1. Salve. It has been eight years since our last interview, done by my colleague Fastred. Many exciting things have happened since then and I dare to say it has been your most prolific and productive period in the existence of the band. Would you agree?
Definitely; in the past years a lot changed, not the concept of the band, which even pursue into a more extreme direction, but our way of working and evolving things, a sum of: moving, evolving, sometimes stagnating, battling my way through the chaos.
2. After your re-union you presented a “new” sounding that many liked to classify as experimental, industrial or post Black Metal. But I think that the evolution and progression was purely your own and stayed in the realms of pure Black metal, you neither aped anyone’s ideas nor introduced elements that could be considered too alien. Can you remember what influenced you and motivated you back then to create an album like “Fractal Possession”?
That’s a point of view we don’t agree at all, ABIGOR was “Black-Metal” since our first day in 1993, and we’re still a “Black-Metal” band, what does “industrial” or what the fuck ever define?! It’s a matter of spirituality, the musical aspect of our religion… However; “Fractal Possession” represented the “new” ABIGOR back in 2007, it was a radical step over the line, but on the other hand not more than a natural development that simply happened throughout the years of our “non-existence”. I met TT after 4-5 years of no contact, as we spoke about a new start we both had our recorded ideas, and ideas of the concept of ABIGOR’s future, so it all happened at least…
3. There has been a discussion among our readers to what extent are your recent albums influenced by the likes of Deathspell Omega and other contemporary Black Metal visionaries. T.T. also mentioned, in the interview with Second Heart magazine, that “there was immense artistic inspiration flowing in both directions“ between you and C. of End All Life./NOEVDIA. Could you tell us more about this mutual influence and perhaps admit/deny any external influences in ABIGOR’s music?
Speaking from my point of view; a lot of records influence us at least in one or the other way, that’s a thing no one is steeled for. We even we are in close contact to a lot of these “visionaries” as you call it’s a substitute of thoughts, ideas, and visions that has even more affect then any defined record.
4. Let us return to “Fractal Possession” which back then was a let down for many “fans”, who went so far to even dismiss you. Anyway, you are back on top and “Leytmotif Luzifer” even made some people to re-evaluate their opinions on FP and “Time…” (as it was in case of one of our writers). Is the feedback coming from the listeners of your music somehow important for you?
We never persecuted who might like “Fractal Possession” and whom not, for what reason at least? As said it was a natural step, a step over the line which was necessary for ABIGOR’s status and progress, a sign of life and praise. We don’t create our art for the broad masses, it’s “art” dedicated to Luzifer, some like, some don’t, it has no affect at all.
5. The latest album sounds to me like a return to your own past and roots. A modern sounding old school. Can we say that you are taking a break from experimenting and that you intend to return to the blackmetal old ways? Or do you intend to stick to your once mentioned plan of not releasing the same album twice and thus the next opus may present some unexpected and never before heard twists?
“Leytmotif Luzifer” has nothing to do with a “back to the roots” at all. It offers a very natural and harsh sound, combined with an individual concept. Don’t get me wrong, but I am really tiered of comparasions, take you’re headphones, listen to it closely without any prejudiced opinion, and it’ll change your mind!
The content of the very album dictates the form. There should be coherence, ultimately a golden thread running through all the aspects that make an album. Tdeally there´s unity, formed by the lyrics and the visual part, by the sound, language, mastering, ´bandpictures´, everything has a certain task. opposed to other artforms, in Black Metal this is vital for the work and just like it should be, the sound and instrumentation on „Time“ subordinated to the given topic. To be precise: „Leytmotif Luzifer“ wouldn´t be imaginable with the sound and instrumentation of „Time“, and the other way round for exanple.
6. Personally, I am enthused by the new album. Music, lyrics and the packaging are grand and they complement each other. But first, I am interested about the place where you took the promotional photos. It is obviously accessible to public, you just adjusted it to your needs. Could you tell us about these places and whether they are somehow related (historically or mythically) to the theme of your new album? Or were you simply looking for something that would resemble “a place of worship”?
The pictures was done in a monastery. Yes, accessible for everyone. It offers a funeral hall, and crypts that suited so nicely for the concept of the album.
7. The concept and lyrics of “Leytmotif Luzifer” are immensely elaborated and the even temptations schema proved to be a great idea. What lead you to it? Could you elaborate on the work behind the concept of the new album? Did the concept for example influenced the compositions and mood of the songs in a drastic manner?
It’s album written in liturgic form dedicated to the 3rd path to the mysteries of Satan, namely, pure and uncompromising worship, and the pitfalls man has to navigate through, the temptations.
8. Anyway I found your approach to worship of Lucifer and Satan quite different from the majority of Black Metal bands that consider themselves “Luciferian Gnostics” for example and view Lucifer as a “Christ-like” figure. Could you list some artistic and/or academic sources that were most crucial in the development of LL’s concept? Or are the liturgies on the album based purely on your own relation to the shining one, meaning that the words are purely your own?
The concept – musical wise, and lyrical wise was entirely created by us and our very personal views on the topic itself.
9. Even though the new record sounds fresh and modern there are also many hints of the old times and sounds. You mentioned that the album is free of synthetic elements and no guitar effects were used. Could you tell us how did you manage to record such an organic and original sounding album in your home studio? Is it all due to better equipment for example?
“Home studio” doesn’t mean a small cellar box we sit it. TT is the owner of a studio with a top equipment, "Fractal Possesion", "Time…", "Quintessence" and "LL" has been created there. The living sound of the records was part of the concept of the very first beginning, it was necessary for the generation, and conveyance of emotions and different soundscapes too. Well, no, we still use the BC Rich guitars we already used for our first demo…
10. Silenius, with whom you have already cooperated earlier, was invited to record his vocals on the new album. Why Him? You made a great choice in my opinion, since his work is tremendous. By the way, did you allow him to interfere in the creation and arrangement of the lyrics or did you use his voice only?
Silenius was a first choice, we was a long time member of the band, he know us quite well and our way of working, and even it is always a defiance to work with him, the result speaks for itself. Silenius only did the vocals.
11. Do you plan to work with Silenius on the possible future recordings or are you searching for a permanent vocalist who would be more ideologically aligned with you? I can for example imagine that you use a different vocalist for each future album…
Personally I hope so, but there’s nothing sure, nor fixed. Well, I guess you overrate the term “band” a bit in our case. At least we’re two individuals that lives in different places, we live very different lives, and have different views, only ABIGOR unites us to 200%, it doesn’t matter if we’ve a permanent vocalist or not…
12. You mentioned that “Leymotif Luzifer” had some problems with censorship, which is irritating to say at least. But it’s a free promotion... Could you elaborate what was the issue and perhaps leave a message to such holier-than-thou censors?
AVANTGARDE didn’t get the acceptance of different press-factories in Germany because of blasphemic concent. We only got wage informations about the details circumstances from the press-factories, but we know that behind that campaign some magazines, so to speak some reporters and also the Antifa was involved.
At least it’s just such a fucking ridiculous way of acting, I mean take a look, the entire world is so fucked up, death, destruction, disease, and chaos all over, sooner or later we’ll all fall, and they try to stop of with a press-ban, well, no way, never.
13. Avantgarde music has many amazing and innovative artists on their roster nowadays. Do you feel a certain kinship with some of the bands for example? By the way, what made you to switch End All Life Prod. in favour of Avantgarde?
AVANTGARDE is a label for unique artists and Roberto knows his abilities very well… EAL simply stopped the investigations in more releases, there was no bad break, there’s still a close level of support and contact.
14. The CD digibook is splendid and the LP will be released soon as well. What do you think about the recent resurgence of analog (mainly vinyl) formats? By the way, have you thought of releasing your recent works on the cassette?
I even don’t own a Vinylplayer, so I am really the wrong person for that questions… WORLD TERROR COMMITE will release Leytmotif Luzifer as cassette format soon. All our previous records have been released on tape by an small Austrian label some years ago, but it’s all sold out.
15. In our previous interview we talked about the concert performances and PK mentioned that it is a possibility. Anyway, you later stated that your music is not suitable for a classic metal concert. Haven’t you changed your mind? Especially with an existence of events like Prague Death Mass, Nidrosian Black Mass and other great events that present Black Metal concerts in almost ceremonial manner?
Juvenile recklessness, my opinion changed throughout the past few years, ABIGOR will never play live.
16. By the way, what is your opinion on the contemporary black metal scene? Do you have any favourite modern artists and albums? Do you think that Black metal is currently stagnating and has no chance in achieving its earlier glory? Or do you think that Black Metal is close to fulfilling the potential foreshadowed by the old luminaries?
In my opinion there exist two camps, on one side the major labels with the corrupt way of working and influencing zines, editors, and even telling the bands what to do, and that’s all for business, and on the other hand the true dedicated artists that get their support from a few dedicated labels, and zines.
I don’t miss the early glory of Black-Metal, its fascination never faded, it just changed or better said reached a higher form of existence.
Bands like DODSENGEL, TORTORUM, DEATHSPELL OMEGA, NIGHTBINGER, THY DARKENDED SHADE, BLAZE OF PERDITION, ACHERONTAS, f.e. holds the flame still high and really top the early releases of the “first wave” of Black-Metal by all means.
But for sure as artist you are always inspired by what other people do. Sometimes consciously - not like ripping off other ideas but more like wanting to top a certain atmosphere created by someone else, picking up an idea of intensity or atmosphere. Or you´re rying to avoid something because you witnessed it doesn´t work, hearing others fail - I guess much of the greatness of the post millennial artists was built on the failure of the 90s bands.Tthey knew what worked and what was an error by judging ´us old ones´, and we made mistakes for the next generation bands, and now in return, are again inspired by them. but I guess the major part happens unconsciously, you can´t control it. Music and art is my life, and how could it not influence my own music, yet manifesting through complex processes and developments.
17. Black Metal is the most suitable vessel for the Devil’s music, I think you will agree with me. But have you personally felt Him in non-metal musical works created by people who don’t label themselves as devil-worshippers? I could for example sense the “Black metal spirit” in the early works of Diamanda Galás, some power electronics and modern atonal/microtonal compositions. What about you?
Black Metal is, as said, the musical aspect of our religion. ABIGOR will end one day, but that won’t change my very personal believes, and I agree, it’s not a matter of Black-Metal, or being focused on Metal “music”, it’s comprehensive throughout all artforms, even sometimes through those who don’t see themselves a believers.
18. It is too early to talk about this I guess but do you already have some ideas for the future music of ABIGOR? Do you intend to keep a low-profile before you have something tangible to present or can we expect more activity from ABIGOR’s members in upcoming months/years? T.T. should have something coming out via NOEVDIA and I’m curious if the P.K.’s St. Lucifer will ever see the light of day. So please elaborate on what the future holds.
Yes. Ideas already a taking shape and coming to live thus to speak.
Well, be patient, TT had some collaboration with above mentioned bands and artists the last few months, so releases will see the light of day soon.
ST.LUCIFER already recorded an EP, Intense Demonic Charge, also ERDKLAND recorded an EP, but those records/songs will never be released.
19. That is all from us for now. Thank you for your time and if you feel something important has been left unsaid than please state it now. We praise ye…
Thanx for your support.
