1.For those that have never heard of you before, can you tell us a little bit about your bands and musical projects?
I’m active in the metal underground since 2001 I think. I had some projects back then and the only one which is still alive is Blasphemous Noise Torment. Luckily I’ve found two musicians that fit perfectly in the attitude and sound required by this band. Beside that, with another friend I started Doomhammer back in 2010 I guess with the aim to create raw and old school music. Since I’m an iper-active person I’ve 2 solo projects now, Patriarch (raw punkish black metal) and Caostruppen (war metal caos). These days I started rehearsing with a friend for a lo-fi black metal band. Also I have the Clan of Exclusion - war command distribution label.
2.Currently you have 2 full tine bands and 2 solo projects, how would you say all of these bands differ from each other?
Well Blasphemous Noise Torment is my main band. It’s the older project I got and everything we do with that is focused on developing some kind of personal way of playing bestial black death metal inspired by bands such as Bestial Warlust, Blasphemy, Diocletian, Revenge and so on. It requires some kind of skills and exercise musically and lirycally wise.
Doomhammer is a free-time band. We do what we like in a simple and direct way. So here we put thrash, black and punk influences and we go. Simple songs for total impact.
Beside these two bands, Patriarch is a more personal and black oriented band. Inspired by Burzum, Darkthrone, Akitsa, Ash Pool, Bone Awl and White Medal is focused in the creation of raw lo-fi music with a touch of cold melody. Finally Caostruppen is my bestial project devoted to Conqueror, Revenge, Naked Whipper worship. Nothing original, just chaotic music and pure brutality. Soon will be out new demos and first album.
3.With Doomhammer, the music seems to revolve more around old school metal and punk as well as alcohol, do you consider this band more as something fun compared to the other bands where the music and lyrics seem to be a lot more serious?
Yes for sure. Doomhammer is purely fun and manily focused on live impact. So we don’t care about lyrics content or musical precision. It is just about turning on the amplifier and play.
4.Also with Doomhammer you have done a few G.G Allin covers, what was the decision behind during your own version of these tracks?
I’ve heard my first G.G. Allin song in Volkermord (UK) split cd. I liked that kind of raw and brutal punk-crust and that kind of nihilist attitude fits perfectly with Doomhammer. Also we always liked to drink beers and whisky and doing some crazy things so it was quite natural for us to cover such songs. I must add also that these are really easy to play songs, so we hadn’t to rehearse them too much ahahah.
5.Is the name ‘Doomhammer’, a tribute to Hellhammer’?
Yes of course. The band started in a small and dark garage, it felt like an old crypt. So we begun with the intent to pay tribute to the old school of metal music. Personally I am a big fan of Hellhammer and similar bands. I often use the “uh!” battle cry as a tribute to Tom G. Warrior in Doomhammer songs.
6.With ‘Doomhammer’, all of the demo’s where released on a compilation by Old Cemetery Records, where you satisfied with the support they put into the compilation?
Old Cemetery rec. did a great job with the cd, we like it. I must admit it would’ve deserved a better recording quality, but anyway we are committed to rehearsal quality so it is the way it should be in any case. Soon will be out the new demo through Legion Blotan and later another split. We are slowly thinking about an album.
7.With ‘Blasphemous Noise Torment’, the band was originally called ‘Kaos’, what was the decision behind the name change and also the meaning and inspiration behind the name ‘Blasphemous Noise Torment’?
Kaos was more an experiment than a real band. It was just somekind of chaotic noise black by me only. I changed name into something that would sound as a tribute to those bands that inspired my at that moment: Blasphemy, Beherit, Von. First demos were just improvised crap in the end sounding more like Bestial Mockery without song structure.
8.Also with ‘Blasphemous Noise Torment’, one of the topics you cover lyrically is Ariosophy, can you tell us a little bit more about your interest in this topic?
I am graduated in Philosophy, I am a great reader of authors like Nietzsche, Heidegger, Spengler and so on. Also I always admired Pete Helmkamp’s way of writing lyrics so I try to do something in that vein.
I want to evoke the inner power hidden in the blood and memory of people of indo-european heritage. That mean that I used mainly references to the myth, symbols and history that european men can comprehend even if they know nothing about it. There’s something deeper than pure theorical study and music can evoke that side of man to push him overcoming moral and daily limits.
That kind of musical conception is in the end similar to that Wagner has back in the day and it can work, with different words and symbols, for non-european peoples. Tradition and anti-monotheist struggle are the main roots for a deep musical message of (self-)awakening.
9.What are some of the best shows that you have done with your live bands and also how would you describe your stage performance?
I remember we had great shows with Impaled Nazarene, Proclamation, Diocletian and Archgoat in 2013. We had a crowd of crazy maniacs under the stage with all the aggression and “mosh” violence that fits perfectly in a bestial metal show. Also I remember with great pleasure the live we did in Austria in 2012 (I guess) with our friends Abhorrot and Bestial Raids and Truppensturm. Not many people there, but great bands, great people and good avenue.
Our stage performance is always focused on bestial destruction and brutality, we do a physical show, but that depends on the crowd also.
10.With ‘Blasphemous Noise Torment’, the band started out as a solo project, what was the decision behind turning it into a full time line up?
When I decided to restart with music in 2009 I felt the need of improve what I did in the past. So first I recorded some new songs with real structure (“Blood Purge” demo cdr) and then I’ve searched for two members to help me playing more complex songs.
11.With ‘Patriarch’ you do everything by yourself, how would you compare working solo to working with a full time band?
With a true band you have always to manage personal issues and sometimes you have to take care of other’s problems and laziness. I hate that side of the thing, but that’s the natural way of being a band. With a one-man project you can do what you want, when you want and how you want. Also I like to play drums even if I’m absolutely not a drummer, so I tried also that way.
12. The Patriarch ep was released on Legion Blotan Records, can you tell us a little bit more about this label?
It’s a Yorkshire based label. George, the man behind it, is really a smart person and it’s really easy to work and trade with him. I like that kind of underground devotion and also I like his bands Sump and White Medal. Themathically Patriarch fits perfectly in Legion Blotan Records’ roster.
13.What are some of the subjects you cover lyrically with ‘Patriarch’?
Mainly I want to attack contemporary anti-male propaganda and gender theory. These are some of the most vicious and dangerous concepts around, in my opinion. So Patriarch is openly a call to old time fatherhood, to natural family structure and manly authority. Most of my lyrics, also for future songs, begin with that kind of point of view, that of a society that is deeply against everything virile and properly manly. So Patriarch is a tool against everything contemporary society wants from men to do and say. For example the song “Macbeth’s cruse” is a song about the tragedy, an allegory on female pernicious way of manipulating man and pushing him to ruin. I think the respect for the woman goes hand in hand with respect for man prerogatives.
14.On a worldwide level how has the feedback been to your various musical projects by fans of black metal?
With BNT we had a good feedback. We did not much promotion, so we could have got something more, but in these months our second album “Cosmic Reversion” will be out and we do expect some more support worldwide. Doomhammer has a small following here and there, we do no promotion at all, just trades etc. Your review on Patriarch’s demo is the first one so it is too late to say anything. Caostruppen received some good feedback's from South America, USA and some europeans maniacs.
15.Can you tell us a little bit more about the label that you run?
It started some years ago as a demo-label. Now I decided to change the name into something more profound and personal so it will be called from now on: Clan of Exclusion - war command distribution. I plan to print cd of bands I like and I want to promote and sell. My first release on cd is Comando Praetorio “Divinità Terrifiche”, an impressive debut of apocalyptic black metal from some of italian’s best extreme musicans. In the next days Deathcraft demo will be ready on pro-cd with remastered audio and ferocious artwork. This is a band formed by ex-Demonomancy (Spain) members, so you should expect bestial grind death.
Then I’ll release Volkermord (UK) demo collection and BNT “Cosmic Reversion” on pro-tape. After those, one split cd with two great italian black metal bands is scheduled and then we’ll see. I’ve many ideas but not many really good bands around. If there’s a quality bestial war metal band in search of an album release get in touch.
16.Where do you see yourself heading into musically in the future with your bands and projects?
I want to send a message and I want to speak to devoted underground maniacs. With BNT we would like to play in some european countries, with the other bands I just want to be in contact with more maniacs for trades, concerts etc.
17.What are some of the bands musical styles that have had an influence on you musically?
I’ve been influenced by all extreme metal styles: death, black, thrash and war. Also I’m into classical heavy metal and this reflects on songs structure and riff creation. Some of my all-time favourites are Black Sabbath, Led Zeppelin, Metallica, Slayer, Angelcorpse, Darkthrone, Diocletian, Akitsa, Bolt Thrower, Discharge and many others.
18.Does Satanism, Occultism or Paganism play any role in your musical projects?
Paganism for sure since I consider myself an Heathen, occultism in some way, always connected with indo-european tradition and esoterism. I don’t give a fuck about supposed chabbalistic esoterism since that it is just an arbitrary and useless teenage-minded creation. It’s just like a cut-and-paste from many real traditions for a one-self wanking. I prefer what comes from archeological studies and ancient myths tales. I am a concrete and scientific mind in the end.
19.Before we wrap up this interview, do you have any final words or thoughts?
Thank you very much for your support and time.