Friday, 26 February 2010

PSYCHONAUT 75 interview
By Kerval
The name of Michael W. ford,is a very important name under the veils of the magickial worlds,occultism and musical defragmentations.This time we handled an in deep interview to explore some aspects reffering PSYCHONAUT 75,and also topics revealing important elements focusing into THE ORDER OF PHOSPHORUS,Luciferianism,THE BLACK ORDER OF THE DRAGON...Michael ford aka AKHTYA75,is the founde of LUCIFERIAN APOTHECA,where you shall find extensive ritual elements,books,talismans...
Also is worth to mention he has written alot of books focusing into sabbatic tratidion,luciferian path,astral vampirism,qliphotic sorcery among others...
some of his books are :
Liber HVHI: Magick of the Adversary
Adamu: Luciferian Tantra and Sex Magick
Book of the Witch Moon: Chaos, Vampiric & Luciferian Sorcery
Luciferian Goetia
Satanic Magick - Paradigm of Therion
The First Book of Luciferian Tarot
The Luciferian Tarot, art by Nico Claux
The Bible of the Adversary
Beginning Luciferian Magick
Gates of Dozak
Akhkharu - Vampyre Magick
Adversarial Light - Magick of the Nephilim
Scales of the Black Serpent - Basic Qlippothic Magick
Magick Of The ancient gods
Rites of the Antichrist - Art of Spiritual Lawlessness



Salut Michael...so the name PSYCHONAUT 75,force me to think its a closest connection with Peter Caroll and Liber null & Psychonaut,so tell us more about magickal meaning behind the name and each one of the members involved in PSYCHONAUT 75?
At the time Psychonaut began I was recording with Valefor, a death-industrial concept which had released several cds, one of which was through Sweden’s Cold Meat Industry (under Death Factory) label. Around 1997 my magickial work lead me into different aspects of magick, some of which were grounded in astral projection and exploring different cultural manifestations of the shadow. I had started an intense magickial (note the spelling of ‘Magic-kia-al) working with Liber MMM at the time along with A O Spare’s death posture, although in a “nightside” manner. The first actual recordings under Psychonaut were the “Nekronaut” workings and then Liber AL Vel Legis. These would not really fit under “Valefor” so the called the project Psychonaut. Psychonaut initially was myself and joined with Darkat, who I worked with in the late 1990’s and a lady named Karen who recorded the “Zos Vel Thanatos” 7”ep with me. In 2001 or so I met Dana Dark who was equally interested in my concepts of Luciferianism and with Davcina I added the “75” in the Qabalistic direction of Lucifer, to embody this sense of light and self-illumination. I have worked with a ton of people through the years with Psychonaut 75, from Tyler Davis of Ajna (he worked with EARLY Psychonaut 75), Tommie Vain (who ended up in prison after stabbing a man in a fight), Dana Dark, Davcina, Darkat and several others.

So, in a way we could say, PSYCHONAUT 75 reflects its own eclectic nature and paradigmatic paths focusing chaos magick as a dynamic force moving in all directions all the time?
Let me be clear with my focus on our direction. We are not “Chaos magick” in the sense we shift paradigms, there is one paradigm to P75 and that is the Adversarial Current in the various manifestations, cultural and artistic. Chaos Magick in that we utilize any tool needed in the sorcerous dreaming flesh of our sonic workings. Psychonaut 75 explores through willed direction various aspects of culture, ritual and the Adversarial Spirit in various forms, thus we are ‘limitless’ in this nature. It is the 75 or “light” ensorcelled in darkness.

Does such dynamism and eclectic nature is present when we observe the musical sound at "The Pylon Of Daath",full of primitive ritual soundscapes,and "Hellmachine" floating more into dark electro with industrial elements? Psychonaut 75 is a project which is not limited to specific genre; this has made it a ‘tough sell’ to labels over the year. Labels, by definition offer by labeling something to the public, listener’s specific to a genre. Psychonaut 75 explores in several different genres, thus it is not as “popular” as say Black Funeral or such. We are inspired musically by early industrial groups BEFORE it was popular to conform to a specific type of sound, which you see so commonly today. As long as Psychonaut 75 exists, it will record and manifest my Will according to the sound I desire.

So tell us more about the excellent "Liber Al Vel Legis" album, so what do you find so fascinating from current 93? Under which expressionism relating visual patterns do you represents PSYCHONAUT 75? My workings with a Sinister Tradition guild in the USA led me to Thelema, which I worked well within the 1990’s. I first began the structured, disciplined work of Aleister Crowley in my own HGA working, which was the recording of Liber AL Vel Legis. The name “Amel” which was found in dreaming work “Samael” my own HGA. The structure of Thelema, applied with Grant’s extensive study of the Tunnels of Set led to a deeper practice of Left Hand Path magick, thus emerging Luciferianism. That is the essence of that working called “Liber AL Vel Legis” by Psychonaut 75.

Is known you are involved into several forms of magick...So does Luciferianism a way of never-ending wisdom, to search inside our own light though our own instincts, and mental capabilities?
Yes indeed, the balance of darkness and light and how both interplay and feed from each other. Our foundation is chaos, the never ending stream of devouring darkness which fuels our need for wisdom and self-illumination. It is a type of cosmic-wolf age where in the strong devour the weak and the wise devour the strong type ideal. That is the expression of Psychonaut 75. I am strongly inspired by art, visual art like Marjorie Cameron-Parsons, Austin Osman Spare, Giger, Rex Church, Dore and so many other styles and interpretations. If you view our Psychonaut 75 sigil (2010), it is a union of the first version of the logo and a new direction. There is a sigillic formula of our ascension in the essence of P75 as a vessel of Sonic Black Magick.

In which way the works of Austin Osman Spare and its sigil methods, are important elements which can be reflected in your magickal paths and obviously though your musical projects...in this case PSYCHONAUT 75?
We recorded “THE WITCHES SABBAT” inspired by our Sabbatic-dreaming work in the 1990’s, Kenneth Grant was kind enough to allow me to use the Spare images in the CD booklet – the Four Flying Witches of Spare’s sabbatic formula was above my altar at the time of that recording, thus a major source of focus. These aspects of exploring and utilizing the power of the subconscious mind are essential to P75 and our work.

Any new album to be released soon and how is the development of PSYCHONAUT 75 as a live performance? Which suggestive and obsessive ideas, visions are crossing your mind at the present moment through PSYCHONAUT 75, as a dynamic force in your existence?At current, I have recorded an album based on my own personal vampyric practice of Babylonian-Chaldean spirits, projecting and utilizing blood-sigil magick and sorcery. This fueled the new recordings and the aim will be to act as a sonic gateway for these specific spirits to manifest. I look forward to the new CD being issued in due course. There are of course other aspects of P75 recording right now, as I am involved in many magickial workings from different elements of cultural perspectives – from Ancient Egyptian, Persian, Chaldean-Babylonian to Western Occultism elements within Luciferianism as I have written it.

So, reveal us a few about The Order Of Phosphorus, and its
initiatory paths, focusing into Mental freedom, self discipline and self enlightment are principal point of the order? TOPH is an international order of Luciferians who under a decidingly “rigid” grade working structure and by the Will of the initiate can ascension occur towards the Black Light of Lucifer, inherent of the Black Flame. This initiatory structure embraces the Adversary as a bringer of Chaos and the Order defined in a temporary sense by the Black Adept. It is real Magick and is not focused on “feelings” and “theories” but the actual application and results of Adversarial Magick from my grimoires. The aim of TOPH is to create powerful “gateways” of Adversarial Power, thus we are increasing the standard of occultists and left hand path practitioners. This order is not for sheep, we don’t lead them around and they are expected to achieve by their own Will alone.

In connection last questions just give us some more in deep details referring, The Order of Set-Aapep, Ordo Azariel and Ordo Algol,to those who don't know such paths of initiation?
The Black Order of the Dragon, a Vampyric-Black Adept order I was a co-founder of in 1993 exists as the head of TOPH, it is very much an order of the spiritual predator and requires much practice and discipline from TOPH initiates to enter. BOTD has been known to cause mental breakdowns in some initiates as they are unable to deal with the spiritual and mental chaos of this type of vampyric magick. We prepare them via TOPH and our inner orders to be able to withstand this force of the Black Flame in its most primal aspect. The Order of Set-Apep, Ordo Azariel and other avenues assist in this process.
In which way do you think Psychonau't music has evolved such ideological such as musical until now, and there is any possibility to hear again the rawness and primitive ritual sound created at the very beginning? Of course, Psychonaut 75 will evolve as my magickial and musickal work continues. The primitive ritual sound is reemerging at the moment and will continue according to my Will.

So, due your occupations just some questions, so thanx for your time Michael...burning the lamp of wisdom, through the black veils of daath!! Just final words here please.Thank you for the interview, great work with your music project as well and keep to illuminating the Black Flame. Understand that Luciferian Magick/Adversarial Magick is about strengthening the Will, ascending through becoming a force of black chaos and rising up as a God or Goddess. Luciferians at the heart of it are not inverse Christians seeking defilement, rather Spiritual Predators who feed from the energies of life and death to achieve spiritual immortality. That is the ultimate goal after a life well lived in accordance with your desires





(Reviews 66) ARKTAU EOS,HALO MANASH

"Ai Ma Ra" Double Cd 2009
(Aural Hypnos)

Spectral soundscapes converging through unlimited realities, astral emanations which were taken from different ritual sessions between the years of 2006-2008...so, from such unknown dark regions emerges "Ai Ma Ra" as a latent procreative atavism, which has been developed under hermetism and now finally revealed through two cds.Mostly of the title album and descriptions are focused into the ancient methods of Via Negativa.Yet those with a more ratiocinative predilection may glean divergent insight from cognate attributes of the twelve aesterisms of the zodiac, the twelve steps of the venerable path of the Alchymist and so forth. The enigmatic, unknown voyage to "Ai Ma Ra" Cd 1...emerges through "Stillatory Of Umbrae”, a mysterious composition with dense elements and slow percussive fragments, and dismal chorus penetrating slowly the atmosphere of the whole track. The highest aspect here is how the tracks at the whole albums evolves, transformating in spectral paradises full of diverse convergences and abstract realities."Unto Chthonic Waterways Consigned" is the second track...strings gathered from the unknown to open resurgences of obscure melodies; everything here turns so eerie, bathed with such dismal atmospheres, which enrich the whole structure of the composition."HibernaculuM", transports yourself to such inner regions of your subconsious, always bringing meditative, ritual elements through a high perspective, due the mysterious atmosphere evoked here."Coffin Chrysalis”, cymbals crawling from the utter darkness, obscure passages and dense drone ambient soundcapes covering the main structure of the track.so, next comes "Cryptomphalos", built into Eastern soundscapes but still floating in its own magickal cell, the whole track is a very impressive expression of ritual magickal passages, at moments transporting me to Persia to the Angra Mainyu's cult, due the atmospheres created through the whole track. And closing the Cd 1 is "The Urn" dwells from different instruments as the whole

tracks, but this time including vibrational gongs, and suggestive harp sounds which together emerges as ritualistic atmospheres from start to finish. The whole ritual passages here transport you to another level s of existence. The ritual consecration continues through the second Cd which is a live performance in Londinium. "Abodes Of Daybreak”, an exposition of diverse instruments building enigmatic passages full of mysticism and magick.wind gongs, sunbean strings and other devices gathered for this trance ritual voyage."Intra-Arboretum”, floats into a secret pattern rapped on a fretted wooden gate. Using some wood and bronze percussion, horns, Harmonium and hollow bones, crawling you to the most mysterious labyrinths created by ARKTAU EOS."Adjustments Of The Magnetic Corpse”, a magickal experience worth to explore due nature of the track,sutile atmospheres charged with dense moments, voices crawling from within and transforming into ritual mantras, creating."Oracle Of Frozen Sands”, is one of such dense atavisms manifested through soundscapes, eerie atmospheres and subterranean passages submerging you in a state of luciferian gnosis, in which everything is possible. "Retrocession Into Astrolit" Of the route of return, and the sun-bearing waters...keep on its strong nature focused into dense black corridors, penetrating slowly your mind through such suggestive mantras and percussive elements. Perhaps one of the best tracks here. The final track here is "Nails Of power”, absorbing and transforming the whole substance of chthonic forces into a sole atmosphere full of singing bowls,gongs,percussive soundscapes and spectral evocations emerging from the core of the astral realm generated by ARKTAU EOS. An album with in deep interesting elements. "Ai Ma Ra" was first conceived within a specifically consecrated cell, closed to prying eyes and sealed shortly afterwards. May those daring to breach its peace find the sophic lamps still alight! "Ai Ma Ra", pressed in 1.000 copies, comes in a sturdy, deep green cardboard box stamped with the mark of ARKTAU EOS. Contained within is an 8-page booklet bound in tête-bêche format on high quality paper, a small talismanic print, and two CDs.


HALO MANASH (Fin)
"Taiwaskivi" CD + DVD 2009
(Aural Hypnox)
HALO MANASH, has never sleep, they were just floating in its own luminosity, and risen again through the primordial darkness, with a very interesting purpose, as the whole productions generated by Aural Hypnos. This time HALO MANASH emerges, with an opulent work of solar ambient and primordial Ur music. "Taiwaskivi" is one of such transformative sonic mantras, emanating its own primordial and spectral forces through this existential plane,"Taiwaskivi" is self transformation focusing in trance ritual elements producing the entering to another facet of reality, to transcend the primitive atavisms of past Aeons in time. The primordial cell floating in a void full of possibilities, consisting of seven interrelated tracks opening with "Crossing Over-Wings Rise Radiant”, Solar emanations emerging from darkness, through dense elements and eerie atmospheres, crawling though ritual ambient soundscapes.The Pilgrimage voyage continues through "Burial-Self Flesh Given As Offering To All”, is an obscure ritual march built into agonic atmospheres and voices coming from the nothingness converging into trance evocative atmospheres, revealing the in deep mysteries gathered though "Taiwaskivi". The use of diverse instruments such as Gongs, ritual drumming sounds, field recordings, string instruments, bells, voices and more we are discovering through the enigmatic exposition of sounds generated at the whole release. "Summoning-Toward CardinalPoints,Into All Worlds" keeps on the tension and obscure nature into representative atavistic forms ,gathering slowly and offering strong soundscapes dressed into sutile but dense atmospheres. "revealing-The Celestial Crown Reflecting Rays Of Sol And Shade" seems as Horns announcing the coming of stellar races into earth, the primigenian ancient gods evoked through such ritual mantras with so diverse and provocative soundscapes collapsing all the time, and offering you more, than just music."Renunciation-A Jewel Bowl For The Final Feast”, Percussive defragmentative sounds, and ghastly atmospheres gathered around subliminal passages and voices coming from the other side of eden. "Conjunction-A Vessel Springing With Nectar From The Skybound Source" and "Consummation-Bathed In Sacred Fire" closes the release offering us a sequence of tracks with such enigmatic,mysterius ,vibrational structures bathed with the evocative sounds only generated by a magickal act as HALO MANASH.An air of finality abounds, as “Taiwaskivi”, although a complete work in itself, can also be viewed as the third and final facet of a tripartite series of works that are part of one holistic creation – a treelogy, with seed, root, trunk and finally, branches. Being the culmination of an ascending journey through the aforementioned realms within and without, “Taiwaskivi” is the celestial crown at the peak, reaching toward Sol, source and beyond; it is the leaves and fruit of the branches and their skybound nectar ever-flowing - the sacred fire, the consummation and conjunction of all. This Release also includes a DVD...visual enchantments through subliminal nature images and its close interrelationship against HALO MANASH,elementals.almost 50 minutes in which you can feel the enigmatic realms explored by HALO MANASH,evoking distant passages and suggestive rituals,mudras,everything created exclusively for this release. At moments you shall experiment desolated landscapes and hybrid scenarios covered by the enigmatic HALO MANASH shapes, moving, through ritualistic postures. Without a doubt the best release coming to my hands in many times, due its own magickal nature as such as vast obscure passages explored at both sides, the visual and audial ones. The final part of the DVD offer us a nightly dark ritual, evocations converging through atavistic masks and flames burning beyond the starlit sky...The whole DVD was filmed on location in the North and South 2007-2009. The album comes Comes in a hand finished cardboard booklet. Two different editions are available; regular CD edition and CD + DVD with inserts. Both are limited to 500 copies.



Tuesday, 23 February 2010

KRISTUS KUT (Interview)


KRISTUS KUT
By Kerval

KRISTUS KUT IS EXCORCISM. a way to get control of your emotions. let them go in pieces of sound.
KRISTUS KUT IS TRANCE. let yourself float on the waves of the harsh ritual noises..
KRISTUS KUT IS MEDITATION. dive into yourself and explore your deepest desires..
KRISTUS KUT IS LOVE.

Inspired by the orishas and rituals of the vodou, cantomblé, santeria and lukumi Kristus Kut creates his walls of sound. working with bass guitars, bamboo, broomsticks, vocals and guitar effects every performance is a way to get in trance and meet the gods. every performance is unique and is dedicated to a certain god of the orisha panteon.Releases are dedicated to Oya, Oshun and Yemanya. change, sex, love and sex. new things can only start when the old is destroyed. the circle of life.sex is important. to do what you want. loose yourself. pure drifts. loose the society morals. follow the instincts. during the orgasm you get into the divine. that is why KK is into the ritual sex.
So...this is the beginning of the end...how does KRISTUS KUT emerges to create a strong structure based on your own personal spiritual devises focusing the Orisha tradition and rituals of the vodou, cantomblé, santeria and lukumi?
First, before I started Kristus Kut I was in an electro punk band called Abattoir Rouge. The live shows of AR were very wild, and sometimes I ended up screaming the words over and over again when a song was ended. I discovered I could get into a trance when I just repeat the same word over and over again. The same I saw in the vodou rituals. Drums, dance and trance. And more important, the some of the Orisha are very sexual and very strong. This caught my interest and I started to explore the Orisha tradition. So I started to create my own noise rituals. It took some recordings till I was at the right wave length.
My goal is to get the audience and myself into a trance during an performance. Making low sounds that are floating in the air. With some repetition and work it all to a loud climax. It sounds simple, and I think it is, but still it works. I prefer to perform in the dark with some minal lights, so the audiene must focus on the music. I hardly use background projections cause I don’t want to distract my audience. I want them to listen and experience the sound.

How happened such latent energies from Orisha's panteon shows you this spiritual path to follow,and how closed is this within KRISTUS KUT?
Well somehow the Orisha are getting more and more important in my live. I think the powers are still alive and very practical. It gave me some comfort in dealing with my deceased family. I lost my parents and brother and I was looking for a way to deal with that. The ancestor rituals from vodou and the Orisah tradition brought me some answers I was seeking.
And I noticed when I was working with Oya (Iansa) that indeed my live started to change. I was visualizing her a lot during recordings. You can only get something new when you destroy the old. Somehow that is an important part of the idea behind Kristus Kut. The other important thing is to set yourself free by sex. The seductive side of the goddess Oshun is the other main inspiration. Some of the Orisha are very sexy. And I cant ignore that. It is in the dances, in the music and even in some rituals.
I always take Legba with me during rituals. He must open the crossroad. He is in front of me. If I am allowed (in NL you are not allowed to use candles and smoke) I honor him first and then I start the noise.

One of the aspects with surprise us reffering KRISTUS KUT is how raw and strong your music is and how eclectic everything turns when using tribal ritual elements...so,tell us how is such ritual transformation when creating music for KRISTUS KUT?
Somehow it all looks so easy. I have an idea and I just start recording. In the beginning it was just seeking how to record some soundscapes but more and more it became an concept. I wanted the full lengths to become journeys. Even the split releases contain that concept. So it is not just some noisy tracks collected, no there is a progression. There is an opening. A road. And a climax. For those who want to listen for free, try the free downloads on Quartier23/Notariqon.

Due your closes interest ,and practices to Orisha tradition,how do you relate such spiritual enlightment through your own personal Sex Magick rituals?
Ah, that is a tricky one. Fact is that during an orgasm you can get free of you mortal body. I think it is important you should experience and explore as much as possible. Sex/Orgasm is an important energy source.
And for the rest.. I prefer to keep my sex life private.

Besides orisha,what do you think about currents from Palo Mayombe in Cuba and the Dominican Republic, Umbanda in Brazil and,the Petro rites of Haitian Vodou.?
I lack the knowledge for a good answer on this one. I am very sorry.

Is the principal goal in KRISTUS KUT ,to cause trance,magickal states of consiouss to trascends beyond the apparent realities in this existence...to look inside yourself and find for knowledge?
Both. It depends on the state of mind at that moment. Some of the albums, like Kiss of the Black Queen was a journey through my own state of mind. I had to get rid of some emotions. I think I managed to exorcise them with this album. The same for the Mambo Kiss and Hail the Black Queen.
Emotions like anger and love find their way in those recordings. But if you listen to recordings like droomLicht, For the Love of the Black Queen, Music for Sex Rituals you will find that those ones are made to meditate. Long deep monotone tracks with minimal variation. Just enough not to fall asleep so you can focus on the sound and go down in your innerself.

Is know your live performances are from high caliber,due extremity of shows ,and obviously enigmatic,twisted atmopsheres...so,tell us more about visual,audial performances you creates through KRISTUS KUT?
The live performances are getting famous. It is all about getting totally into the performance. I really get high and carried away. I need a good stage sound for a good performance. I need to hear myself. The white clothes, Legba, the candles and the incense it is all needed to create the right ambience.

Now,tell us about the KRISTUS KUT/PHALANX "Soundtracks For Masturbation Sessions" part 3 ?and about upcoming releases coming soon this year?
Haha..the soundtracks for masturbation sessions. Well that was a nice series. Somehow they are quite good. I was my way of promoting the monofocal sexritual. I think masturbation is underestimated. Somehow I don’t think there will be a part 4 but you never know.
Right now I have release ready. Called the Butterfly King. It is more introspective. I hope to release it sometime this year. The Vagina Libertatis, the final track is now an important part of the KK live climax. And if things go well there will be a rerelease of I on cd.
I will also be working on some new tracks. In the actual live set I created some pieces that I would like to record and put out. You can find of such ideas in the player on the KK myspace profile. There you can also find the links to the free downloads.
I am also thinking of a new sex ritual release. But then done in a much different way. But I am still working on that plan.

In which way,do you think the KRISTUS KUT sound has reached a point of transformation,since the very beginning until now year 2010 E.V?
Yes. Sure. When I look at the first recordings and the first performances they were totally different. I think now it is more professional.

So, more than a pleasure to have the opportunity to share some words here...just thanx and clsoe this as yuo wants my firend!! keep on floating through the inner light of your infinite being..so,may loas guide your path!!
Thank you



















Monday, 15 February 2010

POST SCRIPTVM (Interview)

(Interview)
By

"Grey Eminence" is your upcoming album...so please let introduce us into the surreal forces behind such album,such musical as ideological? What "Grey Eminence" offer us in comparison last albums?
In the context of the album, Grey Eminence is a personification of the hidden forces that are pushing our civilization towards spiritual death. Music-wise it is probably the most diverse and experimental of all of the PS albums, with the greatest variety of electronic and acoustic instruments. It is probably also the most brooding and depressing of them all.

Which are the principal basis and general structures when you created POST SCRIPTVM back in time? and why the necessity to express yourself through music and not another for of art, such as paint,imagery..etc?
The original inducement for starting PS was the urge to escape reality. For that purpose music is a perfect medium.

Is known did you performed at Wroclaw Industrial Festival IV,2007!!!so how was such experience,and to share stage with acts such as Ordo rosarious equilibrio,Apoptose,Merzbow and Klanstabil? so any upcoming show planned recently?
Wroclaw Festival was quite an adventure--truly exciting and memorable. We hope to return to Europe with more concerts in 2010, but nothing is definite at this point.

Do you think that the experiementation with certain old school analogue sounds,noises and soundscapes are elements which makes of "Raspad" a very interesting release from your point of view?
The aim was to record an album that captures and explores certain extreme or borderline states of mind. The technical aspects of how it was achieved are not so relevant to us.

"Raspad" is russian for "Disintegration"....and from such word,we could assume the final result at "Raspad" is a disintegration of your mind,body and soul,into a concrete solid strucutre expressed through soundscapes?
The final result of the process referred to in "Raspad" can be either the cessation of human life on Earth, or global zombification and spiritual slavery.

Please,tell us a bit more about the general concept of POST SCRIPTVM,as an integral part of your existence? where from comes the main idea for such name? and how has been the transition from "Gauze" album to the upcoming " Grey Emience"album?
PS began at the end of the XX century, the name being a paraphrase for fin de siècle.
Over the 8 years that have passed between the two aforementioned albums the subject matter and the intentions behind the music remained virtually the same. The compositions grew more subtle and complex.

So what's coming from the act after the new upcoming album.are you involved in any other project? so please just finish this mini interview as you want please!!
We are not involved in any other music projects. New material is in the works and we are thinking of doing a mini-tour of Europe Event organizers who may be interested in having us play are welcome to contact us via www.postscriptvm.com or www.myspace.com/postscriptvm . in the second half of 2010.
Thanks for your questions and best wishes to all our listeners, hope you enjoy "Grey Eminence"!

(Reviews 65) KYRON,MAURIZIO BIANCHI/MAOR A PPELBAUM


MAURIZIO BIANCHI(Ita)/ M.B.& MAOR APPELBAUM(Usa)

"Neurotransmitters" Cdr 2009

(R.O.N.F)

So...a very interesting cooperative release is what arrives to our hands lately.And a experimental album full of dynamic structures with strong elements worth to explore. MAURIZIO BIANCHI is knows as an icon inside the experiemental scene wordwide,due its dynamism and eclectic nature of its albums,focusing into industrial/experimental nature.By the other side we have MAOR APPELBAUM ,a producer/sound engineer/mastering engineer and musician,which has been involded in alot of collaborations releases.So, both individuals converged into a conceptual album called "Neurotransmitters".The neurotransmiters are chemicals that are used to relay, amplify and modulate signals between a neuron and another cell....So,from such perspective they created two compositions in 44 minutes,in which you shall explore both "Dopamine" and "Norepinephrine",both structures are built into strong raw drone elements dressed with a noise atmosphere covering the whole total of the tracks.Both tracks includes some diverse elements which you can experience when hearing it carefully.Full of corrossive,hybryd atmospheres both artists show us its most strong facet when working together!so,for morei nformation just visit R.O.N.F !!



KYRON(Usa)

"Union" Cdr 2009

(Black Note music)

Another magical representation developed by Juan carols Mendizabal...This time under the name "Union",showng us a long album,focused and developed through samples from a Jewish weeding ritual ceremony in Yosemite National park,also the diverse nature from such place,was used for this release.The result,is an amazing album as the whole creation of this deconstructive artist.28 compositions which so, diverse atmospheres and elements worth to explore from start to finish.Just for example we could explore tracks such as "The Path" and such incredible percussive sounds bathed by such incredible melodic patterns. Or just "witness 3" and "witness 10",with so minimal ambient structures surrounding around the whole picture of the track.The music is expanding into diverse creative levels. "Impermanence" a track full of repetitive chants and atmopsheres with electronic rhythmic patterns.Through "Man" you shall experience more electro elements which reminds me to the experimental minimalism structures of the British cult Coil. "Witness 9" is another strong composition which you shall explore.This time strong mutative percussive elements dressed under electronic devices and such minimal atmospheres. Tthings Stay The Same",congregates surpresive nature elements bathed into percussive soundscapes.Initially small musical fragments were created to accompany the text and photographs of the Union web installation view able at http://www.vialuminosa.com/union these first fragments were then re-mixed and lengthened and expanded upon to create a more detailed assortment of stand alone musical pieces.so as mostly of the whole albums KYRON explores its own universe floating into experimental ambient electronic elements.so just go and order the albums at BLACK NOTE MUSIC.

Wednesday, 10 February 2010

SILKMILK Magizain Vol IV Out Soon!!!

Magizain
Vol IV
Square-bound A4-size Journal:
184 pages, 80 in full colour, including colour pull
-out and covers
Comes with DVD: 2 hrs audio, 1 hr video.
70 contributors.
Background image:Fascinum Panel 4 by Iain Whittaker, from the SilKMilK 4 centrefold.
The delayed birth of this 4th s p o o l seems to be for good reasons other than my own preoccupation with other project(ion)s:
In the inter-rim (the great circular and illusory edge betwixt that which lies without and that which lies within) real (as opposed to virtual) world wide webs have been e x pan d i n g along other channels.
Extensive travels have unravelled new connections in an ancient tapestry of old souls,
new blood in the esoteric commUnity and the continuity thereof is greatly reNewed
by their presence in the new s p o o l 's possibly-pristine pages...

On a material level new opportunities in production have enhanced the physical vessel of SilKMilK, allowing much more colour (thus expanding the range of visionary artists contributing)
and a DVD including film rather than just an audio CD.
So silken sensualists all may now delight in a magizain of much greater quality and quantity for almost the same price
(at least in coins of parlance, for the same sluice of your soul is required to partake as of previous s p o o l s, perhaps even more.
But partake, partake, for we give of our own souls in return, pouring our passion through Art into the new s p o o l 's potentially-pragmatic pages)...

Limited to 1000 copies (including contributors copies).
Official Launch Date: 16th February 2010.
Now taking advance orders (to be posted by the end of February at the latest):

(CCNOW is secure, converts currency and accepts paypal and all major credit cards)
INFORMATION about the MELBOURNE LAUNCH (with musickal and theatrickal performances and art exhibition from local contributors) HERE

http://www.crossroads.wild.net.au/silkmilk4.htm










HYBRYDS (Interview)


Interview
By
Kerval
HYBRYDS,is more than a legend inside the experimental scene,is a psychotic organism mutating and creating new forms all the time... Sandy Viktor Nys answered so this in depth interview ...so,just red what Viktor aka Magthea has to say...

Salut, Magthea, so long time my friend...well, HYBRYDS is a mutative organism, which is developed through sonic, visual patterns, and so what comes to your mind when first time explored with sounds for the success HYBRYDS has at the present moment? And how is mixed visual and audible elements in the present moment in comparison old days?

The big difference with now and the past is technology. In the beginning of the 80 ties when I started to make music, I only had a cassette recorder an old reel-to-reel Sony stereo tape recorder, a Tandy Realistic microphone and a small Tandy mixer. Sounds were recorded immediately, manipulations I could only do in speed on the reel-to-reel recorder. Later I got a cheap echo device which made more noise from itself than the sound you put it; I used it as my first synthesiser. Later I got the Korg MS20 synth and the Tascam 4 track cassette recorder. Video was analogue, to edit you had to make copies, and each video generation became worse in quality. And all that equipment was so expensive. Now a complete professional recording studio is available as software on any computer for almost no money….

Perhaps to mix primitive ethnical, ambient soundscapes, industrial, and electronic devices is the principal elements to the great development HYBRYDS has reached?
I was more fascinated by sound than by songs or music; my first records I bought in the beginning of the 70 ties were Frip and Eno, Tonto Expanding Head band, Guru Guru, Tangerine Dream… Electronic music not made with guitars, different music, captivating sounds. I wanted to make “music” that did not exist, mix different styles and cultures, the fascinating trance rhythms of ethnical music, the sacred songs of Shamans, put it together with Western experimental sounds. Creating a new hybrid kind of music. Now everything is so easy to put together on a computer, in those days we had to mix it in trial and error. It worked or it did not work.

So, it’s the main purpose with your releases to open a nexus into the Magickal spiritual world in which HYBRYDS resides and listeners minds in order to transport them to such mutative universe generated by yourself?
My interest in the esoteric and magical principles, created the concept of Hybryds. I started to put those ideas in the music, influences of books, movies…all stuff that I thought could be mind expanding, give meaning to life. I was raised as a catholic and I hated this terrible monotheistic religion, so I got interested in the Paganistic side of life, this shaped the music of Hybryds. In many cultures trance music was a communication with a higher level of consciousness. I wanted to make a western, industrial version of mind-expanding music.

Due to our curiosity, we want to know more about "The Ritual Should Be Kept Alive part 1" and to work with Djen ajakan S and Vidna Obmana? And what about "The Ritual Should Be Kept Alive Part 2"?
The ritual should be kept alive, part 1, 2 and 3 where a collaboration between me Djen Ajakan S and Vidna Obmana. Djen programmed the electronic basic rythmtracks on my demands and Vidna did the vocals. It was a trance-inducing piece; we performed in churches or other sacred or strange places. The video projection was a compilation of ethnical and sacred rituals. Live I did the mixing, and Djen the woodblock percussion, Vidna the vocals, later Ah Cama Sotz joined the live set up. I always like to work with different people to create more than I could do by myself. We did many live gigs, with different extra guest musicians in which we tried to create a trance feeling for the audience. In those times there was only rock and roll, so we were a weird band. Lucky the industrial scene was born and we could find our audience in the underground. For years our music was never noticed by the official press and radios, we existed solely in and thanks to the underground scene. But our music had something to tell, something could happen to your mind when listening.

How the first steps were back 80's to mix primitive music with thechnology? And what's your fascination for African tribal drumming and rituals?
My fascination with tribal music was born when I was 16 and visited my parents who lived in Africa. We were invited by our “boy” to watch a fertility ritual in his small village. The girls who became woman were “sold “and this happened with tribal drumming and for me strange rituals. Those people were in an alternate state, in trance, and even I was of this world on that moment. Western music never could give me this feeling. And as I told in question1, mixing this music together with western influences was not so evident, we had to cross borders, and we created music that in these days not many people accepted as music. In the beginning of the 80 ties I started a radio show on Radio Centraal, an independent Antwerp Radio Station where I met very creative weird people. 3RIOTAPES was first collaboration between Dirk Ivens, Henk Wallays and Sandy Viktor Nys. In those times (1983) their was only snail mail and phones, so 3RIOTAPES was run soon solely by Sandy Nys. It was a low budget, self-made scene. Tape desks and photocopy machines and snail mail were the chosen weapons in the urge of being independent and creating our own way of an uncensored worldwide communication. The first project was the “audio communication “series. A tape (K7) compilation with bands and artists from the world wide underground. Each contributor got one chrome master tape and sleeve cover to copy and distribute to his connections. More than 10 compilations where distributed world wide, an immense collection of tape releases followed, from Merzbow to Attrition…This music scene was connected to the mailart scene and backed up by American college radios and free radio stations, in Belgium and Holland, organizations like EE TAPES ( B) and HAMANDAHA productions ( H) were organizing independent K7 festivals with music gigs and labels selling their independent mostly self made releases. Around 1983, Sandy Nys joined RADIO CENTRAAL, Antwerpen with “NETWERK” a radio show dedicated to those independent tape releases. NETWERK lasted until 1997. During those years, 3RIOTAPES collected an immense amount of music on tape and limited vinyl and CD.We are working on a database of this collection and in the future we want to offer this archived collection to the world as free MPG. Radio Centraal and his many crazy people (Bobby Colombo!) resulted in weird audio projects and everlasting friendships. ( Spectre, Ah Cama Sotz, Hypnoscull , Insect/Monolith, Dive….) Sandy Nys got involved with music projects like the KLINIK (1985) and HYBRYDS (1986) and released and promoted their first music on 3RIORECORDINGS.
In 1992, 3RIOART vzw became an official organisation.(Registration number, Belgium : 0449.654.584 )
Its .. to promote underground art and music. It also became home of HYBRYDS, the ritual industrial music and art project from Sandy Viktor Nys.During the years many artists have used the structure of 3RIOART for their creativity. Info: http://users.telenet.be/3rioart/pagesweb/intro.html

Tell us a few about your project NA-DAH, and which were the principal elements you thought for such creation? Any inspirational hidden force let you to express yourself though such act? Any new album soon?
My side project NADHA was only a name to make a difference between the Hybryds concept, in which I worked with different guest musicians and my solo creations. And I do not use this name anymore. Because all Hybryds music is always me. My concept, my ideas even if I work with others, they know that they contribute to my concept, my world. They are part of it and in a way they would never be able to create this music on their own, it is I who shape everything into the sound, the arrangements, the stuff I like.

So what about playing live with HYBRYDS and NA-DAH? Which were the principal elements you try to focus when playing live visually talking, do you have in mind a definite visual context when playing live, or it’s just more spontaneous before a show? Tell us more about the most representative shows you have developed?
Our live shows were in the beginning always in strange or sacred places, later when the industrial scene, especially in Germany became big we started to play festivals. We always focused on trance, always used video and music to establish this. Later in the 90 ties Hybryds were only playing live as a duo, Yasnaia and me. We did good shows and bad shows, it dependent if we could hire a sound engineer to mix live or sometimes the sound installation was so bad, that none of our efforts became real.

Talking about visuals, how do you discover your skills as graphic designer, and are women are the most influential source of inspiration? What about to work in HYBRYDS expositions of male-woman, combining both sex, erotic and seductive faces of both facets?
I have been drawing all my live; my official education is that of graphic designer. In those times only with pen, paper, or paint, now I only work with a computer, Photoshop and a wacom pen. And now my visual work is based on the dark images from a paganistic past. The viewer gets submerged in a hyper realistic world. The nightmares from one person can be the sweet wishful dreams of another. The images refer to mythical times; they become speechless, recognizable in the unconscious. Women, naked, painted, decorated, besmeared, in bondage, rubber or leather, they look/glance not ashamed in the lens from the camera, or languished turn away their looks, to the other side. They sojourn in bizarre dimensions in worlds that are only known in the collective unconscious of humanity. The models are the witches of our times; they look and decide themselves how they will appear in front of the camera. Their look and attitude become the basics for the work of art. The artist is nothing but the translator, the interpretation, and the chronicler. He makes their being complete with his unconscious images. So they become on the digital canvas, a reaction against the monotheistic culture. The works have an almost alchemistic character. Out of the warm colours and organic shapes bubble up hidden symbols to the front. The female forces from the paganistic culture are central in the work. After the first visual shock, a fascination comes into existence. The themes are dark and disquieting. They are full of contradictions, decay, decline and beauty, chaos and creation, pain and pleasure. One needs contradictions to compare, to weigh. You can only know and understand beauty if you also know ugliness. The present male monotheistic culture gets confronted with its female counterpart, out of a far past: Paganism, the culture where fertility, women, magic and dreams are centralized. In a first superficial view, the viewer gets attracted to the cliché of female nudes; afterwards he gets submerged into an atavistic universe. The woman becomes an archetype; de seducer, the demon, the girl, the whore, the slave, the mistress, the priest, the mother… She finds her power in centuries old rituals. She gets rid of her present symbol. She steps across the fashion-icon she must be in this present time. Her naked body restores the balance between male and female forces. Everything she is standing for in this culture she will destroy and accentuate. Some viewers will find it shocking and confusing, others will find it fascinating. On the paper, the centuries old contradictions become truth.

The amazing, creative spirit of” Soundtrack for the Aquaria of the Antwerp Zoo" is something which was surrounded my mind. So how was to work in such release and what's the main concept of the album for those who don't know it? How important is originality when creating music for HYBRYDS, I ask you just because the whole albums seems to be very different?
Soundtrack for the Aquaria of the Antwerp Zoo, was made on demand for the Zoo to celebrate their 150 years of existence. I worked as a graphical designer at the Zoo in those time and we performed live at the aquarias of the Zoo. It was especially to the contribution of Ah Cama Sotz and his DX7 synth sounds that made it a real strong eclectic ambient concept. The first release was done by the Zoo of Antwerp, it was 1 cd with songs from Vidna Obmana and Hybryds. Later the complete Hybryds version was released on DAFT records.

In connection last question...such originality, perhaps reflects a part of your Personality, so eclectic and mutative, just as an HYBRYD emanation coming from deep realms of your subconscious?
I think its is clear that Hybryds is a reflection of my mind, my ideas my way of life.

Tell us about the extensive 5 years of hard working for the development at "Dreamscapes from a dark side” Album. And tell us about the present structure at HYBRYDS now anno 2009 E.V. And the work with Madeline Arndt as new vocals?
Dreamscapes was created out of bits and pieces of left overs, music and sounds that nowhere fit in, until I started to glue them together on a reel to reel 8 track. It was not like now with the computer, it took hours and hours to put stuff together, no time stretching, no computer to help, and all was done manually, by trail and error. And it took a long time.

"Dreambient" DVD is really a masterpiece full of diverse visual elements dressed by intense ambient, deep soundscapes floating though the whole work...so tell us which were the principal elements you choose to work into such way? There will be a second part or just it was a conceptual DVD?
From 2000 on I started to work with a new vocalist, Madeline Arndt,(from
http://www.schattenkinder.de/) first in the studio, and later live. Dreambient was a conceptual project that I worked out with Madeline and her boyfriend Sven Germeroth, he did most of the music on computer, sending it to me, I put it on my computer, and changing stuff until I was happy with it, than Madeline put her vocals on it. The video was created in Final Cut, and is a reflection of my visual art. (http://www.facebook.com/pages/TraumaSutra/95050393320) This is my new live project with Peter from Traumasutra. A new cd from this project will be released on Sleepless, the new label from Schlagstrom (http://www.schlagstrom.de/)

Tuesday, 9 February 2010

(Reviews 64) :GOLGATHA:,AETERNA

"The Waste Land" Digipack 2009
(Cold Meat Industry)
So, Perhaps some of you have never heard this album, from this excellent ritual folk, ambient act called :GOLGATHA:,so,well this is a re-release from the first ever released album, in which :GOLGATHA:,reveal us how was its first steps into its devotional strucutres,which at the present moments became one of the most impressive and acclaimed acts worldwide. Due the way as was released "The Waste Land" by cold Meat Industry, we consider this a total masterpiece full of intense moments, obscure ,heretic expressionism revealing the nature is which :GOLGATHA: was born...so, the whole tracks were re-mastered, especially for this release! 14 compositions + two bonus tracks is what you must find in this re-release. tracks such as "Purification”, the opening one, offer us a hypnotic ambient atmosphere created though gongs sounds and elements which give us an idea of how ritualistic is the main structure in: GOLGATHA:, Christoph Donarski, the mastermind behinds this ritual project continues his explorative path with tracks such as "vortex Of life”, built into dense ambient atmospheres dressed with eerie soundscapes and drone elements which seems to absorb yourself al the time.” Eternal Kali Yuga" is just brillant, thorugh the use of percussive ritual elements and haunting atmospheres this track is one of my favorites,giving you a vacuity full of sensations and different feelings while hearing voices ,appering though the whole track. Another track here is "The End”, a suggestive piece full of ambient passages and female voices, increasing its power when the inclusion of ritual drumming elements complementing perfectly with the whole structure of the composition."Shadowland" is one of such pieces which you will never forget, due the amazing production and musical structure created by ritual chants and atmospheres mixed with an excellent dark ambient soundscapes.while "Agonia/Invasion", and emerges into melancholic acoustic guitar parts and sticking percussive drumming elements dressing the structure of the track. The highlights at "the Waste Land" album is how is track has been built into a dynamic way, opening new channels of perception and offering you new horizons due high levels of musical deconstructionism generated here. so, the use of Arabian chants in "The Clash" is a proof of it, giving such an oriental atmosphere due how the track is developed, full of drumming elements and chants this became a must track to hear once again and again. The use of diverse elements as Bamboo flute, African drums, metal scratchings, violin, voices, Japanese gong, is enough arguments to explore "The Wasteland" just more than a simple album "The Wasteland" is a inner voyage to magickal, desolated paradises visualized to be travelled by yourself.” March and Elegy" is another composition full of power and energy, due the magnitude of the atmospheres and percussive elements dressing the whole track.


AETERNA (Ger)
"New Dawn" Digipack 2009
(Cold Meat industry)
AETERNA is the magickal exaltation of Birthe Klementowski Aka Alfa and Christoph (Omega) known for his ritual folk act :GOLGATHA:,here in this project he explores diverse visions and dimensional paradigm focusing on trans-modern, neo-shamanistic, animistic spectrums,transmited via musical incantations though the inner light searching for a new dawn...an inner death where to reborn and to die are cycles of the same dimensional pattern.so,AETERNA is such luciferian light, such invisible light emanating its rays upon yourself.” New Dawn" offer you 11 compositions of apocalyptic ritual folk, in which you shall enlighten your mind and spirit due the emotive of the whole tracks.” New Dawn" is an album in which the obscure scenarios are present at every moment, from the opening track "Invocation”, built into dense atmospheres and mysterious soundscapes full of power, to the last one "Tears" transforming enigmatic voices, flutes, acoustic guitars into a dark melancholic piece full of sadness and sorrow. Is amazing to have the pleasure to delight ourselves with such expressive cinematic, destructive marching hymns such as "End Of Days”, apocalyptic marching drums and atmospheres evoking death. A ritual composition with the necessary power and energy to keep you expectating all the time.” New Dawn" is a composition of beautiful character, veiled into melancholic acoustic guitar parts, effects and perfect female voices appearing through the whole track. A rich track full of sensitive expressionism is what you shall experience here. The next track "Waves" seems to be a kind of continuation of the last track, but this time with Male voices, in which alpha express all his reality though Acoustic guitar parts, and interesting atmospheres."Wolfcross”is just a perfect soundtrack for a movie, full of dense atmopsheres, percussive soundscapes and spoken voices accompanied by melancholic acoustic guitar parts, tranforms the whole structure in a solid atmosphere full of enigmatic soundscapes.Though "Transition" thing goes oriented more into drone passages surrounded by obscure atmopsheres, and dismal soundscapes."Ultimate Will" crawls into martial drumming parts with spoken voices by alpha, and some whispers creating ghastly apocalyptic atmopsheres.Wtihout a doubt there a new dawn, a new dark star shinning in horizon, because AETERNA,is such inner light unleashed into earth, where death, mysterious enigmatic realms are the keys to find such luciferian torch!! So, for more information and samples just visit AETERNA's my space page. Also is worth to mention the amazing cd art such talented german artist Birthe Klementowski.

Saturday, 6 February 2010

iN (s)CissorS Interview

IN (S) CISSORS
I
nterview
By
Ker
val

The shape of vincent Andelmoth has been recognized as a creative visual artist and deconstructive spirit though his musical project iN [s]CissorS,described as "Cinematic Ambient"...so,here is a long interview with Mr Andelmoth in which he explores the different visions,thought and structures reffering iN [s]CissorS such as his personal activities.
Please step inside and wander through the realms of iN sCissorS

Salut Vincent, and welcome to PAN.O.RA.MA Journal...so, tell us about how was born in your mind the idea to express yourself through a Dark ambient/neoclassical act such as iN(S)CissorS? And what's the hidden persona meaning behind such name?

Greetings my friend Kerval. First of all I want to thank you for your interest through all these years and your support as well as for hosting iNsCissorS in your journal! So, let us begin, iNsCissorS was born during the winter of 1999, with a different name back then but the main idea to evolve was more or less the same with today. I don’t exactly know how it came to form such a project to be honest but it was and still is my need to express myself through music and experiment with sound.

Through time the project’s sound identity started to take shape and form, thus derived the image iNsCissorS has today, meaning not that the possibility of changes and even more experimentations are not possible. Music is as flexible as the human mind is open towards it, provided that the idea of music is above all highly respected.

At this point I believe that there is the need to mention No Angels Prod. And my really good friend behind the label, Radunir, he along with a friend of mine named Michael are responsible, each one in his own way, for giving the needed boost to my confidence to take iNsCissorS one step further in 2007 and release “The Veratrine Evangelicum” on No Angels. Prod. Before that I did never though of taking my chances to present my music to a wider audience than my friends. I want to thank them both for all they have done up to these days and for what they still do.

As for a hidden persona, I don’t believe that there exists one behind iNsCissorS. Since this project is my thoughts and another side of myself which I prefer to express through it, but myself consists of these parts so iNsCissorS is still me in its own way. iNsCissorS may describe a world that physically might not exist but these are all my point of view and also metaphors for the listener to explain.


In which way do you think iN(s) CissorS, as a latent important element in your life has given to you so much bases and ideas for your developing as graphic artist? What’s the main emphasis you focused on when creating a digital image or visual structure?

iNsCissorS is a great part of my life and of high importance, a co-existing entity I might say and it means so much to me. To be honest I don’t see or consider myself as a graphic artist, I just try to also translate my thoughts and music in images, the truth is that in the field of graphics I am self instructed so every chance to create an image is a challenge for me to find out something new. iNsCissorS is so strongly bound with its visual side and thus making the musical and the visual parts inseparable.

The bases for the creation of an image or video come with the completion of the music whether it is for just a song or a whole album. After the musical part is finished I re-enter myself into it but this time to create the visual aspect of the sound.

A fact is that I don’t think iNsCissorS as a latent element in my life but having a mutual need for each other, my mind is bound to it and it to my mind.

Due, the so high development and complex arrangements your music has. So I ask you: do you need to be in an especial mood or feeling when creating music for iN(s)CissorS?

Absolutely. For me creating and working on iNsCissorS and in general with music is something like a sacred ritual. There are feelings that will stimulate my mind so as to compose a melody and step inside another reality in order to work on soundscapes/effects and melodies. Each time I isolate myself to an environment I feel that nothing and no one can enter without my permission while I am working. This might take hours or even days. After that I have to return to reality. Another motivation might be a visit to some place that will stir me, for example upon returning from one week of holidays in Prague on December 2007 my mind was full of images and melodies.


Now, let’s go enter to the realms of "The Veratrine Evangelicum", and to explore a bit about the main ideological concept behind such title and compositions in general? So, does pain, desolation and mental freedom are elements which one can find when exploring deeply the whole music in "The Veratrine Evangelicum"?

Well “The Veratrine Evangelicum” as mentioned is in a way a live album, with the exception that there was no audience at that moment, it was recorded in one night while experimenting at home…These have been some very strong moments which I can still remember so vividly.

So, the ideological concept derives from the album’s title. First of all allow me to provide an explanation of what “Veratrine” is so as to analyze the title and therefore the concept. “Veratrine” (Veratrum) is a kind of poisonous plant, a genus of coarse highly poisonous perennial herbs of the Melanthiacae Family but other than its use as a fatal poison it can also be used for treating several ailments when used in the right way and amount. This provides its existence a different meaning each time based on its use, proving once more that everything in nature has its purpose and maintains balance. In contrast with what at times may humans create willingly or not that can be completely inane (like roaches for example).

Now, combining the words “Veratrine” and “Evangelicum” aims to create the meaning of what a book and its’ content may be. It is what

the reader will translate at the end in his/her own mind and therefore adapt to his/her way of thinking. This may be like “Veratrine/Veratrum”, either dangerous or salvific and in this album’s occasion a Gospel. The sayings of Jesus Christ for example or the apostles can be explained depending on who gives the explanation and the way he/she receives them or thinks in general and sometimes they might prove fatal as shown in the past ( e.g. The Inquisition). This may exist in any kind of religion and at this point I think it would be wise to make clear that I do not oppose to any religion since it derives from the need of human nature to believe in something above so that the weak may bestow their hope upon it, I oppose to the people who use religion in their profit deviously taking advantage of the others.

Pain and desolation do exist in this album but mental freedom is addressed to the listener to enter him/herself into the realm of Subterranea, where the whole album is supposed to take place, and make him/her create a different reality

. This of course depends on where and how one listens to the album.

Finally the concept in a brief is to present a world that has fell in oblivion from all mindless and dogmatic manipulating beliefs that ruin human decency, diminish the value of life and therefore balance in life and nature. For example in “Roaches’ Temple”, roaches is something that has derived from human doings and it is a plague to this world, so referring to the idea of “Veratrine/Veratrum” and nature you can judge by yourself.


Reveal us a few about the visual side behinds the cover album, and the development of your mind while working on such images, so I mean what do you want to represent which each one of the images? Perhaps each image has a hidden connection with one of the VI chapters included on The Album?

The images of “The Veratrine Evangelicum” comprise an alteration to the Christian religious images, another aspect to make them fit to the album’s idea and the concept that everything is possible to be different than what it seems to be behind a dogma, that’s why the stigmata appear on the body of a woman for example, where we all know that the dogma considers woman as the source and the reason for the pain and condemnation which befell the protoplasts. Why I chose the Christian dogma? I believe that when using an idea that has great effect on people and altering it the effect of the alteration will be the same strong in it’s own way and controverts what must be questioned.

“The Veratrine Evangelicum” represents an altered reality and that’s why these images depict their symbolisms in an inversed state (the wounded body of the Messiah is depicted as the body of a woman for example, aiming that this contrast neutralizes the

usual symbolisms and questions them). The truth is that the images are not linked to each chapter separately but to the whole album in order to provide a general image of the album’s atmosphere, concept and philosophy (if I am allowed to use the specific word). From that part and on is up to the listener to use his/her own imagination and create his/her own images so as to enter the realm of iNsCissorS and Subterranea. I just show them the gate, what they will find beyond it is up to their mind and way of thinking.


Your new album is called "Orbis Terrarum Requiem”, So will be great to carve more inside the main concept of the album, and about in which way do you think the musical side has evolved so much in comparison last album?

“Orbis Terrarum Requiem” was released last summer on Zoharum Records as a DigiCD in 500 copies. The main concept of “Orbis Terrarum Requiem” is what humans have caused to Earth and Nature. As mentioned in its title it’s a “Worldwide” Requiem. The album is a lamentation for the human decline and disrespect towards the environment. It describes a world deserted and the only inhabitants are life forms that used to dwell beneath the Earth's surface even long before the Nature's fall and they still do after it...

I believe that this album is more than a step further to the musical evolution of iNsCissorS and it has a more personal touch and identity this time. I consider it more mature in the fields of structure, sound and composing. I didn’t want to make just another dark ambient album to play in the background but to enrich more and various elements and provide a different character to it. Not to keep it into just dark ambient. Up to now I feel really satisfied that all the reviews “Orbis Terrarum Requiem” has received justify my thoughts and my expectations for it, even some times exceed them too. It is really great to see that people can understand what iNsCissorS has to tell and appreciate my work.

From the reactions to “Orbis Terrarum Requiem” derives the need to work harder on my next release and make something even more mature and to take iNsCissorS at least one step further again. I have promised myself that I won’t tolerate something less than “Orbis Terrarum Requiem”.


So, I was thinking, how will be an iN(s)CissorS live performance? Which visual elements will you use in order to give a more proper atmosphere to the music performed live?

Up to now I had the chance to perform live three times since 2007. The first two took place in Greece, the first one in the town of Xanthi (with the support of my friend Michael and the Folklore Museum of Xanthi) and the second one in Rethymno at the island of Crete with the support of “The Bloodcult ‘zine”. The third one was in July 2008 in Budapest/Hungary at Hyperborea Fest. VII where I had the honor to perform along with Vestigial and Raison D’ Etre (where the second one is one of my most admired musical projects). Then came a pause for a year and some more since I had to join and serve the army (which is obligatory here in Greece by the legislation).

My performances up to then were accompanied with some video projections in the background made by me (abandoned places, basements and in general images of desolation were the main subject of the projections but not only this). This is a feature I will keep and work even more on it henceforth and also work with brand new equipment and techniques on the musical and sound part.

There are some more ideas which are under thought and development at this time to even make the performances quite more interactive but since I have not made up my mind about them yet I think it

would be better to finalize them first before talking about them and see how they work in performance conditions.


Any influences are crawling to your mind in order to express through another musical project, an exhibition of your visual art etc? What’s coming for this year 2010 with iN(s) CissorS, any new release or something more?

Well for the time being there is a project/band I am working on but this is in a completely different form and sound direction. It deals with harsh electro/aggrotech sounds and it is called Hydra Division V.

Apart from this project there are quite some ideas I am working on but time and their final form will tell if a new project will derive from them or if they will be merged with my work on iNsCissorS.

An exhibition of art is something that I have considered quite some times but I have not decided yet (though I have already exhibited older works of mine once in the past), it is very possible to take my chances with that again but if something like this is to happen I want it to be something special and this requires more time than I can afford at this point, right now my top priorities are iNsCissorS and Hydra Division V.

I think it’s too early to talk about specific things in 2010, as mentioned before I will provide iNsCissorS the time needed to create an album to exceed the level of “Orbis Terrarum Requiem”. But there are some things that I can tell for certain at this point.

First of all is something that I have to admit I am proud of and at the same time honoured by it. I have been given the opportunity to compose the score for the short film called “Destin” by John Santerineross. I worked in new ways this time and there is also physical cello (performed by my brother Jason) and female choirs in the score (performed by my dear friend Angel) combining them all together have given iNsCissorS a new sound but without hiding the projects identity.

John Santerineross has been my favourite photographer/artist for many years now and it has been a great challenge for me to compose a score worthy of “Destin” and work with an artist I highly admire. I also through all this had the chance to meet the artist (even through the internet) and to find out that he is a really great guy and that this is a unique experience that taught me much.

Other than that I am also working on a project along with another artist/musician whose work i really like and feel happy to work alongside with. He's Simon Kolle (Za Frumi, Musterion, and Abnocto) and we have already started to compose its music and soundscapes so shortly after our first work's completion we will be looking for a label.


Tell us a few about promising acts and projects into ambient/industrial fields coming from Greece? And thanx a lot for your time and support my friend so close this as you wants!

As for acts from Greece I unfortunately can’t seem to find anything in that field, at least at this time period, I remember an act that draw my attention some years ago was Seelenblut. Unfortunately the lack of new promising acts in general is that some people don’t look deeper to what music is, that music is an open-ended vessel to express one’s feelings and mind and not a way to show off by making something that they think it is extreme or underground and thus they fall away from the essence of it.

In my opinion the dark ambient sound is a really tricky and yet misunderstood field. It is easy to create “one note” ambient tracks or present a pointless and even sometimes excessive use of noises without structure or purpose. It doesn’t mean that since someone found a pad in some software or hardware synth, locked a note to play throughout the whole song and added some samples, distortion and noises that he created dark ambient music. The hard part is to create something unique.

This is a field to create ambiances, atmospheres and to experiment/improvise, to free ones/your mind, not to use stereotype methods that even someone who has no idea about music can effortlessly do. Also dark ambient is (in my opinion always) meditative music and therefore it can’t be something random in that way. So I believe that there’s a very thin line between what is really dark ambient with what is futile noises and random sounds. One might think that I judge things hard with all that is mentioned above but I am sure that those who know what they are looking for in dark ambient and experimental music can clearly understand my points.

Closing this I want to really thank you for your support my friend as well as everyone who has supported iNsCissorS up to now. Also I want to thank Danni both for appearing on "Orbis Terrarum Requiem" cover and for being one of the most important people in her own wonderful way for my inspiration and standing beside this project. I hope I didn’t tire you up with the length of this interview. I am really honoured by being hosted at your journal and I wish you all luck with your work here and your music too.

With my warmest wishes to all of you reading this and respect

Sincerely

Vincent Andelmoth