Session XXV: [Subterranea Cypria - (3rd edition), something wicked this way comes...]

Almost two years since my last post and more than three since our last excavation into the Cyprian marshes. Yet, we must return once more to these lands seeing that there is a qualitative shift now in the island's relationship with the extreme end of metal. 

It's no longer the case of having the odd diamond in the rough here and there. Now things are getting more focused, more coherent, more scene-like one might say. Even Godblood, the oldest unit of the

bunch, have risen from a seemingly permanent slumber to grace the stage more than a couple of times since 2016. This in turn signalled a concurrent, yet purely coincidental, wave of releases from other more recently established bands (Nekhrah, Frozen Winds, Tome of the Unreplenished, Temple of Evil). A common development underlying most of these releases, compared to the first generation which emerged sometime in the early-mid 00s, is a sudden turn towards professionalism and proper practices. No longer is black metal the province of undirected youth, desperately banging on their instruments in raucous rebellion. Those days are gone. Now there's serious intent and for once a decent sound at both live settings and on wax. What's more there's an eager search for identity, Nekhrah are carving their own with their ugly-yet-appealing, repellent-yet-

engaging brand of groovy death metal onslaught, Frozen Winds take cues from Mesopotamian mysticism and skillfully marry them with ritualistic black metal atmosphetics while Tome of the Unreplenished, always the restless ones, take off into the vertiginous, entropic heights of horrifying experimentalism and sound abuse. Thank the Devil, for we are done with the clones and the tragicomic bedroom operations of the past; there's direction, intent and zeal now at least amongst the few who have wilfully taken the baton and dared to look beyond their Obituary albums..

And of course, lest we forget, there are a couple of off-map outliers sprouting here and there, namely Accurst's latest ambient work 'Messenger of Shadows' (on plastic by Aesthetic Death), Kaenum's and Holocaust Machine's joint venture into power electronics (on tape by Confessions of an Orifice) and last but not least Dirt is Destiny's self-titled debut EP which I'll be focusing here on.

 

Debut releases can be a dodgy affair. Oftentimes you find the inadvertent, almost sycophantic worshipping of the band's adolescent influences and if you're lucky enough there is that glint of originality, of personal pathos. This particular EP goes a few degrees beyond the expected average. It's a weird little amalgam of different styles threaded with a bellowing black metal backbone. They show a distinct maturity, bringing to bear musical and personal inspirations into their craft with unusual insight and depth. So without further ado let's see what our man, monsieur Danny Krrio had to say regarding his recent musical spawn.

Greetings and welcome to the Hypogeum. 
First things first, give us the history of the "when's", "how's" and "why's" of the bands creation.

Hello! The band/project has only recently settled on the name 'Dirt Is Destiny' in 2017, but I have been working on material and ideas since about 2011 towards this end. Ultimately the purpose of the project is to create songs which are storylike, powerful, and dramatic, which carry with them a serious and sincere approach, while at the same time being musically engaging.

What's your relationship to Cyprus, its people, its nature and what sort of inspiration do you draw from them despite its apparent limitations when it comes to scene exposure and other opportunities?

Cyprus is home to me and I love and appreciate the many good qualities of the place and its people. You might find specific things to pick at which you dislike but overall I have had a positive experience living here.

It is really the natural beauty of Cyprus that I feel most close to as far as inspiration and also the rich History and Culture of Cyprus.

To comment on scene exposure.. to be honest there hasn't been too much local interest as of yet, but I suppose that is expected being that DiD is not a live band, and the music has only been released digitally for the time being.

You've been around the local Cyprus black / death metal "scene" for quite a few years now. How would you describe its evolution as an insider? Anything of interest going on? Do you feel connected to it in any way?

Something interesting I have observed is how extreme metal has become more popular, 'normalized' and accepted in the general metal community. In earlier years it was far more tribal among the genres and Black/Death metal was considered somewhat of an outcast. Musically you can see that the bands are really at the top of their game and are hungry to always progress and outdo previous efforts.. to mention a few names... Nekhrah, Vomitile, Frozen Winds, Temple Of Evil..

DiD is somewhat of a solitary experiment, but I do feel connected to the scene and am always enthusiastic to attend the local gigs and support the bands.

Ok let's start digging in to the EP. What's immediately apparent is that you actually get four separate and distinct songs here. And I say this because many a time I come across releases where compositions are merely variations of the same underlying theme.

But here each song bears its own identity, a hallmark of a process which took time and deliberation. Tell me a little bit about the creative process. How long did it take and what sort of factors played into it, psychological, personal, musical or otherwise?

On the more technical side, Usually the first step involves improvising on the guitar, feeling out the notes and experimenting with different techniques. It is a kind of 'ghost writing' process. When I feel there is something that sparks inspiration I work further to shape it and mould it to fit a more lyrical idea. Afterwards I record the guitars 'with an added drum track playing along' and write additional music for a second guitar, bass and to a lesser degree, synthesizer. The lyrics and vocal arrangements are usually fleshed out last.

For the songs on the EP I have been working and re-working them for about 3 years. Never feeling fully satisfied with the final results of a song, and improving as a player, I kept picking at them probably longer than I should have...I initially planned on recording the EP solely on my own, but I struggled with poor equipment and technical issues. To put it simply, the results did not sound good to my ears. I finally decided to get the songs recorded with George Erecleous at Oneirism Studios.

The songs like you mentioned each have their own identity purposefully, but they are meant to work together and unfold as a story.. There were certain personal experiences and abstract concepts that I had been carrying with me for far too long that needed to be expressed.

 

The compositional style is quite reminiscent of bands like Absu, Primordial even Ved Buens Ende at times. I.e. bands which don't adhere to the same protocol every time but use their creativity to map the fabric of their musical inspirations unto a personal and varied landscape. So even though you could per force slap the black metal label on your band there's a decent amount of interesting guitar-driven themes, tempo variations and mood fluctuations flowing through the songs to keep the listener guessing. Were you influenced by artists or others of their ilk at all and how would you describe the particular mark they left on you?

I think to a certain degree you cannot help but be influenced by the bands you listen to, I don’t see it as a negative.

I used to be more concerned with trying to find a unique sound to my music but a lot of the stuff I wrote came out sounding somewhat forced, and sounding 'strange/weird' with no real direction to it.

Now I am more interested in trying to write good songs first, and if the song benefit from a more unusual approach I will go down that road, but always to compliment the composition.

I think the most obvious influence is Primordial, being a huge fan of the band. The galloping rhythms, the epic and tragic melodies, poetic lyrics and dramatic vocals...They have it all as far as I am concerned. Other favourites of mine are Destroyer 666, Akercocke, Emperor, My Dying Bride, Code, Arkhon Infaustus, Morbid Angel..in some way or another you could find some impression that these groups have left.

Incidentally, Primordial have remained one of my most cherished bands for many years now so it's almost inevitable for me not to detect even subtle hints of their melancholic-cum-soaring melodicism. This is especially apropos on the last song of the EP, "You Will Hang by the Noose". Is it just me or is there something truly Primordial-esque lingering somewhere in there?

Haha I like the way you put it. There absolutely is, perhaps it is a little more technical with more notes thrown in the mix.. but the Primordial element is in there.

There are elements which some might describe as "avant-garde" or "progressive" but they're not there purposefully. They are just incidental patterns of the band's exploration into various musical regions. What’s your take on this? Would you agree?

I do agree to an extent and I alluded to this very thing in a previous question. Maybe I wouldn't call those elements completely incidental, there are some more experimental moments that were deliberate but not in the sense that I was trying hard to sound 'avant-garde'.. Those parts simply fit well into the greater scheme of things.

You've given a lot of attention to the vocal arrangements. Again they take many colours reflecting the different tones and moods of the compositions. There's anger, despair coming through them drawing you in further into the music. Playing and recording instruments can be done in a sober, controlled approach but vocals are something decidedly more organic and require a high degree of both physical and psychological engagement from the man behind the mic to really deliver the intended emotions. So what exactly went through your head during the recording sessions?

At the beginning when getting ready for the recording sessions I was a little nervous. I had prepared a lot mentally beforehand but it had been 12 years since I was behind the mic, but thankfully I was able to slip into form again after a short while with some help from George.

It was a good and trusting environment, so I was able to sink into character and perform without much difficulty.

"Dirt is Destiny" is a rather pessimistic assertion yet one can perceive that your worldview goes beyond the monochromatic viewpoint of armchair cynicism. I get the impression that the way you dissect your nightmares is a lot more nuanced and cerebral than the resigned misanthropy you see in other acts. There's ugly stuff in there but there is also a certain delight in the darkness...

Dirt is Destiny could be seen as a pessimistic assertion yes.. symbolic of the inevitability of death.. but the purpose of this band is to intently explore the darker and murkier waters of existence and to me this is a necessary exploration. We need to reflect upon death, and by doing so we gain a more legitimate understanding of our being.

There are other lighter and less intense ways to perceive the world, but as far this project, it is meant to be heavy and at times dripping with filth.

Struggle is inherent in our existence: despair vis-a-vis hope vis-a-vis agony vis-a-vis triumph vis-a-vis melancholy vis-a-vis ecstasy - the dipole of human experience. And I do feel something about this when listening to the EP. It’s not a jet-black, soul-crushing affair, there are hints of overcoming, even courage. Care to elaborate?

One of the central themes running throughout is struggle..against despair and madness..the struggle of becoming and seeking truth and meaning..against nature, and finally against your own self. Each song though has a more defined part of the story, reading the lyrics and paired with the sketches that will be displayed in the booklet of the upcoming CD, more detail can be gleamed about their meaning..

Sound is uncharacteristically resonant and dynamic eschewing lo-fi production values which would be the default choice for a budding black metal act. It befits both the wide range of styles you draw from but also endows the music with a more inviting overtone...

Mixing/mastering can be a very tricky enterprise so I was just wondering whether you had a clear intention before entering the studio or did it just come about while working with the producer?

In my opinion lower productions values would have diminished the release, and for a few exceptions I personally prefer to have a well produced and clear sound to Black metal. While there is a Black metal 'essence' at its core, I am sure you would find people who would not consider DiD to be a proper black metal band.

There was indeed a clear intention of what the production should sound like going into it, but I think to a larger extent it ended up being the way it is as the sound was being crafted. There was constant dialogue between George and I and quite a bit of tinkering went on until completion.

The cover: an inverted man suspended by his legs against the void by a spidery, indeterminate creature. A stark representation of life perhaps as suspended between the abyss and the unknowable, inner pit of our desires, fears? To severe the ties and be free equals the embrace of death and nothingness. Am I anywhere near the intended symbolism?

I think you have gathered the meaning very well from the image Certainly there is that instinct driving us towards oblivion, I would add though that in my perception I consider the image to be a transient state. One Reflecting upon the boundless to enrich One's self, the process to be undertaken like some type of meditation to which he should eventually return to engage with the more mundane and worldly..

Any forthcoming collaborations with individuals across the scene or perhaps even outside it on future releases?

Danny Georgiou from Winter's Verge and Mirror has expressed interest in working again with me on the next release, and there is a possibility that Alex Savva (Dictator) will be involved in the recording and mixing process.

You mentioned a CD release at some point. When should people expect it and who's releasing it?

I am hoping for the release sometime during this month. The whole production of the CDs and booklet layout has been undertaken by Alex Savva but I will be releasing it independently with a limited number of copies available.

As far as I can tell, DiD is a solo project but would you consider playing in the flesh on stage at some point? Maybe you already have some plans in mind?

Danny Georgiou didn't write any music for the release but he did add his own drumming approach and style of playing on the recordings, maybe he is not what you would consider a full member, but I see him as connected to the project. I would consider playing live at some point, perhaps to celebrate the release of the next CD. Most of the people I can see as fitting members are already in bands, so it is somewhat uncertain how exactly it could come together..Time will tell!

Before we wrap things up I'd like to do a few free association exercises with you. Just give an immediate response to each of the four words you see below. Responses can be from one to a few words long but not more than a sentence.

 

a.    Nature: Full of beauty but so ghastly

b.    Humanity: Too many of them

c.    Women: Saints and whores

d.    Music: Windows into the soul 

One final query: it is hard to deny by your chosen moniker that the Lord (of all which slither and crawl) has touched you with his presence... In what way do you bear the Mark of his primeval essence?

  
The K-Lord has provided much in the way of inspiration over the years...like most Gods he is distant and quite obscure in his ways,...His insights and knowledge may bring one closer to Truth...but like most Gods, He can also drive them towards Madness and Ruin...

Alright, that's it from me. Any parting words?

Thank you for the interview, I Enjoyed the Interesting and engaging questions!

Session XXIV: [Of Hate, Smoke and Blasphemy (Pt.III) - An interview with Yosuke of Nuclear War Now! Records]

The very lungs of the underground are its labels. Without the necessary - and largely joyless - groundwork laid down through hundrends of man-hours pressing, distributing and promoting a piece of art, none of us here would be aware of those veritable gems which constitute our cultural bread-and-butter. The sacred tradition of bedroom-based operations strewn all over the globe has been maintained since the early, 'hairy' days of the underground. The roots of household names such as Earache and Metal Blade were indubitably humble. However by riding on the thrust of fan-based, unabashed enthusiasm they managed to 'escape' from the shackles of niche, scene-centred markets and break into the "hard rock mainstream". Nevertheless, there are those precious few who remain defiantly below the radar, stubbornly tethered to ertstwhile values and resisting the volatile currents of the status-quo. Such a unit hails from sun-kissed California and for 15 years has been tireslessly serving the decadent appetites of thousands of connoiseurs across the globe and in the process has become one of the underground's finest sources of unadulterated audial profanity. Taking some time off from his busy schedule, Yosuke - the big cheese behind Nuclear War Now! Records - enters the Hypogeum to answer our interrogation. Here is the wreckage that ensued...


What was your prime motivation behind starting this label? Did you recognise a 'void' in the then underground market which you ventured to fill or did it 'just happen' with no preconceived plan?

I didn’t have any preconceived idea of the label’s future or anything like that.  It started out as a way for me to release my shitty black noise tapes.  Things changed after I went up to Vancouver and recorded the Blasphemy come back live album “Live Ritual.”  Ever since then, I’ve been completely possessed by underground metal.  It’s an addiction that only death can cure. 
 
Please give us an account of how you first got into extreme metal back in the years of adolescent innocence.

I come from a family of visual artists so it was natural for my older sisters to get into punk rock.  I was exposed to stuff like Minor Threat, Sex Pistols, Pixies, Devo, The Residents, etc. at an early age.  I must have been 11 or 12 when I first bought my first Devo record at a store in Falls Church VA.  I didn’t get into metal until around 8th grade when a Peruvian skater friend of mine exposed me to stuff like DRI, Napalm Death, Carcass, Slayer, etc.  By 9th and 10th grade, I was getting more and more into the deep underground punk and metal of the late 80’s and early 90’s.  
 
I imagine you tape-traded a lot back in the days. Could you try and give us a picture of how it was to rely on post and paper before the advent of the Internet. It's funny really that although now the Internet has utterly neutralised geographical distances, in a sense we're further apart because people don't have to wait for 3 weeks to get a response from a band and just take everything for granted.

I actually didn’t do too much of that at the time, but I was already collecting records by age 13 or so.  I just got in the habit of sending cash in letters and hoping that something would show up.  Back then you sort of knew who to trust and not to trust.  Of course I got ripped off several times by people like Richard C. from Wild Rags, but most people actually sent me what I had ordered.  The internet age has made everyone into instant Walmart shoppers who want their stuff ASAP.  
 
You are obviously quite keen in excavating obscure and forgotten gems, especially from the 80s, and re-releasing them to a younger generation. To me though, this endeavour seems deeper than skin-deep nostalgia; you're more like a cultural archaeologist unearthing artefacts from the past which can still have a direct relevance to our experience today more than just aimless reminiscing. Would you agree?

Yes, you hit the nail on the head.  I approach each reissue project as a historical artefact that needs to be preserved for the future of the genre.  That’s why I try to preserve the old layout integrity, visual aesthetics and normally include an extensive biography or an interview to provide background contexts.  I’m also a strong believer in the importance of visual aesthetics so I try to include as many band photos, gig flyers, and other visual artifacts as I can.   Normally this requires me to include a booklet of some sort, which can get rather expensive!
 
On that note your 'No Speed Limit' boxset is easily one the label's finest hours on an already exceptional discography. It successfully brings to the fore that unadulterated, gritty aesthetic of the underground of that particular era. How did this effort come about? Any possibility of a second volume?

Actually this release was a bastard child of Annick from Cauchemar and another French Canadian maniac.   I don’t want to take any credit for this release since she did all of the work and I simply put my label logo on the back.  Ask me about the Order From Chaos boxset instead. haha
 
Incidentally, is there any chance of seeing NME's 'Unholy Death' getting a decent vinyl re-press?

It already got a very nice reissues by another American label so there is no need for another pressing.
 

Being the head honcho behind one of the underground's most respected dissemination hubs are there any labels you looked up to back in those formative years which inspired you with their uncompromising devotion to authentic musicianship?

Yes, I took notes from such notable underground labels as Iron Pegasus Records Germany, Evil Records Japan, Cogumelo Records Brazil, Iron Bonehead Production Germany, Ebullition USA, and many others.   I especially loved the vinyl centric nature of early Iron Pegasus releases where he did a limited “Die Hard Picture Disc” edition.  This is where I stole the idea for my Die Hard editions for NWN.  So the credit (or blame) should go to Costa from Iron Pegasus for starting a collector frenzy and lots of headaches. 
 
It seems that the underground bears an incredible degree of vitality and resilience which is untouched by fashion changes. In your opinion what are the core values which constitute the underground ethos?

The true deepest underground will always remain strong, while the trendy surface skimmers will always exist as well.  In the past 15 years that NWN has been in operation, I’ve seen trends come and go.  It was raw black metal in the late 90’s and early 2000’s, then came the orthodox black metal trend, then the bestial black metal trend, then the doom metal trend, then the current death metal trend.  I guess it all goes in a cycle and it’ll eventually go back to the raw black metal trend.  
 
Your roster reads like a 'who’s who' of black/death metal greats -

both new and old. In your opinion, what is it that attracts these bands, especially the seminal ones from the late 80s/early 90s which adhere to old-school values, to the label? 

One of the only rules I have for the label is that I release whatever I want on NWN.  As such the roster reflects my personal taste.  You can see that I am heavily into the early Brazilian death core scene and the North American black metal scene of the late 80’s and early 90’s with bands like Blasphemy, Procreation, Antichrist, Demoncy, Von, Toten, and the like.  However my musical taste ranges from hardcore punk to experimental industrial music so don’t be quick to pigeonhole NWN as a black/death metal label.  I will release whatever I feel like releasing in the future.  
 
Could you name three bands you'd love to have signed on NWN which unfortunately are no longer active?

1. Necrovore (USA):  These guys are still around in the US underground scene but not sure if they have any interest in reissuing Necrovore demos officially.  Countless bootlegs had been made in the past few years so maybe that will trigger an official reissue one day. 
2. Black Prophecies (Italy):  Black metal classic from Italy.  They were one of the first black metal second wave bands and was scheduled to release their debut on Wild Rags.
3. Necro Schizma (Netherlands): Black doom in the style of Hellhammer and the like.  The Erupted Evil demo is one of my all time favourite demos.
 
You have a clear and fairly strict vision of the sort of bands on which you wish to impart the label's imprint. Is there an album/band you'd love to release but feel constrained to do so because of this? Is there a temptation to start a sub-label of sorts to put out quality, potentially non-metal, music which otherwise doesn't conform to NWN's modus operandi?

I actually don’t have any rules or guidelines unlike some labels that stick to one subgenre of metal.  I release whatever I want and in whatever genre.  Like I said previous, I’ve released heavy metal, thrash, speed, black, black noise, ambient, drone, and even hardcore punk.  The only thing I’ll  probably never release is hiphop!  I can’t really think of any non metal bands out there right now that I would want to release under NWN.

  
 
Back in the early days each country had its own inimitable sound - one need look no further than the prominent musical discrepancies between Putrenance (Finland), Varathron (Greece) and Manes (Norway)  to get a taste of how a band's unique combination of geographical origin and culture imbued their sound with its own special characteristics. It looks that nowadays this effect has become more homogenised. Be that as it may, what is your favourite country in terms of scene productivity, originality and sheer musical pathos?

The internet age and the ease of transmission of audio across the globe has normalized everything.  Geographic isolation is a thing of the past and specific sounds are no longer contained enough to develop distinct styles.  This effect has its pros and cons just like anything to do with technology and social development.  While it might be seen as a loss to find that distinct styles heard in countries like Greece and Brazil are no longer there, you can find these sounds in unexpected places like with Sacriphyx in Australia playing a Greek inspired sound, or Anatomia from Japan playing in the Autopsy tradition of pure American death metal.  Of course the Norse black metal sound is now homogenized to the point where you can find cold black metal bands from Tropical countries in South America.  The flipside of this phenomenon is the sheer glut of releases that are getting pumped out by every little label from around the globe.  It’s a challenge just to keep up with it all and sift through the numerous shitty bands to find one okay band, not to mention the great ones.  The ease of recording and propagation has made it more difficult to find great bands in the sea of mediocrity, but that’s just what we have to deal with.
 
I've noticed that you play down the satanic verbiage in comparison to other labels of your ilk and rather focus on genuine decadence sans the excessive anti-christian blabbering. Is this something conscious from your part? Do you have any sentiments, one way or another, regarding a band's religious ideology, Satanic or otherwise?

That’s because I am not religious like some people.  I am an atheist with an Anti-Judeo-Christian outlook.  I believe in the physical world and the nothingness of death that follows it.  This is not to say that I dislike Satanism, Paganism or other isms that metal people adhere to.  I fully support their agenda as long as they spread hate and intolerance of Abrahamic religions.   
 
You've started out as a humble garage operation a good 15 years ago and have now evolved into a full-grown beast to the point where you need to buy a proper warehouse (how's the  crowd funding going by the way?). Do you see further stages of evolution along the way? Central offices with a number of employees perhaps? Or is there a point where you'll say that the ever-increasing size of the label would require to compromise some of your values and just call it quits?

The label is still operated out of my garage, but it has now taken over other parts of my house and three external rental storages.  I am in the process of saving up for a proper warehouse to be purchased with two other small businesses from Oakland CA.  We were hoping to get into a place in early 2016, but with the ever increasing real estate costs in the bay area, it may need to wait until the summer of 2016 if I can’t raise enough down payment money.  Once the warehouse is in place, I’ll be able to hire a worker to work there during the day while I’m at my day job.  Yes, I still have a regular day job because the music business doesn’t pay the bills, at least in the bay area where the cost of living is very high.  I might be able to live off of NWN if I moved to a cheaper place in the US like Portland or Austin for example.  It’s tempting, but it’s a difficult decision to uproot the family and move somewhere to start all over again.  I am not sure how much bigger

the label will become in the years to come.  All I know is that I like what I do and I can’t think of anything else I want to be doing for the rest of my life.  
 
Finally, I couldn't resist, please share your 11 favourite black/death metal releases (with the exception of Blasphemy just to make it a little bit harder).

I will leave out the first wave black metal and evil thrash/heavy stuff and keep it to only extreme black and death metal stuff that I listen to and worship.  I consider these to be classics of extreme metal however people classify them.

1.    Sarcofago “INRI” LP
2.    Expulser “Fornications” side of their split LP
3.    Sextrash “Sexual Carnage” LP
4.    Reencarnacion “888 Metal” LP
5.    Vulcano “Bloody Vengeance” LP
6.    Demoncy “Joined in Darkness” LP
7.    Black Witchery “Desecration of the Holy Kingdom” LP
8.    Conqueror “War Cult Supremacy” LP
9.    Sabbat “Envenom” LP
10.    Samael “Worship Him” LP
11.    Master’s Hammer “Ritual” LP

 

Session XXIII: [Of Hate, Smoke and Blasphemy (Pt.II) - An interview with Varathron]

 "Varathron are a truly great band whose first two albums and the [first] 7" EP left a massive legacy on Hellenic Black Metal and the global underground scene. The underground attitude and honesty of the band, steeped in the 90's era, has left an indelible impression on my soul." 

Necromayhem of Rotting Christ (personal correspondence)

Continuing on our forage into the origins and history of the black metal underground it would be delightfully apropos to gain some first-hand insight through one of the scene's most respected figures: the one and only Necroabyssious of the mighty Varathron. The guy has been around black metal since most of us were swimming around in our father's balls and so pretty much anything he says on the matter is as near to the primal Source as you're likely to get. Melding esoteric melodicism with the chthonic vibrations of Nyarlathotep, the Grecian swamp cult caught on the second wave of black metal and steered through it with style and ingenuity. Being one of the great bastions of the underground ethos, their unique take on the black arts offered a refreshing counterpoint to the Norwegian permafrosted aesthetic and established a school within the genre which, although not terribly influential, was nevertheless entirely original and authentic. To that effect, I'd even wager that any Top 10 Greats list without either one of their first two albums is a tell-tale sign of black metal illiteracy. And so without further ado I bring you the Swamplord himself to guide us through the dark paths.  

It's the late 80's and black metal is just about to enter its second phase of evolution. Where does this transition find you? 

It was during the early months of 1988 and musical tastes consisted primarily of HELLHAMMER, CELTIC FROST, BATHORY and VENOM. Amidst the commotion of grind and noise a few blackened souls conceive the idea of creating the first black metal ensemble on Greek soil. Thus Varathron was born. The original line-up was myself on vocals, Mutilator on bass, Captain Death on drums and John on guitars. Apart from myself, none of the original members is with the group today.

I wouldn't consider your first demo ("Procreation of the Unaltered Evil") as exactly black metal as it is known today. Essentially your sound takes a more definiteve shape with "Genesis of Apocryphal Desire". Would you agree with this? 

On the contrary, I consider our first demo as the ultimate

definition of Black Metal and specifically that unique hellenic black metal sound which is loved and worshiped by millions around the world. The compositions were written by Mutilator in combination with my own ideas and Captain Death's. As a matter of fact, Mutilator should be credited as the seminal composer who established the Hellenic Black Metal sound.

As far as I know those were tough times. Beyond the socio-economical situation there was also a certain conversative xenophobia against anything different from the general populace. You're also based in the Northern rural edges of Greece (Ioannina) which would also hinder, I imagine, networking opportunities with the central Athenian hub. However, this fight of survival would act as a selection mechanism, filtering out bands which were not utterly devoted and "true". How did you survive in those early days? Are things too easy for today's bands?

Actually when the band was founded back in 1988 we were based in Athens. Our first PO Box was located on Victoria Square. Shortly before "Crownreign" was released (circa 2000) I moved the band to Ioannina. Those early days didn't possess the relative comforts of the present times (i.e. Internet, facebook) but they were definitely more true. That period will always be branded on my mind because within it dwelled the ultimate Black Metal Spirit. 

It's the early 90's and black metal now is in full thrust. Along with you other bands such as Rotting Christ, Necromantia, Agatus, Kawir etc slowly begin to make waves in the global underground networks and hellenic Black Metal along with the Norwegians become the primary aesthetical "schools" of the genre. What's the general feeling of the period? 

In the early 90's there were a number of bands who put out some truly amazing offerings. Naturally, there were a lot of member inter-changes and a sense of altruism amogst the bands of that era.  We were like a punch, brothers united in solidarity in order to collectively do what was best for our scene. 

Let's not forget the amazing split between yourselves and Necromantia - perhaps one of the most cult splits ever to grace the black metal scene! How did this co-operation come about?

George-Magus and I were like brothers and have remained so since those days so a co-operation such as this one was expected and totally natural. The resulting work is now considered one of the top 10 offerings of that generation world-wide. 

I have to say that there is this noticeable absence of Varathron from live shows. What is/was the reason for this? What is the best live show you've ever taken part in?

Varathron only played live a few times over the years due to constant line-up changes. Since autumn 2014 we've actually played a lot of shows abroad, with Brazil, of course, being our best live show ever. The total respect of the Brazilian fans for the band will always remain branded on my mind. 

It's now 4 years since the band's inception, a couple of demos are released along with the split with Necromantia and suddenly "His Majesty at the Swamp" was unleashed unto the unsuspecting populace.

Indeed, a year after the split release with our Greek brethren we released our first great work with "His Majesty...". It's now being hailed as one of the veritable classics of the black metal genre. There was such a great passion involved in putting out this album which diminished any obstacles we encountered in the process. Every one of the band members made an outstanding contribution towards the album's creation.

Another two years pass and your second album "Walpurgisnacht" hits the shelves with strong pagan influences. Tell us a few words about that period.

Our second album was recorded in 1995 and released through Unisound

records. Of note, is the incredibly valuable contribution from George-Magus who took the role of sound producer. 

How did the agreement with Unisound records come about since there is a certain notoriety following the label since the early 90s?

The agreement came about through Mimis (Mutilator) who used to work with Unisound at the time. We faced the same problems as all other bands who worked with this particular label.

Albums coming from Greece had to make due with poor promotion and distribution which comes into contrast with other countries at the time. Who's to blame for this you think?

The fact that Greek releases were poorly promoted both locally and abroad is purely because of label mismanagement not the scene as a whole.

Going back through your early discography one can notice that you were already one of the most respected groups of the underground scene. I've even read somewhere that Ihsahn emphatically noted that Varathron were the first to use keyboards way before Emperor even came across the idea. Is this true? What was the overall reception abroad?

The words coming from my friend Ihsahn are, of course, true. The first comments from abroad regarding Varathron's unique sound came from my dear friend DEAD of Mayhem. Specifically, he wrote that Varathron's first demo is one of the most important releases arising out of the black metal firmament. Positive responses and gratitude for Varathron's music begin from 1988 and have lasted uninterrupted to the present day. The total respect for the group comes almost exclusively from abroad who recognise and appreciate authentic bands.

The early 90's are also characterised by the events taking place in Norway: murders, burnt churches and provocative attitude. Varathron seem to eschew the more "fashionable" style of those days and preserve a more authentic low-profile status. Was this done on purpose or is it something to do with your personalities?

Varathron shall always remain faithful to the original dark ideology which gave birth to the band. For us there is no reason to market ourselves through extreme acts since the ultimate arbiter of our reputation is the music itself. This has always been our philosophy.

Your sound is diffuse with a melancholic aura taken out of the tar-black darkness inspired by stories from H.P. Lovecraft and E.A. Poe. There is also a "mediterranean" romanticism which made the band's sound stand out of the conventional aesthetic of the average black metal group without compromising the dark feeling. 

Varathron's musical style came about through our own listenings, our own beliefs, our own thoughts and private nightmares and the uncompromising devotion to the dark side. This is the reason that Varathron stand out of the global black metal scene.

The lyricism of your releases draws influences from paganism, other-worldly rituals, mythology and nightmarish landscapes. What are your primary influences which inspire your work? What is the underlying message which permeates each and every Varathron release?

Influences are drawn from various sources be it philosophy or art. The underlying message of our offerings is respect and worship of the odious dark forces.

We arrive at the 21st century and the first album in 9 years, "Crownsreign". Before that there was the "Lament of Gods" EP. Definitely different by contrast but characteristically Varathron-esque in style and aesthetic. How did the fans approach these releases? How was the reception?

Reception for the "Lament of Gods", released by Pagan Records, was very warm and positive. In 2002, Varathron is officially relocated to Ioannina where two years later we released "Crownsreign" via Black Lotus Recs. Despite difficulties during recording and the young age of the new band members at the time we managed to release a very solid album. Fan-base reaction to Black Lotus' promotion was very satisfying. I guess the only negative of the whole situation was that the label folded a short time after. 

On a personal level how would you compare the Varathron of today with the band of yesteryear circa 1990? Do you reminisce of the good old days?

There are times in my life where I feel nostalgic for the past, those glorious times as I say, mainly because of the brotherly spirit of solidarity which permeated the relationships between groups. Nevertheless I am proud, as I ever was, for the course taken by the band through the years. My love for Varathron remained, and shall remain, unfettered since the first riff we played back in 1988 until the new songs we are now composing for our upcoming album.

Being a veteran of the underground, what do you think are the main ingredients necessary for a band to survive all these years? Is black metal a way of life?

Black metal is indeed a way of life, a worship of the dark lords, an unquenchable passion. The band's survival is owed mainly to its unique identity, its beliefs and the respect towards its fans. These I believe are the main ingredients needed in order to create something precious and truly great.

27 years since your inception and the band looks stronger than ever. You've already put out a bunch of split EPs and 7"s and your new album "Untrodden Corridors of Hades" is now a reality. Even though the band has gone through a myriad permutations you remain the one constant variable through the years. What gives you the strength to fight on?

The strength to continue stems from the thousands of loyal fans from abroad who literally worship Varathron and its legacy. We are currently at our finest period ever and we shall strive forth with further live shows and upcoming releases.