Haeresiarchs of Dis Interview

1. Can you give us an update on what is going on with the project these days?
The next full release is tentatively entitled “Sermon 31: Clavicle: 1-6 the Third Trine of Satyr’s Cross”. This album is more conceptual than the previous releases, written in a linear narrative that tells the tale of a place called Satyr’s Cross where realities intersect and are erased. While this album has been demoed out for quite some time (a preview is posted on mySpace), I have held off on finishing while I addressed some recording and production considerations. The last two releases “Denuntiatus Cinis” and “In Obsecration of the Seven Darks” were both recorded at the same time and in the same manner. I wanted to step back and take more time thinking about composing and recording. To keep my forward momentum I decided to change up my recording methods and practices, thus offering something slightly different. I do not want to make the same album. So while the new album is completed, it is done with scratch tracks, and the re-recording these tracks I expect to occur throughout winter and spring. There is also a split coming out with Ophidian Forest on UW Records later this year. This split will be material from the now out of print Dis demo released on Toadstool Enterprises in 2010, though re-mixed. I try to post updates to the mySpace site regularly, and there are some feeds from that blog posted on metalunderground and other sites.

2. How would you describe the musical sound of the new album and how it differs from previous releases?
With the new upcoming release, “Sermon 31: Clavicle: 1-6 the Third Trine of Satyr’s Cross”, I would say the sound offers something new while maintaining the Haeresiarchs of Dis format and style. While I freely experiment with Haeresiarchs of Dis, it will always have the same backbone, same flavor: underground metal wet in the occult, religion, and the sick areas of the human condition. Lyrically, the narrative that I use on “Sermon 31” will stand out as different being a continuous piece of prose, though will still maintain the darker themes and ideas I put forth on previous releases. Aside from some different equipment and software, expect the new material to contain all the hallmarks of Haeresiarchs of Dis: fast riffs, slower drones, choirs, ambient, and some acoustics. This album is also written without large breaks between tracks as it is intended as a single conceptual piece.

3. I know that some of the lyrical topics are based on Paradise Lost and some Celtic Myths, what are some of the other lyrical topics and subjects you explore with your music?
There is mythology in there, and there is Milton as well. While it really depends on which album we can add Dante, cosmology, occult, philosophy, and the black plague to name some.

4. Have you worked with other musicians before and so how would you compare that to being solo?
I spent many years playing with other musicians in various types of bands. Everyone always had a different idea of what should be done and how. Sometimes it really fueled creativity, but more often it caused problems. I think when I played with others they were just the wrong people and ultimately I lost interest until it became possible to do everything myself. It was a fine experience for the time, but this type of project really is a solo effort, and I do not think it could be anything else. I never set out for this to be a solo effort, it just happened, but it has also been the most rewarding. Therefore, the best means and experience for me to express this creativity is alone.

5. I noticed you use the name Cerrunos what is it that drawn you to this Celtic diety?
Really the first thing that drew me to it was some old stone reliefs I saw in a book. But beyond that my background has celtic roots, and the seemingly ageless entity of Cernos, or Cernunnos, just kept my attention and seemed appropriate. “The Horned One”… Just felt like a good match to my ideals and interests.

6. Your album had an Emperor cover, what was the decision behind that?
It just happened. I was practicing with various amps and recording tone levels. Next thing I knew I had recorded most of Ensorcelled by Khaos, so decided to finish it up and add to the release. Emperor has always inspired my music, so this felt like an appropriate addition to the album. I also had not seen this track covered before, so thought I might lend my style to it.

7. How has your music been received by black metal fans worldwide?
Some like it, some hate it. I suppose it would be that way no matter what I was doing. I do this music because it is something that I might like to listen to, and ultimately that is all that matters. I do not know if I’d call it black metal anymore, maybe just underground, I really do not know. Metal has become so cliché, and the people who listen to it are myriad. Old school die-hards to younger enthusiasts… and in both groups they either stick to older values or blindly follow trends.

8. What direction do you see your music heading into on future releases/
I cannot say, because this band exists in the moment. This moment can last or fade from my interest at anytime. Because I do whatever strikes me as interesting with Haeresiarchs of Dis I’d imagine future direction would not be much different than today. I have used classical instruments, droning acoustics, boys choir and piano to much extent on my releases… Maybe a future album would be just piano, or ambient noise. It is hard to say because this band exists in what I feel at the moment. And what I feel at any moment may fluctuate depending on what is happening in my life.

9. What are some bands or musical styles that have influenced the newer sound of your music and also what are you listening to nowadays/
I have so much music I have and currently listen to that it is always difficult to try and simplify this. Much of the Moribund releases have been influential on me in the last decade. At a root level, Mercyful Fate has stuck with me from my early days, and always inspires me to some extent. More recently I have been listening to more early progressive rock. I’d imagine all of this comes into play when I write and record.

10. What role does Paganism, Satanism, and Occultism play in your music and how would you describe your views on these topics?
I won’t try to describe my personal views on these topics because in the end it is all used as a vehicle for me to express an idea or feeling. This type of imagery and overtones goes hand in hand with music, and that is more apparent today than I think it ever has been. It is not any different than it was 40 years ago.

11. Outside of music what are some of your interests/
Currently music is the only thing I am sharing publically, but I have done visual art and writing in the past. Music has taken a stronger foothold in my activities since the technology has made it easier to make my solo efforts.

12. Any final words or thoughts before we wrap up this interview?
None at this time. Thank you for the interest.

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