(SURTR STORMHAMMER)
Surtr:
Thanks for meeting with me, Zamiel, I appreciate the opportunity
to pick your mind! And thanks again for being interviewed by me
as well as Transylvanian Forest E-Zine!
(ZAMIEL)
Zamiel:
You’re very welcome.
Surtr:
So, I've known you a long time, brohammer! How long has it been
since you first came up with the idea ov Wende?
Zamiel:
Yes, you’ve known my music since before it was described as ‘Wende’.
In some ways, I’ve always had the idea for Wende, I simply had to
make myself ready to find it. It some ways, Wende hasn’t begun yet,
it’s still in the process of meandering.
I find that events or actions commonly described as having a
beginning, but in actuality had no ‘beginning’ at all, thus having
only gradually meandered into existence. Do wars only begin with the
first death? Does love only begin when you feel it? Can it begin
before you develop the capacity to love? Does knowledge begin with
studies, thoughts and practice? Can you gain knowledge before you
are ready to learn?
Originally, I wrote music, fully completed, and put it on my computer
so I could listen to it. It was for me, for my own use, and belonged
to nobody else. How nice to be a listener and a creator too, you
always have exclusive music on hand! It had no name, and why should
it? It simply was my music. Why should I involve others? I could
play every instrument just fine for my purposes, and they could
never understand what I wanted to hear as well as I could.
For a long time, nobody heard it, until I decided, vulnerably, to
show it to my friends only. I only gave my art a name when asking
necessitated. I put very little thought into the first few name
choices and figured it wasn’t really important, because the name
was for them, not for me. I knew perfectly well what it really was.
Eventually I realized that giving the art a name and direction need
not be a limiting exercise, so much as a focusing one. The concept
of Wende, active long before it ‘began’, took focus in the spring
of 2008.
Surtr:
I couldn't agree more, especially considering I first heard your demo
albums from when you had no name for Wende. Since your newest
release, Vorspiel einer Philosophie der Zukunft, I've been listening
to the Demo album versus what you created with it. What new things
have you conceived since your self-titled demo?
Zamiel:
I should first mention that I’m very unhappy with how the demo
sounds, and I’m in the process of re-recording it right now. I
didn’t arrive at this decision lightly, but then again, I never
considered it ‘finished’ anyway. It will be called ‘Dritte und Edel’
and should be considered the first Wende album, though obviously
recorded out of sequence.
I’m planning a four-album canon, though there may be more music in
the manner of Wende outside the four. The first of the four (Dritte
und Edel) sounds primarily depressive and morose, as it attempts to
tell the story of the going-under and defeat of the ancient and the
noble, and innocent, the turn from the path of centuries, and the coming of the plague. To speak the
word ‘European’ is to speak of sadness.
The second album (Vorspiel) sounds primarily introspective, open
and ‘suspended’, and should be the catalyst for a new philosophy, or
perhaps a return to a more ancient philosophy. The third album will
have a violent and disjointed sound, as the borders and walls of our
prison are cast aside. The fourth album will have a calming and
serene sound, and will be the beginning of the new way and a rebirth.
This is Wende, to call attention to our dying world, and our dying
minds and offer an escape, the chance of turn.
Surtr:
Long since you've released these two albums, I've been obsessed with
your musical processes! How has it been since then that you decided
to change things up? How have you worked on things to where they're
so different between the Self-titled demo and Vorspiel einer
Philosophie der Zukunft?
Zamiel:
Well, most obviously, Vorspiel is better recorded, I’m much happier
with the sound, and probably won’t change anything in future
recordings. Vorspiel is more thought-out than the demo, more time
was spent on focusing the message, and more energy was spent on
giving intention to the sound. Personally, I don’t feel that
Vorspiel is very different from the demo, it’s simply a continuation
of what I felt was successful.
I wanted to give Vorspiel a very spacious and ‘open’ sound. Like the
wind on the barren upper reaches of a mountain. I also wanted the
tonality to be somewhat obscured and esoteric, so the listener is
not quite sure where the chord is rooted, or where it exists, as if
the music resides in the grey-scale between tonalities. Not giving
away ‘secrets’, but I highly recommend the music of Debussy,
especially “La cathédrale engloutie”, and the music of other
impressionist musicians too, e.g. Ravel or Satie.
I wrote rhythmic, melodic and even chordal leitmotivs on Vorspiel to
enhance the message of the text, and give deeper meaning to the
music. It may take a more discerning ear to pick up on all of them,
I don’t know, but understand: everything on this album is
intentional, and everything was done for a reason, perhaps multiple
reasons. I can’t tell anyone how to experience my art, but listen
deeply and intently, discover the keys to my meaning but also
discover keys to your own meanings and nuance. And listen to future
works, not all musical concepts are paid off in this album alone…
The text was written to read like a story, or perhaps two stories,
which may or may not be related. Each track attempts to address what
I feel are the most pertinent concepts of philosophy, at least to
the philosophy of the future – War, Death, Truth, Solitude and the
Self, Time and Nature.
I may or may not give further account on the concepts and creation
of Vorspiel on wendmusic.blogspot.com. The self-titled demo was
nothing more than that - a demo, I never really intended to have it
listened to by anyone but me, though I happily gave it to anyone who
wanted one. I also handed out four song cd-r copies to people at
Skinwalker shows I felt were worthy, in an apparently futile attempt
to gain some underground recognition.
Surtr:
I agree full heartedly with that as well, my friend. It's unfortunate
that more people involved in the underground scene use it as a way to
"be different" from others than others that actually have a deep
passion and recognition in the importance ov the actual music and the
message it brings. Speaking ov which, I've noticed a lot ov
philosophical ramifications going into the process ov creating
between your two albums. Any ideas you'd like to identify for our
readers, other than those stated above?
Zamiel:
I suppose reading through the lyrics of my albums is enough to
answer this question. Dream, with no fear of the journey. Be wary of
all done in the name of tradition and authority, the great murderers
of thought and life. Become who you are and let your ethics happen
upon you, Hold reverence for the nature of nature, and have
confidence in nature. Seek a profundity to life, and do not be
obsessed with empty things. Be aware and conscious.
Surtr:
Well said! As you stated, you also play bassist for the Washington
band Skinwalker. How has that been and what sort ov tricks have you
picked up since starting with these bandmates?
Zamiel:
I enjoy the project. The direction is very different from Wende.
Both Insomniac and Blacksmith are great guys, and we’re good friends
outside of the band too. It was nice to experience a different
approach to this music. Realize that probably only about 10-15
people in our entire county listen to this music, let alone play it.
There’s been a lot of traveling, playing, camping, late night
recording sessions, early morning return trips, and a fair amount of
libations. I feel that the sound is firmly rooted in the past, and
that’s not so bad, considering how laughable the music has now
become, by and large. The sound is dirty, unrefined, raw and
violent – everything it should be. Tricks? Maybe experiences.
Surtr:
Skinwalker has played live in several cities since this point! How
involved are you with the band's songwriting and focus and what hopes
do you have for the future, regarding Skinwalker?
Zamiel:
We’ve played venues from Seattle to Helena, though have yet to reach
Canada or Oregon. The price of petrol is now beginning to reach EU
prices, and though on a personal level, expenditure slides ever
higher, hopefully we’ll see widespread adoption of a more European
outlook on fuel and transport, though I doubt it.
I’m very involved in every level of Skinwalker. I wouldn’t waste
anyone’s time with my presence and not be involved. In the future,
the agenda may include a small label, or it may not. More shows,
more music, maybe a small tour. Nothing too assuming.
Surtr:
Working with my own set ov bands, I know how taxing it can be to meet
a deadline for a release. How is it you retain your own personal
lifestyle along with that ov your bands? (Including others than
Wende and Skinwalker).
Zamiel:
Wende and Skinwalker never impinge on my life. If anything, my life
gets in the way of my music. I’ve always felt it important to have
my art be a projection of me, but also important to myself be
exemplary of my art. There’s always (increasingly) room for
imagination and fantasy in art. But there is no great disconnection
between Wende or Skinwalker and my ‘personal’ life, there’s
budgeting of time and that’s it, I live the same life throughout.
I’m always wary of people that live fantasy double lives through
their music. It can be done sure, and done very effectively, but I
simply don’t believe those bands that sing of gore, murder,
suffering, arson, suicide, heathenism, heritage or revolt and lead
normal, boring lives. They’re simply circus performers, entertainers,
and sometimes they don’t even entertain.
I’ll briefly mention something here that’s important to me. If your
band glorifies ‘Satan’, ‘Lucifer’ or the ‘Devil’ and sings of being
‘Satanic’, you’re a Judeo-Christian band, and you play Judeo-
Christian music. Satan is a Jewish character, and is shared by all
three Abrahamic religions. To believe and give credence to this
concept is to believe and give credence to the Judeo-Christian
world-view and paradigm of thought.
I fully abhor this world-view and its violent, destructive, life-
hating, anti-culture message. Don’t give it the time of day, my
brothers, let alone speak of its concepts through your music. You
sully yourselves.
Surtr:
Well put, mighty Zamiel! I fully agree, it is the assassin ov free
thought throughout the world! But it is time to wrap this up. Thanks
full-heartedly for your time brohammer! If it's within permission ov
both you and TFE-zine, I'd like to do a review on at least one, if
not both Wende albums! They are really good and deserving lime-light
in my opinion!
Hails!!
-S. Stormhammer, Transylvanian Forest E-Zine
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