Ain Sof Aur Interview

 

1.Can you give us an update on what has been going on with the band since the recording of the new album?

Greetings.

The album has been created for what seemed like a never-ending creational period, during which we focused entirely on its consolidation. Its inception was contemporary with Ophis Christos and much has happened ever since. The ideas behind it were refined over the years and improved from many unsatisfying results – and even satisfying results, for all it is worth. The breadth of our pursuit to define Theos-Vel-Samael as the next manifestation is immeasurable, but also indescribable. It is also noteworthy that all compositions, originally, began to accommodate an entirely different work envisioned as an EP to Ophis Christos. So, changes were made and revelations happened to us in order to redefine the true goal of this pursuit. The moment of this work was a self-made juggernaut that devoured whatever we had originally planned.

Consequently, now is the moment to disseminate the influence that has consumed us for nine years, propagating its purpose while manifesting its energy also through alternative mediums.

2.In April you have a new album coming out, musically how does it differ from the stuff you have released in the past?

There is an inkling that considering all elements involved in the development of this work – be it on mundane or technical levels –, the anguish experienced through what seemed like an endless void of ideas and energies has yielded a more mature vision of it. Perhaps not mature as only in human development, but in certainty of the purpose behind this stellar message received during the course of terranean years; a result of a relentlessly ongoing journey towards self-development.

3.This is also you first release since 2018, can you tell us a little bit more about he long wait in between releases/

Similar to the aforementioned difficulties, this album faced – or perhaps necessitated – a significant ordeal to reach completion. We encountered numerous mundane negative experiences, personal limitations, and rupture that interfered with/contributed to the creative process behind it. Naturally, such disruptions reflected directly into the energies we ended up channeling. However, we are quite finicky with our desired results and we were never satisfied with our progress; it always felt limited and that we could not actually conclude it because something remained amiss. Several rearrangements were made in order to adequate the main objective behind the material’s concept.

4.A lot of your lyrics and the band name comes from Occultism and the Left Hand Path, can you tell us a little bit more about your interest in the dark arts?

Ain Sof Aur was born out of the need for a magical-philosophical exercise and study into the occult to a greater degree of complexity, which later evolved from an embryo into a more stabilized vision. One’s involvement with art and knowledge – be it in visual, sonic or any other medium – might spark an interest in several layers of creational intent that will result in manifestations aligned with such ethos. Hence, a flirtation with various types of expression emerges from this abyss of creativity and the need to conduct the messages that are supposed to be delivered under such a karcist current. Purpose or meaning could be perceived as interest under certain interpretations, albeit being devoid of any further necessity if one’s visions won’t evolve from the various acts practiced throughout the years. The adversarial stance should not be a testimony to meager, superficial foundations, but an endless striving to perpetuate such creed.

5.Can you tell us a little bit more about the artwork that is presented on the new album cover?

I have been visited thrice by the Devil throughout three dreams and visions, through the trident pierced in my chest, inflicting a poison that has been revealed to me as a key. I faced the thrills of the adversary as diving into turmoil concealed in three revelations that was bestowed upon me. And I wielded the three-pointed sceptre, an inverted trident, that only faced the direction of the Path revealed, which was towards mine own chest, fragmenting the organic structure to lave the self in the Diabolical ichor as a sacrament unto divination.

6.Out of all the shows and tours the band has done so far, which one stands out the most?

Most presentations are behind us, so far. Mainly due to the physical constraints of properly performing, considering that equipment/acoustic-wise most venues fail to provide the consistency required to properly render multiple layers of dissonant riffs and blast beats – vocals included. An ambivalent stance regarding live performances should also be pinpointed, as we refrain from partaking in events that do not align with our current positions.

However, one particular live performance remains significant, held on October 11th 2015. It was in a very traditional venue in São Paulo. Also, our last live appearance ever recorded.

7.Do you have any touring or show plans once the new album is released?

Not at the moment, considering the aforementioned ambivalence. Plans for a live presentation of the album were discussed and questioned, if much.

8.They new album is coming out on 'I, Voidhanger Records', how would you compare working with this label to other labels you have worked with in the past?

All labels collaborated respectfully with our earlier works, encouraging our art as we originally conceived, and as we originally planned to evolve it. No restraints on how or why we should do something, which gave us complete freedom to proceed as we deemed fit. 'I, Voidhanger Records' took this position even further, especially because of its approach to actual music and artistic vision rather than just considering us as merely a band in a metal scene.

9.On a worldwide level, how has the reaction been to your music by fans of  black metal?

It is hard to give an accurate response to such a question. It is noticeable that we are not the most proficient social media users, nor are we widely known. Considering the act is actually followed by some individuals, it is reasonable to conclude that it appeals to a niche audience under specific conditions – be it musically or conceptually.

10.Where do you see the band heading into musically during the future?

Evolving spiritually, intellectually and technically for the sole purpose of perpetuating our art and music throughout the fibers of anti-existence. Ain Sof Aur is, and forever will be, a force of acausal darkness – an antagonist and adversarial sonic defilement of the sinister flame: an arcane antinomian manifesto.

 11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

Not only bands or musical styles per se. The breadth of our inspiration comes from a spectrum of artistic forms – including movies, paintings, drawings, books, photography, music et cetera –, as well as the observance of the world’s state, positions and directions. We are influenced by these various stances toward a common objective; for us, all forms of vision are valid.

Many artists have inspired – and continue to do so – our communion, especially those who have collaborated with us, such as Timo Ketola and Dávid Glomba – masters of their craft who have contributed to the expansion of our ideas over the span of many years. Their awe-inspiring manifestations are not only visually arresting but function in a theurgical manner, appealing to a sense of perception that transcends words. Perhaps describing their art as 'gateways' is more appropriate, yet even that remains inadequate or inaccurate enough.

From a strictly musical perspective, it is undeniable that acts such as Deathspell Omega, Funeral Mist, Mortuus, Malign, Ofermod, Teitanblood, Misþyrming, Negative Plane, Ved Buens Ende, Immolation, Suffocation, Deeds of Flesh, and countless other acts, impact us directly both technically and intellectually/spiritually – though our circle draws from diverse musical manifestations, having their own preferences and takes on any form of what is to be considered influential. Furthermore, a parallel interest in other types of musical manifestations such as Dead Can Dance, Arktau Eos, even Carlos Paredes and Francesco Corbetta, consolidates the idea that one is keenly aware of many perspectives under certain influences – regardless of their depth. Dogmatic limitations should never be applied to a metaphysical manifestation.

12.Before we wrap up this interview, do you have any final words or thoughts?

Nox. Gnosis. Verbum. Omniscentia.

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