Inace ovo su neki delovi najnovijeg intervjua:
When do You exactly get out of the prison?
My best guess is August 2006, but I don't know for sure. They change the laws and rules all the time so nobody really knows.
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I evo sta ZAISTA misli o Slovenima:
Question by Sventevith from Kosice, Slovakia: What do You think about Slavonic (Eastern European) nations and their (future) possible place in Europe?
The possible place of Easter European nations in Europe? Have the Eastern European nations ever not had a place in Europe? Or perhaps You are talking about the European Union? If You are talking about the EU I can tell that I am very negative to it, and would never advice anybody to join that thoroughly corrupt, extremely bureaucratic, predominately catholic and utterly chaotic union.
Well, in any case I am generally positive to the Eastern European nations, both the Slavonic nations as well as the Baltic ones, and I can add that I am far more positive to Eastern Europe than I am to Western and Southern Europe. There is more aboriginal European culture in Lithuania, for instance, than there is in all of Western and Southern Europe all put together.
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I know You are much inspired by European and Slavonic folk music. Do You have any plans for composing such music and releasing it in the future? Or maybe have You already had a chance to compose some new material?
Well, I have made some new material, but it is not folk music. Nor do I plan to make folk music. I love that type of music, but somehow I don't see any reason to play such music myself. If I do something it has to be something special, something I cannot get from any other band, if You see what I mean? I don't think I have anything to contribute to folk music anyhow, and they do very well without me.
This actually touches the problem with Black Metal. If only all these guys playing in the bands had been satisfied by listening to Black Metal instead of having to form their own bands too. Why do everybody have to play themselves? Isn't listening to music enough? If you don't make something that is different from the rest there is no point in making music... or so I think.
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Evo sta planira po izlasku:
[]What are Your plans for the nearest future? [/i]
Apart from the computer programming, translating books and things like that I plan to buy a small farm somewhere in Norway and live there when I get out - in two years time, I guess. By doing that I will have a place where I can write books, make music if I like, enjoy nature, get some peace and quiet and so forth. I like manual labour, so maintaining buildings and stuff like that is really my cup of tea. Live a health life, basically. Nothing special I guess.
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Evo sta misli o Burzum albumima..
Do you have a favorite Burzum album and would you give your opinion on each of your releases?
My favourite Burzum album is probably "Hvis Lyset Tar Oss". Yes, I can give You my opinion on each of the releases I have contributed to...
The debut album: the production is a bit thin on this album, and the vocals and high-hat becomes rather annoying at the end of the listening experience. In retrospective there is much I would have done differently when I recorded this album, but all in all I like it. It was very original when it came, in all ways (good and bad).
The "Det Som En Gang Var" ("What Once Was") album: as far as I remember the vocals are much better on this album and the sound a bit better, but apart from that it is much like the debut album. The tracks on this album were created at the same time as the tracks on the debut album, so in a sense it is "Part II" of the debut album - something that can be seen on the cover artwork as well.
The "Aske" ("Ash" or "Cinder") mini-LP: I wish I had never recorded this mini-LP in the first place, because it is only an mini-LP, and I don't like neither EPs, mini-LPs, "best of" albums, compilations or singles. If it's not a full-length album it's not worth releasing...
The "Hvis Lyset Tar Oss" ("If The Light Take Us") album: this is, as I see it, the best Burzum album. It's very "anti-rock star" and - I think - original, consistent and close to what I wanted to achieve when I made and recorded it. This album is the first album I played music, instead of just playing different instruments... I did that on the earlier albums too, but not as successfully as on this album.
The "Filosofem" ("Philosofem") album: this album contains the first real Burzum track, titled "Dunkelheit" on the album (but the real title of the track is "Burzum". "Dunkelheit" is just the German translation of "Burzum"), that I originally wanted to include on the "Hvis Lyset Tar Oss" album (but the recording was very poor, so I didn't use it). I changed the name to Burzum from Uruk-Hai when I made this song (I think in August 1991). The album is a bit weird, and far from perfect, but it is okay. Unfortunately (?), this is the album that sounds the most like the new Burzum music.
The "Dauði Baldrs" ("The Death Of Baldr") album: the metal versions of a few of the tracks on this album are really cool, so I think I will include at least one of them on the coming album. (The track called "Jesu Død", on the "Filosofem" album, is also a metal version of one of these tracks, by the way.) I am not overly fond of this album, but it is okay. I like at least two of the tracks a lot (the two first, as far as I remember). I once heard a cover version of one of the "Dauði Baldrs" tracks, on some German compilation album, I think, and that was very good... much better than the original. In short, let's just say I prefer the metal version of the tracks on this album oh, and it was recorded in a prison cell, using a normal tape recorder, so the sound is naturally not the best.
The "Hliðskjálf" ("Hidden Opening Into Asgarðr" or "Secret Ritual-Site") album: there are at least three tracks on this album that I like a lot, but in general this album is much like "Dauði Baldrs": it was the best I could do in a few months; the time I had to complete each of these albums, before the prison authorities either sent me to another prison (in 1995 ["Dauði Baldrs"]) or prevented me from recording anything more (in 1998 ["Hliðskjálf"]).
The Old Funeral, "Devoured Carcass" EP: this was the first music I (on this EP only as a guitarist) ever recorded in a studio, when I was 17 years old. The music on this album is Death Metal and the sound is not very good. As far as I remember it is okay, but the Old Funeral demo tape, from 1988 or 1989, that I didn't contribute to in any way, is much, much better. And I must say that although I made some of the music on this EP, I had nothing to do with the lyrics or cover artwork. ("Devoured Carcass"? Give me a break... It is almost as stupid as the Immortal lyrics...)
The Mayhem, "De Mysteriis Dan Sathanas" album: as You might know I played the bass on this album. I am not credited as a bass player on this album simply because Euronymous' parents told Hellhammer that they would stop the album if he tried to release it featuring both their son and me. So Hellhammer told them he re-recorded the bass line himself, which was a lie, and then simply removed my name from the album cover - solely to satisfy Euronymous' parents. (Contrary to popular belief, there has never been any conflict between the Mayhem guys and me, not even after the "inconvenience" with Euronymous.)
I once said that this album reeked big time, because the vocals ruined everything, but the truth is that I had only properly heard the vocals on "Freezing Moon" when I said that, and I think "Freezing Moon" reeks big time, but the vocals on the other tracks is perfect. The reason I think "Freezing Moon" reeks is simply that I was used to Dead's vocals and his way of singing, and I never wanted that to change. Attila, the session vocalist for this album, was more concerned about his "artistic integrity", and didn't want to sound just like Dead, so (unfortunately) he wanted to do his own thing.
So I think this album is great. It is highly original, not least because of Hellhammer's inventive drumming, and I would say that all that was positive about Euronymous is immortalized by this album. Hellhammer's drumming makes the album special, but so does the guitar riffs, that Euronymous was mostly responsible for (although Hellhammer, Necrobutcher and even I have made some riffs too).
I have never even read the lyrics on this album, or seen the album cover, but I still dare say this is one of the few Black Metal releases I think highly off and would actually listen to, if I had the chance. Why on Earth do people even bother listening to other Black Metal albums when they can listen to albums like this one? A good album to me is an album you never grow tired of, and I think this album is such an album.
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Malo o smislu zivota..
As clichéd and cheesy as this question sounds, what do you believe to be the meaning of life?
I love clichéd and cheesy questions...
This is as You probably know a rather complicated question, and I don't think there is an answer that is valid to everybody. However, I do believe I can come up with an answer that is valid to all ethnic Europeans. The other races are rejects according to the ancient European religion, so I don't really care about them or what they do or believe in. According to the ancient (European) myths the gods created mankind, and some myths state that they were so disappointed by their creation that they left them, but there is one race that was not a disappointment to them, and that was what we know as Jarl's kin - or Earl's kin, to use his English name. This mysterious Jarl, known from Antiquity as (Proto-Norse/Germanic) EirilaR/Eirilaz, was the youngest son of Heimdallr, and the only son Odinn accepted as worthy of access to Valhall ("the hall of the chosen") in Heaven (Asgarðr).
Heimdallr created Jarl's kin because Odinn, the king of the gods, wanted to create an army of men that could help him in the ongoing war against the untamed and destructive forces of chaos. Individuals of Jarl's kin will only be able to assist Odinn if they die, though, because the only way to cross the rainbow bridge and enter Heaven is to die. However, Heimdallr taught Jarl's kin the runes (secrets) of the gods, so that they could actually enter and leave Heaven anytime, even in life. All they needed to do was to be initiated in the Pagan mysteries, and a part of that was to pretend they were dead, or simply disguise themselves - like the Greeks did when they built the Trojan horse to gain access to the city of Troy, or like Cinderella (the initiate) did when she put on a dress to look like a princess to gain access to the king's castle (Asgarðr) and marry the prince (Baldr). The gods taught Jarl's kin how to keep in touch with the gods, so to speak.
The other races cannot communicate with the gods, and the least racist theory is that the Europeans are simply those chosen by the gods to communicate their ideas to mankind, but the more likely theory is that the gods only wanted to communicate with Jarl's kin because the others weren't good enough for them. The others were rejects; failed results of the creation. This is also the reason why only the youngest son or daughter in the fairy tales can marry the princess or prince, and the two older siblings are always cruel, stupid, lazy and ugly. Jarl's older brothers are Karl ("free man") and Trell ("thrall"), and the latter is even being described as an ugly, stupid and black-skinned man in the mythology.
What we can read from this is that racial purity is alpha-omega, if we want to have a link to the divine realm, because if there are no blonde, fair-skinned and blue- or grey-eyed people left we will never be able to communicate with the gods.
Of course all of this is nonsense to people who don't believe in any gods, but I think that all people who have at least some intelligence are able to understand that there is something spiritual that we don't understand or are able to communicate with, and this is what I mean when I say "the gods". The reason we are not able to communicate with the gods is simply that we no longer practice the Pagan religion. We no longer initiate people into the ancient secrets, naturally because Christianity has replaced our religion. Halloween ("hallow-eve") is no longer an initiation ritual, but a silly party for children and others who don't really know what Halloween is really all about, or why they are supposed to dress up as dead creatures. They don't know that the real reason they dress up as ghosts and other dead creatures is to gain access to Heaven (and Hel, that contrary to popular belief is not a bad place); to make the guardians believe they are dead and to make them let the living gain access to in the realms of the dead.
All of this is explained in "The Mysteries And Mythology Of Ancient Scandinavia", so I won't elaborate anymore on this here and now.
When nobody has gone through the initiation mysteries nobody has any contact with the gods. Therefore nobody knows the meaning of life anymore. We are all just wandering without any goal or purpose on the surface of this planet, because the Judeo-Christian burned the last initiates on great fires in Europe as late as in the XVIIIth century.
The gods cannot communicate with us anymore, and they cannot hear our prayers, because the channel between the gods and mankind was broken when Europe was Christianized. That is the reason we are destroying our planet. That is the reason we are mixing races and in effect destroying the European race. That is the reason there is an existential crisis in the modern world, and nobody knows what to think, say, believe or do anymore. Everything is chaos, and the ethnic Europeans are desperately looking for answers everywhere. In Buddhism, in the New Age movement, in materialism, in Hinduism, in drugs, in occultism and even in a ridiculous "religion" like Islam.
In the past we had a crude arrow and a crude bow, but at least we had something to aim at. Today our arrow and bow is very nice, golden, expensive, high-tech and fancy, but what good is that when we just fire randomly into the air, hoping we might hit something?
The answer can be found - or at least I think I know that the answer can be found - in our own ancient religion; the Paganism of Europe. To know the meaning of life we can simply look to the past, and try to figure out what our Pagan forefathers were doing, because they knew the meaning of life. They organized sport contests, like the Olympic games, to find the man with the best blood, and then they let him marry and impregnate the priestesses. Thus they cultivated a genetically better man. They placed the genetically deficient children in the woods, to be eaten by wolves or to die from thirst, because they knew that the cultivation of a genetically better man was the meaning of life. They knew that the meaning of life was to improve our race and become better: physically, mentally, spiritually, emotionally and in all other conceivable and inconceivable ways become better.
And take notice that I say "to improve our race", and not "to improve our species", because the other races are rejects, and there is nothing to improve. They are like old 286 or 386 computers, that cannot be upgraded sufficiently anyhow, so we throw them on the scrap heap instead, like the gods did with the other races, and focus on the newest and best computers instead. We can still use the old computers as typewriters, but the gods didn't create mankind to work as typewriters, so to speak.
So the meaning of life is to purify and improve our European race, to (re)create a culture that enables us to improve and be purified, and ultimately to become divine. The meaning of life is to let the homo deus (the divine man) be born in our race, and then to elevate all individuals in our race to this level, so that we can create or be collectively elevated to regnum innocentiae (the realm of innocence), to Asgarðr, and be able to stay there for a change (instead of being reborn all the time, on Earth).
