Monthly Archives: January 2012


This blog has been about digging old graves so far, but I thought it would be relevant to bring some more recent happenings forth too. Therefore I give you “The Chosen Three”. This article will be out in the end of every month and will present three (or more) bands/demos/EP’s/albums which impaled my mind during this particular month. All of these selected pieces aren’t the most current ones, but I hope this series will give something new and inspiring after all – at least there will be a word or two from the artists too. So here are the chosen ones for January, make notes and make graves!

PYHÄ KUOLEMA: Saavun vaikken kulkisi (Anima Arctica 2011)
Pyhä kuolema is Mikko Pöyhönen’s – known from now dead Tuhat kuolemaa sekunnissa – new form. Like TKS, also Pyhä kuolema is about acoustic music, but when TKS was too bland and mediocre in my opinion, Saavun vaikken kulkisi goes deeper, to the intimate sources of magic, nature and sorrow. Maybe one reason for this is that Pöyhönen is alone in Pyhä kuolema – he wears the heavy robe of a singer-songwriter and manages to pull catchy and memorable melodies and lyrics from his soul. There is variance in both: sometimes you float in the haze of feverish folk, sometimes you are surrounded by shamanistic soundscapes; sometimes the train takes you through nightmares, sometimes comets hit your nerves. The whole album has a nice balance, and 34+ minutes is a perfect length for this kind of music. And all you non-Finnish listeners, fear not – Pöyhönen says that Saavun vaikken kulkisi (I’ll arrive even without traveling) has something for you too:
– While my music leans heavily on lyrics, I’m quite picky about how the words sound in my mouth. I choose over certain words, and sometimes long strips of verse, not only for their lyrical content but for their round, wailing sound. Some texts turn into better vocal parts than others, and here the perfectionist in me comes forth. These choices ease the brain for the listener who does not understand the language sung: the vocals become an instrument which, also, can carry messages far better than any written language.

CAULDRON BLACK RAM: The Poisoner Maxi-EP (Abysmal Sounds 2011)
Cauldron Black Ram. Cauldron. Yeah, this band is like a cauldron, which swallows different metals, venoms and pieces of flesh, boils them for good and spits out hideous beasts like that four headed monster on the cover of The Poisoner. This time the menu consists of old school thrash, doomy mumblings, Hellhammer and some Australian bestiality. The band stirs this all well with a professional but enjoyable primitive hand, and it’s amazing to notice how technical these songs are after all. This is the EP for all and for none. A twisted mass of metal. Esh (drums & vocals) describes the essence of The Poisoner:
– It is comprised of a four headed beast, all egos at war with another, vying for destruction and plotting betrayals – thus the cover. So although each track is most definitely a thinking beast, they are conjoined, whether they like it or not. These four heads sing of the dangers of wayward witching and demonic consequence. …I sincerely hope that doesn’t clear up anything.

NUIT NOIRE: The Gigantic Hideout (Creations of the Night 2011)
As I mentioned in my previous post, I waited for Nuit Noire’s fourth full-length with skeptic thoughts. Now the wait is over and The Gigantic Hideout has revealed to be a charming album. Tenebras has sharpened his compositions and especially postpunk/postrock elements are more effective than ever. Still this isn’t a pale Alcest copy after all – nightside lunacy is still there, and Tenebras howls his demons out with an inimitable touch. This is how Tenebras himself comments the situation during Lunar Deflagration debut and now:
Lunar Deflagration was something very special and I don’t know if I could do something like that again. It was the result of this situation of that time – my brother had just left the band and thought I was going towards a shitty direction. I was craving to record and I was a beginner at singing with non-scorched vocals, so in less than four hours I recorded it. It was a pure revolt against the codes with a total no-care attitude, for the voices I didn’t even stop the recorder in between the twelve tracks – I let them play one after one and sang along. The following albums were more controlled, less urgent, and they were not the fruit of an accident like Lunar Deflagration almost was.
– And for the brand new album, it is even something else. I pushed the instrumentation forward and again everything has been quite controlled although I experimented a lot.


Necros Christos has always been a reliable band what comes to interviews. Maybe the reason for this is the band’s serious and in-depth attitude against everything they are doing: be it song writing, lyrics, concepts, interludes or live performances. They started on the solid ground and have just kept climbing higher – the last year’s offering, Doom of the Occult, was another fine example of this.

But you have to start from somewhere, and in Necros Christos’s case this “somewhere” was two top class demo tapes, Black Mass Desecration (2003) and Grave Damnation (2004). These two little bastards have always been the strongest efforts from the band to me: the vision is still quite raw but it has the enjoyable rough edge in it. This doesn’t mean that I don’t enjoy the more profound material of their full-lengths, but these demos hit you harder, more with power than with wisdom, in every area – cover arts, interludes, songs like Red Wine Runs Out of the White Skull of Jesus or Doom of Nekros – Death of Christos…

So another – and the last – take from Kaleidoscope issue number two. This a bit shallow interview was supposed to be published in Satanic Tyrant Werwolf’s Zabulus zine, but because that issue never saw the light of a day, I took it back for Kaleidoscope. The interview was done with Mors Dalos Ra in the end of July 2005.

Doomish Death/Black Metal is not the easiest genre to master, but German Necros Christos is a band which has created deathstriking monuments in this abyssic genre. The mastermind behind the evil works of Necros Christos, Mors Dalos Ra, cracked the curtain to us.

So, what is the most important reason of Necros Christos’s existence and what do you want to give to the listeners through your music?

– Spreading darkness, damnation and death amongst those who fall into our sound is one of the main reasons, plain and simple. Bringing back real, necromantical Death Metal is what I’m trying to achieve. And what I want to give… Ritual waves, which will be feared instead of being loved, something so dark that even those familiar with so called “Death” Metal will wet their pants.

And what does Necros Christos give to you?

– When I began composing for Necros Christos back in 2001 it was not just these typical “Oh, I wanna do something outstanding, so let’s try…” – thing, I felt “chosen” from an unknown source of higher inspiration when the first tunes hit me like a lightning bolt. I know damn well that these phrases sound totally fucked up, but I AM insane up to a certain point and one has to be when playing real Death Metal…

You are the mastermind of Necros Christos. How wrong is it to say that Necros Christos is your own vision or could Necros Christos be a democratic band someday?

– No, never I guess. But the other guys knew before and I’m still open for ideas. Actually, we’re arranging the songs together at the rehearsal place and I’m not telling Christhammer what to do on the drums, he’s so deeply into my vision that no further explanations are needed. The same goes for Thy Black Shepherd, our new bass player who now completes our triune of abysmal doom…

Your demotapes Black Mass Desecration and Grave Damnation are very strong and coherent entities with those interludes etc. Have you tried to write songs which fit well together?

– I never thought about if the songs of one demo would fit well together, as I told you before it’s a “natural”, and obviously an occult one, process which crawls out of itself and needs no additional thoughts.

Are you going to evolve Necros Christos musically?

– I will never evolve Necros Christos musically, I hate most of the bands who are telling that they progressed so much with every new record. How it comes that their first demos or full-lengths are the best in their career then?

Can you reveal some facts about the cover of your newest demo Grave Damnation, where some German tombstone is placed upside down? It’s a photo you have taken, right?

– The pic was taken on a cemetery near my flat and the tombstone was rammed in the ground as you can see it on the cover, it’s no work of photoshop or something like that. It is for real…

What do you think about the real attacks against the church like tombstone desecrations and church burnings?

– I respect the dead and their remains, so I never did any tomb desecrations yet. Although I must admit that I find it attractive walking on a desolate cemetery with broken tombs, wildered graves etc.

 In my opinion your lyrics have two sides: on the other hand you blaspheme the personified Jesus and on the other hand there is a strong connection to magic and occultism. What kind of philosophy do you have behind the lyrics?

– No kind of philosophy, visions… and due to the fact that my whole consciousness is totally consumed by the powers of magic and occultism it surely does influence the way I write and compose…

So, I guess that’s the reason why there are some interesting song titles in Grave Damnation like Red Wine Runs Out of the White Skull of Jesus. What’s the story behind that song?
– Mary Magdalene stole the skull of Jesus after his burial and kept it as a shrine for the rest of her life. She sipped wine out of it and used it for magical rites…

You have done the most limited editions I have seen for a long time, for example Ritual Doom Rehearsal was limited to 20 copies. What’s the idea behind this kind of policy?

– Some recordings were just meant for the closest comrades and friends, so we decided to keep them for the inner circle. On the other hand, some of those editions had the reason to “inform”, not to “present” Necros Christos in its whole.

When can we expect a full-length?

– Yes, we sealed an oath already, but not by hand, by heart. The first full-length of Necros Christos will be released by Sepulchral Voice Rex from Germany. Their first release had been the mighty Charon 7inch, a first class release of real Death Metal. We had a lot of offers and I appreciate every single one of them, but in the end, we decided to go with them, becoming disciples of the sepulchral communion. As far as I can estimate it by now, we will record the album at the beginning of 2006…

I’ve heard that Necros Christos is a quite impressive live band. What does make you so special on stage?

– Mmh, makes me proud that you’ve heard it, but to be honest, our last show at the Under The Black Sun festival wasn’t so killer… Daylight swallowed most of the atmosphere and my guitar fucked up during one song. But I think we got through it like men, not like amateurs…
– But what makes us special…? We’re old enough to present ourselves as we are, we don’t paint our faces and react like 16 year old Gay Metal cocks and let the darkness within our music speak. Otherwise, you’ve to ask someone else who’s just watching, not doing the thing…
– And; The inevitable fact that the occult absolute doeth surround us at our live ceremonials is maybe one of the reasons of being a bit more special than others…

What’s your relationship to other German metal bands? Are you an isolated person or do you have contacts with other bands?

– Yes, contacts are enjoyable up to a certain point, serious contacts I mean. I’m in deep contact with the Katharsis brotherhood, Ronald of Horrible Eyes, Theby of Drowned, Ilja of Wolfthorn, Magus of Blasphemic Lust, Lucif of Moloch, Hurricane of Hellpike/ Zarathustra as well as my Berlin comrades like The Imperator of Black Warcult Productions, Phil of Summon For Satan (r.i.p.) / Temple Of Adoration, AK 47 of B.C. Imperator, Patrick of Iron Bonehead, Hansi and Jörg from Folter, Endrew the Starspawn etc…

Well, I guess we have reached the end. Any last words to our readers?

– For all those initiated into old, ceremonial Death Metal devotion Necros Christos is a tool to the boundaries of goetic magic.
All other: Please stay away, I’m tired off wasting my time…


I haven’t embraced Finnish black metal with all of my heart. I appreciate a few bands like Satanic Warmaster, Beherit or Horna, but I don’t feel that their majestic nature has opened to me totally – although it would be just natural to feel cohesiveness with the bands that come from the same country than me.

IC Rex has always been one of these better bands. From Lunar Possession demo, this band has followed its own star and created quite “non-Finnish” black metal although the band’s roots are deep in the Finnish ground. But same time IC Rex’s mind wanders among stars and Satanic dimensions, and this contradiction is one of the band’s triumphs. It’s majestic but same you can smell the mould and the moss. After the brilliantly chaotic debut Sielun kadotuksen sinfonia (2005) IC Rex made a good regeneration with more organic Valonkantajan alkemia (2008), but the third point of this triangle, Vedenjakaja (2009) didn’t impress me so much than its predecessors. Or maybe I just haven’t listened to it enough.

However, although IC Rex’s musical journey is not complete (there will be a documentary and a music video in the works), the mastermind IC hasn’t buried his Luciferian torch – he plays in a promising new outfit called Pantheon Of Blood, and also IC’s talent in visual arts have been in a heavy use – you can find more from his blog .

IC has also been a man of many words from the start, and this early interview from the January of 2006 proves it again.

Remember the days when Black Metal went astral, melodic and symphonic, and bands like Limbonic Art and Arcturus were hailed as new kings? Now this kind of extraterrestial atmosphere has been forced to step aside, but Finnish IC Rex seems to be the first wave of the new Renaissance of this genre. But don’t compare this band to those aforementioned groups too hastily, because IC Rex has created its own harsh but interesting world. The thoughtful soul behind the band, C, gave us something to think about in the coldest times of January.

Well, your debut album Sielun kadotuksen sinfonia has been released. What kind of process the making of the album was, and what do you feel now when all is said and done?

– The process was very intensive, and it took very much of my energy in all levels. I did everything in my home from scratch, and many times I spent ~10 hour days composing and arranging the music & writing lyrics. Now when the album is ready and released, I’m quite calm and satisfied about the result. Of course there are many things that could have been done better, but that’s always the case.

You’re known as your profound words and lyrics, but who and what does give you a spark of inspiration?

– Everything around and in me, usually quite little things actually. It’s quite hard to say what things especially give me those sparks of inspiration, but if I had to mention a few things from the outer world, I’d say that nature is my source of inspiration number one (quite a cliché, but it’s true). Lyrics are almost always the end result of intense introspection and meditation, but the methods differ from each other from time to time.

At least you have quoted one of the greatest Finnish poets, Eino Leino, on some metal forum. What’s your connection to this man responsible for such classics as Helkavirsiä (Whitsongs)? Do you have some certain poem or verse from him, which is very special to you?

– I think he has managed to portrait the depths of the “Finnish soul” better than any other artist, although in some of his poems the Christian influence is little too strong for myself. I can’t really name a personal favourite since the amount of his work is so great, but the overtly pathetic heroic melancholy that is present in his works in general is something I can certainly relate myself. If I’d have to name a few texts, Ja vuodet ne käy yhä vaikeammiks, and also Lapin kesä, the text that I’ve quoted (in forum?) are very important for myself personally.

How about being Finnish and the Finnish culture in general? You changed the language of IC Rex from English to Finnish, so there must be some kind of devotion to Finland…

– Although I don’t affiliate myself with any culture or people especially, there’s of course always a ‘natural’ connection to the Finnish culture and language. The reason why I chose to change the language from English to Finnish was first and foremost practical, and a sort of experiment to see whether I could write lyrics in Finnish without sounding stupid. Anyone who has written poetry in Finnish must know what I mean by this.

What I have read your lyrics, you paint a picture of Satan in a quite positive light; this picture is far away typical “Satan analpenetrates saints” -stereotyped lyrics. What’s your comment about this?

– As my world view and my view about Satan is first and foremost spiritual & transcendental, it is clear that there was no room for the “goats raping nuns & massacring Christians” type of themes. I wanted to make a totally new approach and to present a profound view about the matter, something that can actually be taken seriously in real life. The picture I portray about Satan & Lucifer is quite neutral actually, one must certainly know that it’s not a force to play with or something that should/could be taken lightly. It’s not like “Satan is my friend” or anything idiotic like that, but of course as a Satanist in the lyrics there is a positive vibration in them due to my personal veneration for “Him”.

You call your music ‘madness’ and Sielun kadotuksen sinfonia is a very chaotic album, but it still opens doors to other places and spaces. How well does IC Rex’s music correspond to yourself and your view of world?

– IC Rex is my view of the world, it is the result of my explorations in the fringes of madness. But I also try to elaborate on the matter in such way that the result would be something more that “just my point of view”, if you know what I mean. The listener is the ultimate judge whether I’ve managed to do that or not.

Before IC Rex you were known from Finnish BM band called Tunrida. What happened to Tunrida? How much of IC Rex’s songs were written for Tunrida or is everything made just for IC Rex?

– Tunrida split up because of many difficulties, things I don’t want to get into them in here. Two songs of Lunar Possession (IC Rex’s first and only demo) were written for Tunrida in the first place, but after we split up I decided to focus all my creativity into IC Rex.

Being alone in a band is a quite regular phenomenon in Black Metal genre. What does it gives to you, what are the advantages and what are the disadvantages being the lone wolf with the music?

– The only disadvantage is maybe the lack of reflection from the other members in song and lyric writing, one must make all the decisions by himself, but that’s also a advantage many times. Other advantages are countless from the easiness of practice to the lack of quarrels, and since I’m many times quite a hard person I must say that this is the best method of working for myself. Being my own boss and all that…

You still got lyrical help from Johannes Nefastos, who has also written lyrics to Baptism. How did you ended up to ask him to contribute on Sielun kadotuksen sinfonia? Was it easy or hard to let someone to your personal area of thoughts, art and ideology?

– We’re friends with J.N., and I thought that I’d like to pay a little homage to him since his Great Work, Fosforos made an ineffaceable impression on me a few years ago. I could have written the Asura lyrics myself also (I presented the basics of the idea behind the lyrics to N and then gave him complete artistic freedom), but I wanted to have a little different view about the matter from someone who knows what he’s talking about. It was quite easy a decision, actually, since the (al-) chemistry resonates quite well between us.

I found the visual side of Sielun kadotuksen sinfonia very appealing: there are hints of rituals, traditional illustrations (Dore for example) and also this Finnish side with the pictures from forests, barns etc. What can the listener find from this amalgam of pictures?

– I tried to portray the atmosphere of the music in visual context as well as I could, and to give the listener a complete package, not just faceless music. Just like Black Metal is not just music but also an art form and a tool to channel ones world view, I think that the albums should be like personal grimoires. Personally I like to read the lyrics and look the art from the booklet while I’m listening the music, that is why I included English lyrics and made the booklet also to reflect the feelings and real life situations in which the album was made. All of the albums photography that is my own, is from the time I was making the album. There is also A LOT of symbolism and corresponding ideas in the visual outlook of the album in connection with the lyrics, as the intelligent listener can easily see.

You have a long statement about the origins of the band name on your homepage, but is there a double meaning behind those runes I (ice) and C (fire), because you can easily connect those letters to ’eye’ and ’see’?

– There are numerous meanings between the band name. You are right, there is the Eye/See connection, but there is also a connection to Leviathan (I, Sea Rex) and also to the master of the frozen hell (Icy Rex), if you look just into the pronunciation connections. There are also lots more meanings between the name (my personal name and my pseudonym connected), an astrological & astronomical meaning (Iota Cancer is a double star emitting blue and yellow light in the constellation crab, my personal star sign), Iesus Christus Rex meaning (reflecting the idea of the Satanist being ones own saviour instead of an outer godhead in which to affiliate). If interested, one might also want to do a search about the meanings of the rest of the runes in the band name, not just I & C, since they are maybe as important as the ice and fire runes. The band name is like a five letter rune stone that has a magical meaning.
– Other than this, I think there are also meanings between the name that I’m not aware of myself, since I keep seeing new meanings that make sense between the name all the time…

In your lyrics you declare this union of fire and ice. What do you find from the different opposites, contradictions or harmony?

– I find both harmony and contradictions. Contradictions are essential for growth and evolution. I see Satan as the ‘Master of disharmony’, and that is why in Black Metal contradiction is maybe more important in the sense of suffering, pain and negativity. If there would be constant harmony there would be nothing, both the personal and collective world would sunk into some kind state of pointless inertia.
– Of course this is the case only for any finite being. Since I am a pantheist and believe (quotation marks) in the unity of everything, I think that the universe as a whole, “the macrocosmos”, is in a constant state of harmony, but nothing inside of it cannot be since everything is in a constant state of flux in order for the world to be existent. This point of view is present in such lyrics as …Of Divinity (in Lunar Possession), and Kasvotusten absoluutin kanssa (in Sielun kadotuksen sinfonia).

It’s interesting to play with thoughts about two opposites, light and darkness. For example when there is light, there are always also shadows, but shadows always need light to be existent – but we can also say that darkness is the natural state and light is just an exception. What do you think about these thoughts?

– In my view (visible) light is actually just a collection of shadows, and darkness (in the sense of deep, limitless space) needs not light to be existent. Following this thought it could be stated that pure darkness is actually the very source of light and illumination. Just like in personal psychology one must plunge into the depths of the ‘dark’ unconscious in order to be able to truly individuate and grow, in the same sense it could be said that darkness is the natural state of chaos, the only place from where the ‘jewels of illumination’ can be found. I do find the play of opposites interesting also, but I think that they are opposites only in the world of separation and crude matter.

How about light and darkness in Black Metal? Some people declare just negative feelings and generally negative side of life in Black Metal, but is there room for positivism in Black Metal?

– There is room for both, but the positive side in Black Metal must be conducted with precision and intellect, otherwise the result will be too corny. There shouldn’t be any stupid artificial rules what kind of Black Metal can be made, but of course there are things that are just too far from the essence of Black Metal. My view about this matter is that if Satan is the dark and negative aspect in Black Metal, Lucifer is the illuminate, positive aspect of it. A little like a deep space probe, if you allow for such a metaphor.

And now, the end. If you want to lay the last words for this chat, the stage is yours.

– Thank you for an interesting interview Mr. Klemi.


The year 2006 brought the second issue of Kaleidoscope, and now the whole package was more balanced. The scale of bands was quite varied – from IC Rex’s occult black metal to Morbosidad’s fago worship – but the questions were drilling more into the core, and I started to focus on a few themes instead of a scattered bunch of questions. And from today’s perspective it’s satisfying to see that there are bands like Bone Awl and Necros Christos, which were just promising demo bands back then. I was walking my own path.

So there will be three picks from the issue two, and the first one is Bone Awl. This band has showed how primitivity can hide deeper meanings, and how a demo tape is a perfect format to reflect a soul’s moment of hate and anguish – and what great layouts this band has! There you go, a Bone Awl interview circa Not for Our Feet era.

Let’s start from semantics: Bone Awl is an interesting name for a band, even for a Black Metal band. Where did this kind of primitive sounding tag come from?

– I cannot remember exactly when the name Bone Awl came to me. I read of the tool, a bone awl, somewhere, months before the band’s conception. It is an awl, fashioned from bone. A tool utilized by ‘primitive’ cultures- not a medical instrument, that I found out, does exist. Its use wasn’t implemented for its literal meaning, but rather me rolling this idea of the ‘tool of the primitive’ around in my mind. Bone awl is the tool of the primitive. It was once a cracked femur, it is now a point, that scrapes and boars – chipping, chiselling, and puncturing. A tool for carrying out primitive tasks, this is Bone Awl.

Also your aliases are far from typical, taken from Norse mythology. But isn’t it a bit weird that a Canadian band takes influences from other side of the world, or do you feel a strong communion with the Nordic people and their heritage?

– Teeth are bones. We are from California, just as far from Norway. No communion with Norse people or their culture. We are from USA; we are cultureless, faceless, and with no identifications to any culture really. The names were simply striking in their English translation. So we appropriated them as such. Natural balance is a theme that will recur in our music, and the names embody this. Teeth are gnashed and teeth are crushed, action and reaction.

On the other hand Black Metal has a strong and unified world of symbols, phrases and ideas, which creates some sort of feeling of unity, but in my opinion this has become quite clichéd nowadays. What do you think about this?

– Black Metal can be seen as a history of traditions and practices. Those who hold true to the tradition will likely adorn themselves with the symbols of those who came before them. Most do not understand the symbols, and also use them in a completely derivative way. Tradition shouldn’t necessarily equal an end to progress or evolution. This is a topic, for the most part, which doesn’t involve Bone Awl. We are not limited to exclusively the BM system of symbols, metaphors, etc.

Your aliases make also a connection to paganism; what way do you travel: resurrection of old worlds or destruction of this society which is long lost in itself?

– Well, looking at my above answer, it’s obvious we aren’t pagans in the typical sense of the word. We have referenced and dealt with some pagan topics like Druid Human sacrifices on the Bog Bodies cass. But we, ourselves, do not align with beliefs of these groups. The Old Worlds can stay dead, and there’s no hope in any resurrection. Destruction of this society? I know that everything, all my illnesses and disorders are inflicted by society. But it is this far off cloud of pollution, that I can’t effect or even picture for that matter. I know that I hate it, but I can’t get involved enough to cause any damage. It sure is killing me though.
When I read your lyrics, I couldn’t find any hints of Satan, ancient gods or destroying Christians. Your lyrics remind me about brutal and primitive assaults of the 80ies thrash and death metal with all those descriptions of death, murders and so on. What kind of message does Bone Awl try to spread?

– I would not cite eighties thrash or death metal as any lyrical influence and I wouldn’t in any way align our lyrics to these genres.  The way in which these styles deal with lyrics is completely separate from Bone Awl. We might have commonality in violence, obsession with some visceral things, and a general morbid, death obsessed way of thinking, but these things are so broad they encompass nearly all of metal and beyond.

– Only metal bands I can cite as an inspiration are Nuclear Death, Goatlord and Von (some might consider these DM, but they are far from typical). The images they have tainted my mind with have not been topped.
Total destruction of this world is one of your strongest topics. Nowadays Black Metal seems to raise this world into its glory for Satan’s millennium or to curse and destroy all in the way to the final Armageddon. Where do you stand in this line?

– Like I said earlier, I do not see us being involved in either side. I am not propagating armageddon. I think it’s kind of a nice idea, but as of now, I’m not involved in anything. The dawn of Satan’s Millennium? Here is an issue of semantics. For myself, Satan is just a placeholder name for all acts of destruction. Yes, I worship him dearly, but I also worship creation as well! If you are talking about the topic concerning reversal of morals which Christians and other religious sects have employed, on this, I’m not very opinionated.

What do you think about today’s BM scene in general? Is everything coming too thoughtful and even humanistic, or is this kind of progression a right direction?

– I think you can go either way. I wouldn’t want to see a complete abandonment of BM ideals and traditions. There are many things which must remain still and make up the essence of black metal. But to deny the human condition is, for us, impossible. It must be dealt with. We try to draw from both sides.

One thing that annoys me a lot is this legion of Internet BM warriors, who try to get their reputation as bad guys with lots of bashing, gossiping and digging some dirt from the others. What’s your opinion about this?

– I think you can tell, we care not for scene opinions, or internet gossip etc. I would like to be as far removed from this world please! I encourage people to never mention Bone Awl in conversation, emails, or other forms of communications.

Let’s take another glance to the North. One band what is close to your style is definitely Ildjarn. What do you feel about this legendary messenger of primitive metal?

– His music is sacred, pure, and deathly divine. It is like instead of seeing a human body, with its various systems, all you see is a beating heart. Words cannot do him justice.

Another influence is the slight touch of hard core punk and even rock’n’roll. Do you listen to stuff outside of (Black) Metal, or where do these influences come from?

– Yes, we listen to many genres besides BM and metal. To get into that here would be excessive and inappropriate. However I feel that there is something relevant in everything we choose to listen to. What we are trying to do is play black metal in its most stripped down form, exposing a purity and power -only utilizing the minimal amount of technique to achieve this. What happens is that once something is stripped, you can see its bones and structure. BM borrows many bones from rock’n’ roll, punk, and hardcore. Because we are dealing with basic structure we deal with these ‘bones’ as well.

When I looked your discography, the notable thing is the huge amount of demos you have been released. Why’s that? Do you try to evolve to the top before putting some “real” records out or what? Today the world is almost drowning in a wave of (generally indifferent) demo bands, projects etc., what do you think about this?

– ‘Real’ records? This term cannot be used. Bands now release vinyl and CDs first thing, and a lot of the times they are not ‘real’ or of any quality. We release in formats that we prefer. We prefer cassettes, not that it matters, but I think most musical groups choose to neglect this form. However, I think no matter which format you choose, you will be inevitably thrown into this whirlpool of bands and symbols. We could be lost in it forever, oh well…

Well, one official recording was the split album with Volkurah, Hammer and Vordr. What’s your opinion about these three bands? Do you find any same spirit between you and them?

– Hammer, I know virtually nothing about. They have a demo, which I’ve never seen, and these tracks only? Volkurah are of a different style than us, and do not know personally either. Vordr, I can say that I enjoy and feel some small similarity to. They seem to be looking for the simplest nature of Black Metal music and try to tap into it.  Often times they hit it.

Well, let’s gaze to the future. You are soon releasing your first full-length. What kind of material can we find from it? Are you trying to capture a wider audience, or do you keep a low status?

– Audience is the least of our worries. In fact, it’s nothing, not a worry, nothing. It will be primitive, pounding, pulsating, convulsing, blood boiling, and hair raising. Like everything that we’ve tried to do so far. Nothing different except length.

Thanks for the interview! Any other thoughts to bring forth?

–  Hooves, Hooves, Hooves, stampede, cerebral stampedes, if you hear the sounds, there is no need to look, it’s just us.