbol de la vida, Yggdrasil), y allí mata el significado de nuestras vidas (Baldr). El significado de la vida está profundamente perdido en el inconsciente de nuestra psykhe humana (Helheimr). Algunas personas están motivadas por la energía-Urano (Odín/Hermodr) e intentan viajar por dentro de ellas mismas para redescubrir ahí el significado de la vida, nosotros también dijimos adiós a cualquier tipo de confianza (Lítr) y la quemamos en la estaca. La humanidad entera sufre, además desde dentro, lloramos. La lógica (de la ciencia moderna), que con su airada guía científica, su arrogancia y sus contradicciones, impide a los ocultistas (Hermodr) redescubrir el significado de la vida.

No hay nada malo en eso, sólo fría y calculadora lógica. La lógica, en su falta de sentimiento, llora lágrimas secas. Esto lleva a Ragnarok, Comienzo, Causa, Símbolo, Testigo, Destino y Crepúsculo de los Dioses. La batalla en la psykhe humana se libera entre la mente consciente (AEsir) y la inconsciencia (Jutunn). Ningún Jotun vuelve vivo de Asgard (Consciencia).

Mi interpretación del texto

En mi opinión, Varg hace una alegoría sirviéndose de la mitología nórdica para explicar la falta de espiritualidad de nuestra “moderna” sociedad. La ciencia, con su fría y calculadora lógica (Loki), no permite que nuestra espiritualidad y nuestros instintos (que son fuerzas psíquicas personificados como dioses para facilitar el entendimiento de estos poderes autónomos) afloren, y eso significa la muerte, la muerte de los dioses (en tanto ahogados bajo el yugo omnipotente, omniscinte y omnipresente de la ciencia convertida en religión laica), es decir, Ragnarok.

Sólo los ocultistas, los espiritistas y aquellas personas dotadas de espiritualidad serán capaces de buscar en su alma y encontrar el verdadero significado de la vida, el cuál -según Varg- no se llega por la ciencia, sino a través de la meditación y la exploración del subconsciente. Así pues, Ragnarok no es una batalla apocalíptica -o, por lo menos, no a nivel físico- sino un combate que se libra en nuestras mentes entre la lógica y el espíritu, entre el consciente y el inconsciente.

De todas maneras, me gustaría que quedara constancia de que creo que el mito de Balder tal y como se conoce en la actualidad dista bastante de su forma anterior al siglo X dC. En mi opinión, el mito de Balder tiene profundos indicios que me hacen pensar en una influencia cristiana. Tal suceso se revela sobretodo en el Dualismo establecido entre Balder y Loki como Jesús y ¿Satán? ¿Roma? Balder muere por una lanza lanzada por el enemigo; en el mito hebreo Jesús muere crucificado por el enemigo y por la lanza de un centurión romano. Las personificaciones de “bien absoluto” y “mal absoluto” son una característica del Judaísmo importada del Zoroastrismo persa. Por tanto, dudo que el dualismo Ahura Mazda / Ahriman polarizadas como distintas emanaciones de Zervan – como propuso Zoroastro – pueda haber afectado a la concepción del mundo de los escandinavos si no es a través del Cristianismo.

LAS ILUSTRACIONES DE LA MUERTE DE BALDER (“DAUDI BALDRS”)

(Realizadas por Tanya Stene para “Daudi Baldrs”)

	Dauði Baldrs Picture 1 (Daudi Baldrs) shows the Death of Baldrr, i.e. the meaning of life. It’s all about our people losing its meaning of life when Judeo-Christianity was forced upon us. In other words it shows how and when my people were Christianized, as shown in the belonging painting, where a Norseman is forced to accept the Jewish pig-religion. El dibujo 1 (Daudi Baldrs) muestra la muerte de Balder, es decir, del significado de la vida. Es cuando nuestra gente perdió el significado de la vida cuando se nos impuso el Judeo-Cristianismo. En otras palabras, muestra cómo y cuando fue cristianizado mi pueblo, como se ve en la pintura, cuando un nórdico es forzado a aceptar la puerca religión judía.
	Hermoðr Á Helferð Picture 2 (Hermodr a Helferd) shows women of our race who search for the meaning of life (Baldrr) in their unconsciousness (Helheimen i.e. “Hel’s home”). The title translates as “Hermodr on a journey to Hel” (Helheimen). El dibujo 2 (Hermodr a Helferd) muestra a mujeres de nuestra raza que buscan el significado de la vida (Balder) en sus inconscientes (Helheimen, es decir “la cas de Hel”). El título se traduce como “Hermodr viajando a Hel” (Helheimen).
	Bálferð Baldrs Picture 3 (Balferd Baldrs) shows the meaning of our life being buried, as the best of our people are killed in their refusal to accept the Jewish Christianity as their religion. Trust (Litr) and nearness (Nanna) are burned with Baldrr on the fire. The title translates as “Balder’s Burning (burial)”. El dibujo 3 (Balferd Baldrs) muestra el significado de la nuestra vida siendo enterrado, en tanto en cuanto se exterminó a lo mejor de nuestra gente por negarse a aceptar el Cristianismo judío como su religión. La Confianza (Litr) y la Proximidad (Nanna) son quemados junto con Balder en la hoguera. El título significa “La quema (entierro) de Balder”).
	Í Heimr Heljar Picture 4 (I Heim Heljar) shows what the above mentioned women found in their unconscious. El dubujo 4 (I Heim Heljar) muestra lo que las mujeres mencionadas anteriormente encontraron en su inconsciente.
	Illa Tiðandi Picture 5 (Illa Tidandi) shows the above mentioned women being burnt alive, since they found the meaning of life and thus represent a big threat to the Judeo-Christian tyrants who rule OUR Europa. This generally refers to the inquisition, who burned the best of Europa’s men and women as “Satanists” or “witches” and the like. The title translates as “Bad News”. El dibujo 5 (Illa Tidandi) muestra las mujeres mencionadas anteriormente siendo quemadas vivas, siendo el motivo que habían encontrado el significado de la vida y por ello representaban una gran amenaza para los tiranos judeo-cristianos que gobiernan NUESTRA Europa. Esto en general se refiere a la inquisición, que quemó los mejores hombres y mujeres de Europa acusándoles de “satanistas” o “brujas” y cosas parecidas. El título se traduce como “Malas noticias”.
	Móti Ragnarokum Picture 6 (Moti Ragnarokum) shows our future, i.e. the light (Baldrr); the Sun (Baldrr) descending or ascending in the horizon. It is up to us to decide, if Balder shall descend or ascend. The title translates as “Towards Ragnarok”. El dibujo 6 (Moti Ragnarokum) muestra nuestro futuro, es decir, la luz (Balder); el Sol (Balder) descendiendo o ascendiendo en el horizonte. Depende de nosotros decidir si Balder debe descender o ascender. El título significa “Hacia Ragnarok”.

DIFERENCIA ENTRE “BALDER’S DØD” Y “DAUÐI BALDRS”

Bastante gente se pregunta cuál es la diferencia entre “Balder’s Død” y “Dauði Baldrs”, dado que el nombre es diferente y la carátula también es distinta. En realidad, se trata del mismo álbum (sólo hace falta comprobar las canciones para ver que se trata de las mismas canciones).

El nombre inicial del álbum era “Balders Död” o “Balder’s Død”, a juzgar por las entrevistas que Varg realizó antes de lanzar el álbum (en las que se refirió a él de estas dos maneras diferentes), aunque luego fue cambiado a “Dauði Baldrs”.

La confusión viene dada porque el promo-CD que envió Misanthropy Records, la discográfica de Burzum, a muchos medios de comunicación se titulaba aún “Balder’s Død” y en su carátula se veía un personaje de aspecto nórdico golpeando a otro, arrodillado mientras otros nórdicos contemplan la escena blandiendo una cruz (imagen de la izquierda).

Esto cambió en la versión definitiva del álbum (en formato digi-pack, de 2007), en el que la portada muestra a un caballero nórdico arrodillándose frente a un grupo de similares caballeros nórdicos capitaneados por una especie de obispo, que a su vez es ayudado por un monaguillo. Y el título oficial del álbum se cambió definitivamente a “Dauði Baldrs” (imagen de la derecha).

En las propias palabras de Varg,

“El dibujo de la portada muestra un jefe teutónico siendo obligado a aceptar el Judeo-Cristianismo. Para conseguirlo, los Judeo-Cristianos sostienen un cuchillo sobre la gargante de su hijo. Esto era una práctica común cuando el Norte de Europa fue cristianizado”.

En la versión oficial, el dibujo que aparece la portada del promo-CD se utilizaría para ilustrar la canción “Bálferd Baldrs”, mientras que la imagen de la portada también ilustraría la canción que da nombre al álbum, “Dauði Baldrs”. Mucha gente no se fija, pero el misionero cristiano vestido de negro lleva, y no es casual, la runa de la muerte (“algiz”) en su sombrero.

Finalmente, dos curiosidades: algunos de los álbumes que se vendieron contenían una grave errata, ya que aparecía el nombre de BURZUM sin la “M” final (“BURZU”), y por otro lado la capa que lleva el líder nórdico arrodillado, en el dibujo realizado por Tanya Stene, es muy parecido a la que lleva el personaje Thordur en la película islandesa “Hrafninn flýgur” (“When the Raven Flies”, “Donde vuela el cuervo”).

Interview with Ochros Iskios

September 27, 1998March 22, 2020 Metallykon

1.-Hails, Iskios! To start off somewhere, could you introduce with a few words your band Ochros Iskios? What is exactly Ochros Iskios?

Ochros Iskios was started by me as black ambient / darkwave project with all music made exclusively with computers. I started the project at the same time as my black metal band HYDRA, in late 1995. I created Ochros Iskios because I felt that I had some music that only would suit with synths. But some of the Ochros Iskios music was first arranged for guitar in HYDRA, but later I changed it so it would suit in the Ochros Iskios songs. When you hear the forthcoming HYDRA demo “POLEMOS” you will recognize some music from Ochros Iskios. The influences of Ochros Iskios are quite varied but I usually say it’sa mix of N.A.O.S. and Ordo Equilibrio, judge yourself.

2.-So far you seem to have recorded 3 demos (Makedonias, Achaia and Efthanisia). Could you speak a bit on them and which are the concepts / lyrics behind them?

Basically it tells about stories about every of these locations. Eftanisia is about legends and myths from the seven Ionian islands. That’s why you can hear a litlle folk influence on this demo. Achaia is about the proud men and warriors of Achaia, that’s why I’ve got marching drums in every song of that demo.

Makedonias tells not only about Filippos and Alexandros land but also about the recent quarells with the ex Jugoslavians.

3.-Ochros Iskios is a one-man band. Why is this so? Moreover, how do you manage to do it all yourself? I know technology plays an important role in it all …

Ochros Iskios is a one man band because there can only be one Iskios. Everything is made with one computer and the most of music just comes to me when I work so then it’s just to type in the music.

4.-My fave song is “Achaian Storm”. Could you tell us how was it born, and what is the meaning of the song? Is it in any way a tribute to the legendary Achaian warriors?

“Achaian Storm” is also the song I’m most satisfied with and the main melody was something that I had played with for a while on the guitar. Then I played it on piano and realised that it was sounding very good. Later I found out that it sounded even better with marching drums. The rest of music was just something that came to me while I was writing the song.

5.-It seems to me that you’re extremely influenced by mighty Hellas. What are your feelings towards Greece?

I see Hellas as the cradle of culture and the birth of western civilazation. I don’t want to write my poltical opinion here, as I have recieved lot of shit after my statements about the Turks on Cyprus.

6.-Moreover, how do you foresee the future for Hellas when so many incidents and conflicts happen so oftenly around Greece with Turkey, Cyprus, Albania, the ex-Jugoslavian republic of Skopje (who claim to be Macedonians)?

I think that the Cyprus question will be solved some time. First of It’sa Greek Island, the Cypriots speek Greek, but in 1974 or when it was the Turks got the idea to invade Cyprus beacuse the turks of Cyprus felt threatened. Anyway if the Turks want to become a member of the European Union (EU) they will have to release Cyprus that’s said by someone, I don’t remember who it was. But when will Turkey be able to become a member of the EU? Their human rights are a joke. Military everywhere, even on the beaches. I mean how fun is it to take a swim when there’sa drunk Turk with a machine gun watching you. But Turkey and Greece will not start a war, you see both countries are members of NATO. I don’t think NATO would allow any of it’s members to fight eachother. In the Albania question I’m not so well informed so I don’t to say something in this except that there’s coming more and more albanians to Greece every day. If Albania wasn’t so fucked up as a land Greece should invade it, it was once ours. In the Macedonia question we all know how it is, these skopje clowns are fakes. They have nothing with our ancestors to do. And the idea that they wanted the sun found on Filippos coffin is a fucking joke. They have nothing to do with it. Macedonia – 3000 years of Greek civilization!

7.-By the way, one of your songs is titled “Makedonias”. It is a very repetitive and monotonous. Was it done in purpose to create an aetherical atmosphere or what?

The whole demo is very monotonous, and that’s because I was in that mood when wrote the music. I believe that music should be lengthy to get the right atmosphere.

8.-I know that you play along with Ochros Iskios in several other bands. What are their names, and what kind of music do you play with them?

Well first of all, we have HYDRA. This is my greek black metal group in which we play primitive black metal, some say it sounds like a little more melodic than Darkthrone. The remarkable thing about HYDRA is that we don’t use any keyboards, acoustic or clean guitars or clean vocals. It’s just extreme black metal. There has been various line-up changes, but today it’s as follows: Iskios-guitar / backing vocals, Dusk (from Siebenbürgen) – vocals. We are the two stable members of HYDRA, then we have a session drummer and bass player.

The second of my bands is NATTFROSSA. This is the group which I lay most of my time on. We play folklore metal with female vocals. Two demos has been released and a third will follow in the Autumn.

Then we have DIMNESS, a Death Metal project started 1993, later it turned more black metal. Nowadays we hardly ever rehearse, but it’s said that we will release a last Death / Black demo which will kick ass for the lord.

At last we have our drunken metal project FUNERAL FUCK, we play bloodcore, with bad music and musicanship and that’s beacuse we are drunk we record. Anyway it’s fun.

9.-You seem to be a die-hard black metal fan. What does black metal make so special in your eyes? How do you see the scene?

Well, I can’t say that I’ma diehard BM-fan. As first of all I’m no Satanist, I’m an Atheist and I can understand Satanists as I also dislike christians and I see those as the weaker ones. But I am a patriot.The black metal I like is (Of course) the Greek one. Especially Agatus, Zemial, Legion of Doom. Otherwise I don’t like international black metal that much. With the exception for Darkthrone (Nor) and Sigh (Jap) which are two fucking great bands. The scene is quite fucked I think with a lot of shitty bands. Anyway other great metal is German Kreator and Accept, that’s what I call metal.

10.-What about the future? What are the next moves for Ochros Iskios? Maybe looking for a deal?

Actually I don’t know for how long I will continue with Ochros Iskios as I dont feel any inspirations for making this kind of music anymore. But this will probably change when the summer’s over. I think I will send the Achaia demo to some companies, maybe “Cold Meat Industry” or something like that.

11.-Ok, that’s all. Close this interview as you like most, and may the gods be with thee.

Thanks a lot for the interview Andreas, and remember …. The Members of the HYDRA order recalls: “If you choose to criticize, you choose your enemies. “

Interview with Gunther Theys (Part II)

September 26, 1998March 22, 2020 Metallykon

14) Let´s speak of B.M. in general. As a veteran person with such a massive background in the underground, how do you see the European scene in general? (bands/gigs/zines/fans). What do you think of the American B.M. bands which try desperatly and comically try to look Skandinavian? Do you share the idea many people have that B.M. can only be played in Europe because of our long, deep, rich history?

-It is an advantage having a historical background but interesting music can be found in the USA as well. I agree there are too many American bands who comically try to look and sound Skandinavian. Recently I read an interview of an American „B.M” band (I will not mention any names) and of course on the pictures you see them with their make up and plastic swords. In the interview they even said „Well we are an American based act but some of us have Norwegian blood”! Except for the Native Americans (Indians) everyone in the States is descending from immigrants. That is fine by me but why pretending to have Norwegian blood only because of playing in a B.M.band? Where is the pride? Also in the States one finds Death Metal acts with totally uninteresting lyrics directly taken from a horror book or splatter comic, Glam rock never was as horrible as it was in the states, even many Heavy Metal bands there are ridiculous (spinal tap!) or not even Metal at all. But still the US scene offers interesting bands too who try to find an own identity. Unfortunatelly these bands who „comically try to look/sound Skandinavian” can be found EVERYWHERE in the world, also the non Skandinavian countries in our very own Europe are polluted with bands who claim to play „True Norwegian B.M.” I think it´s unfair only to accuse American bands of imitating the Skandinavian sound. Even checking my own Belgian scene is enough to detect too many „Skandinavian” clones. I would like to take it a step further even and probably many will hate me for saying this but I believe that even Skandinavian bands who imitate the sound of the most popular Skandinavian bands are uninteresting. EVERY band should try to find an own identity no matter where they come from. There is nothing wrong with influences but plain imitation I cannot stand. I realise I might sound too nostalgic for many of your readers but at least the first generation of B.M. bands all had an own identity. VENOM sounded different from HELLHAMMER who sounded different from BATHORY. Today you have a majority of bands imitating or 1) non atmospherical „puristic” B.M. such as IMMORTAL, DARKTHRONE etc or 2) More mainstream and keyboard orientated acts such as CRADLE OF FILTH. I have nothing against the original ones but the clones really are spoiling the scene and often even are very successfull. Even more ridiculous is they don´t only imitate the music/lyrics but also the appearance! That is why I respect acts such as ARCTURUS that much because at least they dare to experiment and come up with something else. –

15) About the B.M. scene, one of the most known one is the Norwegian. Many criticize it callen them „clowns” and „buffons”, but I personally think that the happening that took place there gave B.M. a boost for all the European scene., not only for the Norwegian one and that´s why, leaving aside the violence and the murders, we should be thankful to them. Do you share my views?
– We always had a very good relationship with the Norwegian scene. I know the people in IMMORTAL, ENSLAVED, MAYHEM, EMPEROR to mention a few. There always has been mutual respect, they appreciate the fact we do not imitate their popular sound and are an ancient band with an own identity. Sure the Norwegian scene gave B.M. a boost, no doubt. The murders and church burnings have contributed to this fame but also their music is good and that is what matters at the end of the day. –

16) Talking of Europe, during your career you´ve worked in the four corners of Europe and had relationships with nearly all countries in Europe: Belgium, Norway, Germany, Hellas, Finland, Holland…Having had so much experience, are you anti- or pro- the European Union?
– I speak about five languages and understand a bit of some languages I do not speak. I feel at home everywhere in Europe and am interested in every country´s culture/history. Since I travel a lot the „open borders” policy of the European union is convenient and practical for me. I know for certain countries with a less stable economy the European Union is not always an advantage. Also I think that each country has to keep it´s own identity (that is also why I support the idea of a Flemish Republic) but I´m not into politics and my heart tells me all European countries should collaborate closely in the end, gather their forces and stand as one as a world power. I love Europe, every place of it and I think I could be labelled as a European „Nationalist”. One of our sound engineers said I am because on tour I try to speak to the crowd in their native language, at least a few words. On stage I mention the splendour of the countries´history and feel sympathy for it. As I said I´m not a politician and I think every land has to keep the own culture but the IDEA and FEELING of a United Europe, standing as one, appeals to me. On the forthcoming album there´s a track entitled „MOTHER EUROPE”, that should say enough. –

17) Having travelled so much, let me ask you a somewhat curiosity: which European country would you recommend a B.M. fan to visit considering three main points 1)Sightseeing 2)Metal clubs 3)Price of the beer. Girls are obviously taken in consideration…
– SIGHTSEEING: Every European country has it´s own charm and particular atmosphere or history so I cannot point out one place. METAL CLUBS: Hellas (Greece). Athens has a lot of Metal bars/pubs and big Metal clubs where hundreds of people are banging their heads like maniacs. In Greece ancient bands which are almost forgotten in the rest of Europe (or never really were popular) are still played in the clubs. 70´s cult stuff such as DEMON, ANGELWITCH, OSTROGOTH, TANK, BLACK WIDOW. Also 80´s underground still is celebrated but even modern underground is played in the clubs. All sorts of Metal can be heard. Athens is a headbanger´s paradise. I remember the first time we played in Athens we were taken by the members of ROTTING CHRIST to several clubs. Couldn´t believe my eyes, we immediately got drunk and woke up the next morning with a hangover and a pain in the neck of banging too much. Also Athens has many Gothic clubs. Brilliant nightlife. PRICE OF THE BEERS: In Poland I got extremely drunk and payed almost nothing. The ONLY time in my life I had a black out. One of our roadies and I went there and visited a club where we drunk lots of beer bottles and suddenly they ran out of stock because usually their customers didn´t drink that much. May be it was a club were prices were too high compared to the average Polish salary? So we started to drink all kinds of Whiskey, Vodka. The club had two floors. At one point I went to the other floor and actually believed I was in another club! That drunk I was. Next morning I told our roadie I prefered the second club we went to, he told me we never had left the club. Embarrassing indeed. But a great time I had! GIRLS: beautiful women can be found everywhere. But South European women I really find great looking (Spanish, Portuguese, Italian, Hellenic) with their dark curley long hair and deep dark eyes. May be it is an attraction of opposites since I am blond/blue eyed. The past seven years I only had relationships in the South of Europe. I also relate to the attitude of the South European women. In my country many women are quite materialistic and have this tendency of trying to dominate their partner, also they are less interested in art, literature or their own traditions. For almost five years now I have a relationship with a Hellenic girl who is living in Athens. –

18) Ok, let´s go back to more serious subjects. Some years ago there was this idea of playing a full ANCIENT RITES cd with medieval instruments. Has this idea been casted away or you still wish to accomplish it?
– When I have something in mind it will happen sooner or later. Only it is a bit too soon with only two albums out to come up with a classical cd. Something I very much like is that on the forthcoming album we really have medieval influences INSIDE some of our songs. In the past we transformed some of our Metal tracks in medieval music („Echoes of Melancholy”, „Fallen Angel”) or created medieval intro´s, outro´s and intermezzo´s. Now we have taken it a step further which totally fits to the concept of ANCIENT RITES. There even is a complete song on the new album which is Metal but very Folk inspired with totall classical parts in the middle. The track is called „13th of November 1307″ and deals with the mystical Templar Order. Nevertheless be sure one day this classical/medieval album of ANCIENT RITES will be in the shops. It took me years to complete a DANSE MACABRE album but finally I have accomplished it (of course I couldn´t have done it alone, do not understimate the impact of the involved musicians). The same will happen with this classical A.R. album. No doubt. –

19) Throughout these years you´ve kept playing in A.R. while other members have come and gone. Why has it been so difficult to maintain a stable line up? Do you see yourself as Belgium´s Chuck Schuldiner? Moreover, can we think of A.R. as your personal project?
– Belgium´s Chuck Schuldiner? That´s a good one! There even is a joke circulating in the scene on this topic. Some say they should organise bets or a lottery on who will be on stage with A.R. every time. When guitarist BART left we worked for a year with session guitarists. We had Erik (who now is permanent with us) from Dutch INQUISITOR, Mikael from Swedish LUCIFERION, Mike from Dutch PENTACLE, Raphael from Belgian CRUCIFIRE. Later Emil of Swedish SWORDMASTER, Blakkheim of Swedish KATATONIA and Chris of America´s BLOOD STORM/ABSU offered us their help. Of course session guitarists have schedules with their own bands that´s why on the same tour the crowd of each country almost saw a different line up on stage each time! In Spain the people saw us with another guitarist than the crowd in Italy, the Portuguese audience saw a different band than the German or French crowd. Holland was over the top: we started the set with Erik of INQUISITOR and Mikael of LUCIFERION. After a while Mikael left the stage, Erik continued on his own. Halfway the set Erik left and Mike of PENTACLE came on stage. After a while both Erik and Mike were on the stage. The audience didn´t know who was who anymore. Well A.R. is a bit of my child because after all I created the band with Philip. But since about seven years also drummer Walter is a permanent factor in the band. The reason why it is so difficult to maintain a stable line up is because we demand TOTAL dedication. A.R. above everything else: work, family, relationship, private matters. It almost sounds like a sect ah ah! I remember I was celebrating my birthday together with my girlfriend in Athens (this was planned long before) meanwhile a concert was organised in Belgium so I bought an extra ticket to return home and sacrificed the whole plan. This summer I ended up in hospital and had to be operated. A few days after the operation I was on stage headlining on a festival in Holland with still plastic tubes inside my body. Felt absolutely tired and doctors had recommended rest because the whole healing schedule wasn`t completed but I went on stage anyway. Walter seriously damaged his hand at work but he was playing the same week anyway. Guitarist Jan Yrlund had a plan to celebrate his birthday with his partner but last week I told him there was a concert abroad so he had to cancel everything. Soon we will tour Europe several times again and in between seperate concerts are planned in and outside of Belgium. Meanwhile we are spending more than a month already here in Germany on the recordings. It really affect private life. Relationships end because of this or you start to lose contact with old friends. At the same time playing in a band like A.R. doesn´t really offer money or enough security but still we put it above a job. Not many people are that fanatic (crazy?) to sacrifice EVERYTHING. We also tell every member that joins us that whenever he´s unable to play a concert he immediately will be replaced by a session musician for that particular tour or concert. When the reason for absence is acceptable the musician will keep his permanent place in the band though but no matter what happens no concert or tour will be canceled (unless promoters cancel it). Philip was one of my closest friends ever. He died a few days before a concert, we went on stage anyway and dedicated our set to him. We wanted this, his parents as well and above all HE would have wanted it too, never met such a fanatic and dedicated person like him, Walter and I still miss him and keep the same attitude/spirit alive. We demand it from the other members as well. Or the friendship soon is over –

20) Let´s speak on A.R.´s lyrics. Many seem to deal with the typical B.M. topics such as Occultism, Satanism…What do you think of these doctrines? Nowadays mainstream trend in B.M. is Paganism, What are your views on it? Do you consider it alright to fight against Christianity to bring the ancient European´s religion?
– Of course we deal with topics typical for the genre but I like to think we have a different approach. We do not write about demons or stuff directly taken from the NECRONOMICON (which is interesting literature but remains fiction) like many bands do or invent over the top names for so called evil forces. When I travelled the Sahara desert by camel and horse (which was a great experience) I saw the remains of an ancient city and entered the temple of Baalberith where in ancient times children sacrifices took place. Immediately it was an inspiration which resulted in the theme of the intro on our debut album. I think reality often is darker and more cruel than fiction so why should I invent horror stories when history provides centuries and centuries of gloom? Sometimes we present Satanism in a symbolic way when we refer to biblical characters such as Lucifer but it always has a deeper meaning. In those cases we use names known to the Christian world to mock their beliefs, like „fighting” them with their own weapons. Our label received protests from a Turkish community in Germany because we mentioned the poisoning of moslem profet Mohammed in our „Blood of Christ (Mohammed Wept)” track. I studied a bit on the koran to detect the weak points, same with the bible. Be sure it is more effective than a simple „Fuck Christ” or „Fuck Allah” slogan. Also I think we focus a lot more on history than most other bands in our scene, it is a lifetime long fascination of mine which reflects on the lyrics I write. Concerning Paganism, as I stated earlier I think it makes more sense than imported religions, it is connected with the traditions of a people. If people wish to believe in Santa Claus, Donald Duck, god or allah that is fine by me but I do not like it when they try to force their ignorant fairytales down everyone´s throat. I ONLY believe what I see. –

21) Ok, that´s all. Thank you very much for standing this long and heavy interview. Last words are up to you…
– It was a marathon indeed Andreas. Will your readers really read all this? The pleasure was completely mine because of your intelligent questions and the fact you were extremely well informed. On the 31st of may we play together with DEICIDE, BRUTAL TRUTH and SIX FEETH UNDER in Spain (Barcelona) I believe. Hope to see the people we´ve met last time we played your country. Take care, EVIL PREVAILS! –

Address: A.R. THEYS GUNTHER, KRAAIENNESTSTRAAT 11, 3290 DIEST, BELGIUM. Or www.dma.be/p/ar for DANSE MACABRE www.dma.be/p/ar/danse

Satyricon – “The Shadowthrone”

July 26, 1996March 22, 2020 Metallykon

Moonfog

Rating: 9/10

Satyricon’s “The Shadowthrone” is ine of the best LPs ever emerged from the norse fjords. Combining the coldness of the typical Norwegian sound with very aggressive yet beautiful melodies, Satyr and co. musicalize the pride of the viking past. Ultrafast passages combine with melodyc tunes, killink drumming breaks and acoustic parts under the cryptic vocals from mainman Satyr. Lyrics are both in English and Norwegian, but they all deal with the typical BM topics such as the past, Christendom, desolate nature, pagan traditions, darkness, death, cold, snow and, of course, as we are in Norway, the viking mythology and pride, something that appears claerly at “Vikingland”, a song with norse warriors’ chantings. Songs are a bit long (6-7 minutes) but never boring as they have different feelings reflected in each of them. Sound, despite being from Norway, is quite good and much, much better than the one of previous CD “Dark Medieval Times”. Oh! I nearly forget mentioning drummer’s absolutely fantastic work on the taburette. In a few words, a masterpiece of Norwegian Black Metal.

Satyricon – “Nemesis Divina”

July 26, 1996March 22, 2020 Metallykon

Rating: 6,5/10

“Nemesis Divina” is Satyricon’s latest effort to grasp the Norwegian Black Metal thone’s cetre. Satyr’s first words “This is Armaggedon” announce this band’s war against Christianity and anything that has light. As Satyricon has always been one of my favourite bands, and I really loved their first “Dark Medieval Times” and “The Shadowthrone”, I expected a lot from this third assault, but honestly the feeling is a bit upsetting. “Nemesis Divina” is definetely not the best CD Satyricon has released. This CD’s first song “The Dawn Of A New Age” is somehow a summary of all the listener will find in this CD: Outrageous melodies, freezing atmospheres, speed and angry growlings. It may be the best song of the LP along with its real jewel “Mother North”, a true and proud hymn to the Nordic lands. Unfortunately, though songs like “Forhekset” or “Du Som Hater Gud” aren’t bad at all, there are songs like “Nemesis Divina” that are, in my opinion, real rip-off tracks. This CD lasts about 43 minutes and ends with an instrumental song called “Trascendental Requiem of Slaves” which is ok. In a few words, “Nemesis Divina” has two really, really good songs “Dawn of A New Age” and “Mother North”, and for having these two songs the purchase of this CD would be worth, but the rest is by far not so good. So, from my point of view, “Nemesis Divina” is a good album, but somewhat a failure if its intention was advancing bands like Enslaved or Emperor at the Norwegian BM’s race.