INFERNO – pravý black metal není o naprosté likvidaci všeho dobrého

INFERNO – a genuine black metal is not about the destruction of all good

In the autumn of 2013 INFERNO released their sixth full-length album Omniabsence Filled by His Greatness which presented the band after 18 years of existence in a completely new sound and temper as reflected in the statement of vocalist Adramelech with whom I conducted this interview: “The album represents two important aspects of the existence. The rebirth and illumination that comes when you realize how all existing things are doomed to extinction.” What caused such a quantum leap in terms of INFERNO’s music? Adramelech mentions that “in the past we tended to be rather selfish about our own music. And that resulted in an artistic sterility. It was like a noose of musical decline that was slowly tightening.”

INFERNO, thanks to their latest album, were nominated for Anděl Awards 2013, a European tour is planned for this autumn and the new material is in works so it seems that they got rid off this noose quite successfully. Read on…

 

INFERNO - Omniabsence Filled by His Greatness LP

Before we start to deal with a more relevant topic, that is the release of the new album “Omniabsence Filled by His Greatness”, let me ask you first how did you strike a deal with polish Agonia Records?
Hello. The circumstances surrounding our signing with Agonia were not really dramatic as one might think. There was no persuasion and no impracticable promises from ours or label’s side as it may happen when a smaller band wants to secure a deal with a bigger label or vice a versa. In our case it was really simple. I have been a customer of Agonia Records for many years and during one order I mentioned I’m a member of Inferno and asked them if they would be interested in releasing a new record of INFERNO, which was “Black Devotion” at that time. Their reply was positive and then we just arranged details; how many albums will be released, when they will be released, some legal stuff, finances and such things related to the release. Well and since then our albums were brought out under the banner of Agonia Records.

There’s probably no use in discussing the deal in detail but did you get an unlimited budget for the recording of the album? Are you satisfied with your cooperation? The release of “Omniabsence…” suffered from some delays if I am not mistaken so the question is whether Agonia gets to release the next album as well?
No, I would say that in terms of finances we were restricted although we admit that the budget for the recording of “Omniabsence…” wasn’t small. But if we didn’t contribute financially ourselves then we wouldn’t be able to realize the latest album in a studio like Necromorbus. So despite the fact we got signed to a bigger and quality label we are still a small band from the Czech republic and we simply cannot compare with likes of Watain, Behexen, Horna, Marduk in terms of popularity etc. Thus our means for recording, the interest of label(s), zines and promoters correspond to this.
Talking about the recording. In our case we had to push everything to the max. We didn’t have any backup funds or extra money we could spent on experimenting with the sound; i.e. creating alternate mixes, masters etc. Sometimes I think that we are in disadvantage in here because recently there have been records from our country that managed to surpass even the well-known foreign acts. But this depends further on sales, brand, popularity and the country of origin. The artistic intention and quality might be left aside unfortunately…
Well and whether we are going to stay with Agonia rec. remains a question. It will depend on our future heading and the plans of the label. Whether the Agonia will be even interested in releasing of our next album or if there will be a mutual artistic vision and so on. We haven’t really thought about it so far. But I know for sure that we need a dedicated label and the support must be reciprocal. Only then can be the cooperation built on a solid ground. When it comes to our satisfaction with the promotion and its impact; We can openly claim that it fulfilled our expectations. 

Inferno - Adramelech

During those nearly twenty years of INFERNO’s existence you have went through many line-up changes, shifts in ideologies and even the main composer was replaced. Maybe you have even experienced times when you didn’t want to continue. Do you view the band in the same way like in the beginning? Have you for example noticed something like a glimmers of hope at the horizon at certain point?
First of all it needs to be said that our music illustrates and reflects our minds and the act of creation of that certain time. That is why our albums are so diverse and sometimes so different from each other. But this suits us well since we are not interested in making the same album twice. This might be a reason why we are still here after almost twenty years because we keep experiencing new things. It may not be to a liking of those who would rather have us playing in the vein of “Nikdy Nepokřtěni” forever. But when I started INFERNO I was fifteen and nowadays I am thirty five so it is obvious that my perspective of the band and my opinions cannot remain the same. That’s an evolution and thus INFERNO needs to be different as well. Every change in a line-up has an impact on the band and that’s good. The band lives through us, not the other way around. We want to be the band with no restrictions where each member has his own specific talents and no one is forbidden from contributing if we all feel such contribution is valuable. And if there have been glimmers of hope at the horizon? I don’t think about it too much. I take the things as they are now and how they come. We focus on the present.

“If we didn’t contribute ourselves…” That’s the exact thing that is hampering Czech bands because they do not realize how important it is to invest in their own bands – in promotion, instruments, production etc. Do you think that the album would be drastically different if you didn’t contribute with your own money?
Definitely, if we didn’t invest in the “Omniabsence…” ourselves we wouldn’t be able to record in the studio like Necromorbus. I do not claim that the album would be worse or better if we recorded in the Czech republic. The result would be just different. We planned to record in Necromorbus Studio because we felt that it perfectly suits our new album, its arrangements, structure, simply everything this album is offering. We knew, or we felt (to be more specific), that utilizing this studio will give the album proper character, atmosphere, a certain specificity and obscurity. I have been following records recorded in there for a long time and I consider them to be the best-sounding in Black Metal. The sound should reflect something dark, noble and give the album a certain spirit and authenticity. I know that not everybody has means to realise something like this but it is always good to approach things in a professional and responsible manner. Half-heartedness breeds only imperfection.

You have also mentioned that local albums are recently surpassing those from abroad. Which would you mention? Do you have any specific view on the local black metal scene?
I think that the domestic scene gets better with each year. We could hear a couple of great albums recently. Concerts and festivals also evolve. But to be honest I am not the best person to answer this since I do not follow the local scene that close. If I should mention some names then it would be Cult of Fire, Heiden, Algor, Silva Nigra, Panychida…

Inferno

The new album “Omniabsence Filled by His Greatness” presents quite a radical shift from your previous albums. What were the most important aspects when you were creating and recording it? Was the change in sound deliberate and calculated or did you simply want to make the best of compositions and/or atmosphere?
Above all, while composing “Omniabsence…”, we wanted to break free from all those unwritten rules that sometimes seem to castrate Black Metal music and its creators. Our new album represents ourselves in the process of composition. We didn’t want to follow any specific sound or trends. It all went forth so well because we utilized the freedom and the various paths that lied open before us. And this had a true impact on the actual creation. The true art lives in ideas, freedom and essence and not in the form. We were well aware of this when composing “Omniabsence…” and that’s why the results sound like it does. It mirrored our hearts, bared our souls – it is a chaotic portrayal of our personalities put to music; without any restrictions. If we want to continue in creating music we need to be honest to ourselves. That’s the real authenticity, the real “true” approach. It’s not about being true to the genre, that’s bullshit. For us it was like a purification through the spheres of death. Of course, everything happens for a reason and that’s why the sound is different as well. It all works as a mosaic, a painting and a connection with psycho-spiritual dimensions.

It seems that your goal met with understanding since your album was nominated for the Czech Grammy awards Anděl. That does not mean that you will become local stars overnight but it will bring a certain exposure and maybe even satisfaction. Do you think there is a chance you might win the award (ed. INFERNO didn’t win the award)? What do you expect from this?
I expect nothing from these awards. I’m rather surprised that the album like “Omniabsence…” can appeal to fans outside of Black Metal. That was unexpected and certainly not our intent. But it probably says something about the value, quality and the originality of the record and that’s nice. I would be satisfied, if it stayed like that. Our music is more suitable for the international BM underground and the unity found within. And even though it’s 2014 I still hold an outdated opinion that the subculture like Black Metal shouldn’t receive such an interest, publicity and popularity like it does nowadays. However I respect that. The scene is created by the fans, bands and labels and I am still a part of it,  despite the fact it is not exactly to my liking and that I try to stay in the background.

Inferno - Ska-Gul

The material was mainly composed by the guitarist Ska-Gul. What ran through his head or what happened in his personal/musical life that he pushed INFERNO from the classic black metal sound into psychedelic spheres and sweeping compositions? Has he had any specific aims and goals or is the album a product of a natural creation?
I think it was a natural outcome of an urge to do things differently. He simply took up the glove and there was no reason to hold back. We needed to embrace the spontaneity and the originality instead of just standing at one place burning out. I don’t think we abandoned traditional Black Metal but we wanted to discover something new for ourselves. Something that is still based on a repetitiveness and purposeful inner feeling – that is to do things in our own way. This path is our goal. The songs of “Omniabsence…” were meant to portray visions of our imagination; Nihilistic and obscure pathways, compositions doing a credit to our tastes and spirit. Ska-gul does enjoy psychedelic art but INFERNO isn’t that sort of a band. The inspiration is everywhere around us, in everything that we find moving, exciting or interesting. We try to portray all that is found at the brink of extinction and doom in a  raw, dark, instinctive way. This can be all found within people and we aim to add something personal to the whole thing, which wasn’t that common earlier. We want to be INFERNO; not just imitators of the imitators.

So how did Ska-Gul compose? One can hear that the music is based on basic riffs/motifs upon which more and more guitar layers are added. Is everything, that can be heard in your music, projected in his mind from the beginning or did you have to develop the songs step by step?
In most cases, there is a specific, let’s say a basic riff upon which more layers are added in various timbres. Some layers or ideas are clear from the beginning, yet some appear later, even during the recording itself. Not much of the material for “Omniabsence…” was created during rehearsals or jams. This album is very personal and the majority of it was thus composed at home, under certain atmosphere and mood in order to be as authentic as possible. In my opinion, the album represents Ska-Gul’s attempt to capture two important aspects of the existence. The rebirth and illumination that comes when you realize how all existing things are doomed to extinction. That’s what I feel from this album. There is also a perceivable liberation of one’s mind, which you can view as our music’s message and our own intense struggle against spiritual decline. “Omniabsence…” can be also viewed as the heterodox art based on haunting projections interconnected by a dark entity.

How did the rest of the band react to the album and how did they contribute?
The reactions were sympathetic. No one was too surprised because we are all in a close contact, we influence each other and thus we can predict our future paths.
But there is a one great difference between the past and the present INFERNO. In the past we tended to be rather selfish about our own music. And that resulted in an artistic sterility. It was like a noose of musical decline that was slowly tightening. But now we can consider ourselves to be people who have realized certain things and values anew. This gave us much energy that moves us forward. There is a great will and hunger nowadays. We appreciate many structures that keep evolving within Black Metal and we try our best to allow this potential to flourish. We don’t claim that we have recorded a groundbreaking album but it was groundbreaking in terms of our own personal visions.
This album is mainly Ska-Gul’s child who then together with Sarapis arranged the drums and various other musical patterns. Then it was up to me to add my vocal lines and create lyrical connection with the music itself so the whole result would be as compact as possible. Sometimes things go smoothly if the chemistry is right.

Inferno - Adramelech

How did you envision the sound? Have you achieved exactly what you wanted? The guitar sound interests me the most since there are many effects used. Did Ska-Gul pin-pointed his vision exactly or did studio and producing work of Tore Stjerna did its marvels?
Our intent was to reflect what is going on in the music. All that progressive negation of pure instinct found in here, artistic abstractions, massive rhythmic parts and hypnotic patterns. Our music is very cinematic and visual in its own twisted manner thus the production couldn’t be crystal clear. That was the only fixed requirement I think. Then it all played out by itself. The other sounds and guitar layers were adjusted in such manner so the equilibrium of the whole record would go unharmed. Some of our ideas and conceptions were transformed and revaluated during the recording. Sometimes Tore presented ideas how to make things much better and more consistent. The whole process was authentic and the magic of the moment was present.
We had a hard time to describe our vision to someone we saw for the very first time but it was a great experiment for us. It is a bit different production-wise and that’s where the know-how together with technical knowledge and experience paid off. Generally speaking we were successful and we did everything the best we could.

When one takes a look at you discography, he’ll notice quite a lot releases since 1996, so you have plenty of experiences with the recording. How different was Necromorbus studio from other studios? Would you recommend such an experience to other bands as well?
The recording of “Omniabsence…” went the same way like in every other studio we have used before. There were no important changes. But the difference lies in Tore’s experience, his proved settings and procedures how to achieve the desired result. He has been recording mainly Black Metal bands, he’s also been touring with Watain as a sound-engineer and thus he knows exactly what kind of equipment, effects he should utilize and that’s not common here in Czech republic. I don’t mean that domestic studios are poor but the producers lack the artistic sense and the necessary know-how, if you know what I mean. You need to experience something like this and I recommend it to everyone.

You sing in Czech and Scandinavian bands also make use of their native tongues often. I guess that “Slavic” label does not care that much about it but what was the opinion of the producer? Did Tore like the sound of the Czech language in the songs?
I don’t know if Tore liked our language, we haven’t discussed it unlike the lyrics and the concept of the album so he would have a deeper insight into the music and the message. Anyway, I think we clicked. He’s a great professional and a really nice guy.

Inferno

The lyrics hint that you are immersed in the occult and metaphysical matters. Does this mean a lot for the rest of the band or is this purely your domain?
I have always written the lyrics and thus I have a free hand but nowadays I consult them with some of my friends who are also immersed in occult spheres. I think that lyric-wise I obviously made a huge step forward. They are much more artistic and bizarre than ever before. I had to move forward before I would slide into my own swamp of stagnation.
Nowadays, the basic idea of band’s philosophy, that is reflected in lyrics, is based on the utter insignificance of human beings in comparison to the universe and the “divinity” (no matter what you imagine under this term). We are simply a brood shaped by genetic coincidences that lives and dies on a speck of a dust in a cold vast universe. We alienate ourselves physically and spiritually, due to our mundane approach to ourselves, from the mental elevation. But yet there is an intent to recreate ourselves into something better.
We try to portray our struggle to impose the order on the chaos of our existence. Whether you live or dream there are means how to do it and experience something that goes far beyond the humanity. But even if you do “success” in fulfilling the “divine” potential in men it is still condemned to failure. Why? Because the very essence is defective and doomed to perdition.
The schism when you are aware of this insignificance and imperfection but you still strive in vain for those spiritual “heights” is also important. Our concepts might seem metaphysical but it is possible to approach them by conventional means and understanding. Then it just depends on the individual what he gets from it. We don’t aim to change one’s values, it all happens on an artistic plane, corresponding with music.

I really like the graphics of the new album. Are all images based on your ideas? I know that the cover (and probably the majority of images in booklet) was made by David Glomba but layout was handled by Fenomeno Design? Why didn’t you leave it to a single person?
All illustrations and artwork were masterfully created by David Glomba and consulted with me. He certainly has a great feeling and rich imagination for such themes. He’s an illustrator and Fenomeno Design made everything ready for print. He enhanced some of the David’s works with digital effects and gave the whole layout an archaic look. They both excel in their own fields and that was the decisive factor for me.

Inferno

Black metal bands often boast with massive egos and strong opinions. Do you feel as the best (contemporary) BM in the country or something like this? In other words, what do you think about such statements in music?
I don’t care much about a scene as such for some time already. If the album or the band cross my path, then so be it. I don’t devour all the new things coming out just for the sake of it or to complete my collection. I am in contact with more-or-less the same people like in the beginnings of the band. If someone considers INFERNO to be a flagship of the Czech black metal scene then I’m honoured but personally I’m not really preoccupied with that. What makes you stronger can also kill you and I keep my feet on the ground.
At the beginnings, in the 90s, I perhaps gave a damn about all those sensations and statements of certain musicians, as probably most of the people did, but later on I figured out that it is much more beneficial to simply focus on things that can push you forward instead of focusing on sensations that are worthless in the end.
For a long time I don’t also hold an opinion that the true Black Metal is exclusively about complete annihilation of all good, about death, coldness, pain, chaos, misanthropy etc. I understand it more as a message aimed at percipient people who want to free themselves from sterility of thought and modern, global suffering; Those who move forward towards a certain enlightenment. We believe that the darkness of the universe is not just somewhere outside and far. It’s here with us and we are the part of it.

I’m glad someone sees it like that. Sometimes it seems weird and almost ridiculous (I don’t mean that’s your case) that bands which promote evil of all kinds then resort to statements like “…it brought us to the light”. Does your philosophy applies to lives outside of the band?  Do you consider yourselves to be (if such thing is even possible) heralds of chaos, destruction and collapse or are you simply spiritual beings that were born in this dark universe (as you mentioned) and are accommodating to it and searching for the new paths?
First of all I need to state that we are trying to be artists who allowed themselves to be carried away by all what Black Metal has to offer. This genre became our voluntary prison and to a certain extent it accompanies is in our everyday lives. This doesn’t have to mean our lives are full of suffering, pain or violence. That would be foolish and it’s not our case. But they are certainly human qualities and concurrent phenomena that shouldn’t be ignored as they are a natural part of the world and ourselves. They are equal to qualities that are considered good, they are just the other side of the coin and everyone can have a different opinion on what “good” is. And this applies to nearly everything. Those who love are capable of hate the same.
An artistic approach of this kind may offer path that encompasses a wide variety of emotions, grandeur, boldness, diversity, individuality, retrospection and means of evolution of self. This form of devil’s paradise can include illumination and grace and not only damnation as some may think. This art, like all kinds of art, can be so wide, multiform and variable. A great emphasis is put on mimetic side of the art as well as expressive, creative, communicative side and everyone, according to their own intelligence abilities and potential, decides on the interconnection between the absorbing art and the ordinary life. Thus I presume that in this case a definite answer is not possible.

Chaos is Coming tour 2014

I do agree. But allow me to make this question even simpler by directing it at you personally or other members. I don’t know what you do for living, that’s not even important but I’m interested whether this inner philosophy of yours reflects in or even fully pervades the other parts of your lives. Of course it is nonsense to assume that your answer will be: “Yeah, I’m totally into it and I dig graves for living” but what if you were a manager in a corporation; Do you think that your philosophy and attitude would shine through a façade of a high-ranking employee? I mean there is a certain kind of personal aura that emanates from the true and real conviction that is not just about false “evil gestures” and radical proclamations about the hatred towards God, death-worship and destruction of all good, as you mentioned.
There are certain hints and connections. One can indeed make an impression of being somehow interesting; meaning that you surpass the mere crowd and the reason for it lies in Black Metal that has partially shaped our lives. I hold an opinion that you can subconsciously sense one’s integrity and dedication to some particular goals of his. It is probably based on integration with one’s self-realization while he or she interacts with surroundings.

The Chaos is Coming Tour with Arkona from Poland, Armada from Mexico and Pilsen’s Panychida is planned for September of 2014. Who is in the charge of this séance? Are you preparing something unexpected?
This tour was my idea and the initial impulse came from me as well. Sometimes in 2012, me and KH (Arkona) wanted to realize a joint tour to which we have agreed back then but due to our busyness it all went silent, until this year. I have been thinking a long time about which band should join us on tour. Within INFERNO we were talking about bands that were ideologically and musically similar to us but I was against this idea. I wanted the line-up to be slightly richer and perhaps more interesting for both fans and promoters. And most importantly I wanted someone from the Czech republic with a professional attitude, someone who could contribute to the whole thing; meaning he has contacts, experience and is willing to get the job done. I knew from the beginning that Panychida could be the right band.
Three years ago we were discussing a tour with Kozeljnik and Infernal War which unfortunately came to nothing because of money we had been promised by the promoters. So I’m glad that we can finally tour Europe this year. And the invitation of Armada was a token of gratitude and a reward because the vocalist of the band, who runs the booking agency Rebel Entertainment, organised two Mexican tours for us. When he approached me about a couple of European dates I knew I must oblige and thus they were added to the tour line-up. A mutual support.
Anyway I think that the tour will present our classic show when our selves are deleted from the book of life, even if just for a moment.

Since the songs are heavily layered how much do they differ from studio version when you perform them live?
Yes, the songs need to be re-arranged for concerts. So far we have been playing two songs from the latest album – “The Firstborn from Murk” and “The Funeral of Existence” adjusted for two guitars. Later on we would like to add more new songs into the setlist but since we don’t rehearse too often it will take time. With all those guitar layers it needs time and many trials and experiments to re-arrange songs in a manner that does justice to them. We really did make a rod for our own backs. We try to keep the key motifs and details and the background melodies are substituted with bass or by some other means in order to create the best concert alternative.

Inferno

It may be too early but this kind of concluding question suggests itself. You made a huge step forward and to me it seems impossible that you could repeat the impact of the latest album and switch your sound once again.  Is INFERNO going to tread the path of ”Omniabsence…”, perhaps improve it and go even further into uncharted territories?
I firmly believe, judging by the samples of the album in works, that “Omniabsence…” will be surpassed in terms of both music and lyrics. The new album is going to continue in the vein of the latest one but it will be slightly different, like always. We strive to keep it distinct and the touch of psychedelia and the depravity will be present. I think the songs will be even longer and they will be full of personal stimuli and of the devil. 
 
Translated by Dalihrob ov Mortemzine.net

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