1. Greetings, Aamonael. I start at the beginning with one unusual question. At the time of issuing the debut AVICHI "The Divine Tragedy", you provided for Mortemzine interview. Do you still remember this interview?

I remember doing the interview of course. I can’t say I remember what was asked or what I said as it was about six or seven years ago.

2. Let´s go to the present. The most important event is of course the news release "Catharsis Absolute". What preceded this release? How long had been the writing and subsequent plate recording lasted?

I wrote half of the record while I was in the recording studio. The other half came from a catalog of material in my head I had ready to record. For me most of the time preparing for the recording was spent learning how to play drums which took a year. During that time I was only playing my guitar as often as I played shows and recorded with Nachtmystium or Lord Mantis. Which was a good amount of time still. I of course quit Nachtmystium for good the month before recording Catharsis Absolute for Profound Lore Records which was during December of 2012. The record didn’t come out till a year later due to the layout and me remixing it.

3. Does the news meet your original ideas or had its face been gradually changed during the recording process?

I had the title for the record before recording it, but the end result was not really preplanned in any way. I played a lot of piano parts on it, and that was not necessarily in my plans. I experiment and see if I can find any use for whatever I find around me when recording. The overdubbing and bass parts were a great part of this session. They definitely brought new life to the record as a whole. I think I was able to think more like a ‘bass player’ would on this one versus the previous two. I finally brought some more guitar layers to this one.

4. AVICHI is one of the one-man projects. How, therefore, does the actual recording go on? Did you make this plate all by yourself or did someone else help you as it was in case of predecessor "The Devil's Fractal"?

This was the first I played drums myself on as the previous two had a different drummer each. Still it doesn’t change my preferred method of recording. I tracked to two inch tape, and after everything was set up for me, I started by laying down a guitar scratch track for each song. From there I start out recording the drums, main guitars, bass, vocals, additional overdubbing, and so on. Andrew Ragin was the main engineer in downtown Chicago that oversaw most of the technical aspects. I discussed with him my goals with the recording and how I wanted it to impact the listener before we started. We adjusted our ears to some Cure records and Burzum each day before we started from what I remember.

5. "Catharsis Absolute" is certainly very interesting and artfully name of news. What do you imagine by this phrase?

I had an extreme amount of thought and energy to purge during that time. The title summarizes exactly how, why, and what took place during the recording. By the phrase “Catharsis Absolute”, I imagine a being able to expunge and wear its heart on its sleeve. That’s what I’m all about with Avichi. Whether it’s just myself or a collaboration, make honest music or don’t make music at all. It doesn’t matter if it fits in any current genre out there or not.

6. Some of the songs on the album (especially the last three) are spreading on relatively large time space and are made up of several different parts. On what basis do you select individual passages from which you subsequently produce the songs?

I was listening to a lot of Swans during the months up to the recording. For anyone familiar with Swans, you’ll know they can get real creative real fast with time and space in songs. What I can take from that is - it’s not always about what is being played. Just as important is what isn’t being played - the space inbetween notes and rhythm. Some people tend to forget about the void between each element of music and how that is also a part of what makes music listenable, enjoyable, and what actually serves to build emotion and affect the listener. Sometimes of course I’ll decide “well this part needs to have consistent blasting and an oppressive amount of shit going on”, and other times the exact opposite is more appropriate.

7. Once again to the previous question: Who is "Lightweaver" and why "All Gods Fall"?

Lightweaver can take on a few meanings maybe even all at once. It can take on the higher self and the culmination of the individual unhindered by the mortal mind and cloud of thought. It can also signify Lucifer, the Light Bringer, who is the deliverer of real knowledge and wisdom through this life on the mortal coil.

All Gods Fall is a song about the reality of all gods real, imaginary, and inbetween. I find descension just as necessary to my life as ascension. The gods of humanity and fable all have such stories.

8. News boasts with very amazing cover. Who is the author and what does it represent?

Peter Kenar is the man behind the cover. Everything is of things he’s carved out of wood. He does sculpture of an occult fashion. The hooded figure has became a theme to Avichi now. Here on this record the hooded figure is holding his heart in his left hand over a large chalice. The removal of lies in one’s heart. It was necessary for this record at least.

9. The plate "Catharsis Absolute" is the third album of AVICHI. Where do you see the biggest difference compared to the predecessors? Try to look at all three albums and introduce them "step-by-step".

I see a big difference in all of them. That is good. It wouldn’t be very proper of me reflecting upon the first two at this moment as I’ve already done enough to that end in the years past after each was released. I don’t really have much to say anymore regarding them. My eyesight is to what is in front of me.

With both that said and being hypocritical, looking back at this last record I’ll just say that it looks to be a proper evolution for me, but there’s no telling what the future may yet produce.

10. AVICHI project comes from the U.S., but considering your name, I'd guess that your origin lies in Poland. Is that so? What does the ancestors´ heritage and gender lineage mean for you? Have you ever been to Europe?

Yes the bulk of my ancestry is from Poland naturally save for a Ukrainian grandfather on my mother’s side. I have a rich slavic ancestry, and yes I’ve been visiting Europe, especially Poland, since a child. I also enjoy touring and playing shows in Europe.

As a person, I am largely influenced by many facets of the traditional culture from the slavic world. The parts that have to do with loyalty, honor, and strength. That said, I can’t suggest it’s made a serious influence on me as an artist however. Perhaps it has, and I don’t recognize it. I don’t sing about slavic culture. I’m influenced musically by many cultures. Lyrically, I’m more focused on the occult, Luciferian concepts, spiritual and metaphysical concepts, and all sometimes with a nice topping of lust and sex. I suppose my soul is closer to all these things.

11. Yet I would return to mentioned interview from 2007, in which you said that there is big difference between the man you were before and after the recording debut "The Divine Tragedy". How do you perceive yourself today, after seven years?

Still suffering for my art. No longer mentally unstable or suicidal. I’m harder in mind and spirit and willing to endure much.

12. How would you describe the domestic music scene? In what do you see its possible peculiarity and uniqueness?

It is what it is. I like unique music - whatever form it is. It can still be said that a lot of the domestic music scene has ended up ‘domesticated’. Especially coming from the so called ‘black metal’ scene. There isn’t much that is radical or dangerous at all. Performances I’ve seen recently which I enjoyed were by Void Meditation Cult at Cathedral of the Black Goat fest in Chicago and by Hell Militia when Lord Mantis recently toured with them.

13. What kind of music do you listen most often? And in what do you see the greatest sources of inspiration in general?

I listen to a lot of early 90’s black metal and late 80’s early 90’s electronic and industrial. Beyond that Clandestine Blaze, Pseudogod, and Craft. Bands from the French and German scene. I’ve been listening to a lot of The Cure lately too.

14. "Catharsis Absolute" is out for a short time indeed, but anyway. Do you already have any responses? And how do you perceive this plate by yourself today?

The responses seem solid. People come up to me at shows and compliment my work. I am generally satisfied overall as much as any artist can be with his or her own work.

15. What are your plans with AVICHI for the future?

Well that’s the interesting part. Once again, I’ve had some offers to play festivals and tour. I’ve put the word out there to see if any other musicians would be interested in being a part of that. Time will tell. I can always make another record on my own if that doesn’t pan out.

I started a new label recently called New Density here in Arizona where I’m currently living the devil knows why. The desert - the last stage before death. Well you’d think so anyways. I’ve seen a more diverse wildlife and jungle of living things out here compared to anywhere else I’ve lived. I have a vinyl pressing of the new Lord Mantis record “Death Mask” currently in production followed by a vinyl pressing of “Catharsis Absolute” in a few months. I will also work out licenses for a few other things beyond bands I’m simply also involved with. For now I will only be focusing on vinyl and merch.

I took some audio recording courses out in LA a few months ago. I’ll probably record and press something of my own sometime soon - whether for Avichi or simply just a solo record (Aamonael).

16. Thank you for interview. Something at the end?

Take some time to check out my label at www.newdensity.com. Any updates regarding Avichi usually start there. Ave.