Metal Maniac

An Interview with Wormlust…

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Well, as you’ve told me you prefer short questions, I’ll try to keep them all short. You’ve started recording Hallucinogenesis. What can you briefly tell us about it?

 

The album is a thematically similar to the concepts on the Haud Mundus split, now stretched over a whole album and taking into its fold the sounds of all the releases until now. It would probably be more bare boned at times but more grandiose than anything before it as well.

 

You’ve called your music the vessel from which asphyxiation metal is spewed. Tell us please what that means.

 

That was trying to describe an aborted album from 2011/12 called Dauðadá, some of it which is going to be revived other projects. I was fascinated by a near death experience at the time, thinking back on how I almost drowned one time since the music felt like being underwater. But ultimately that kind of theme isn’t really giving lyric wise, I opted to crawl out of the waters and into the surreal.

 

 

Wormlust’s music has been called excellent and disturbing at the same time. I agree with such statement. What are your main intentions when creating your art?

 

Saying that I want to create something I haven’t heard before is liable to open up a vipers nest, but it’s kind of true and also a complete revisionist lie in other aspects. What I mean is that I write strange riffs and then apply later on the ideology that has been brewing over the writing period, the writing period does provide catharsis as some would expect me to say being a tortured soul and all that but the creation of the overall “thing” is like the hunt for gleaming perfection. The process a slow burning catharsis.

 

You’ve mentioned that Potentiam was a great influence when growing up. I think that Bálsýn is a masterpiece. What did you think about their come-back?

 

I like the new material, but ultimately Bálsýn is such a unique gem – there is no other release that sounds like it. It’s too bad they took a complete left turn from that sound on Orka í myrkri and haven´t really gone back to it (although Elysium I think is unique in its own way). My story with them is that they were the first black metal band I got into back in 98-99 and  two years later I tried out to be a live keyboard player but I did so horribly that I was quietly brushed aside after 10 minutes, later  while I was on guitars in Afsprengi Satans we played a few gigs with them and it was quite strange seeing them slowly change into  more of a goth rock direction, the music wasn’t bad but I felt that it should have been done under a new moniker.

 

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I personally enjoy long songs, one of the first things that drew my attention to Wormlust. Do you intentionally create them long or do you keep on creating/ composing until it reaches a perspective you enjoy?

 

It´s by deconstruction. Some say that a work of art (if I may be so conceited) is never finished but to me there is a clear time to stop; it’s when you taken all of the horrible parts out. That of course work if the material isn’t infinite, I set the limit at 4-5 hours of written material that is then carved into with some abandon.

 

 

 

How does psychedelia influence Wormlust, not only musically, but lyrically? I have to admit that your lyrics are, in my humble opinion, truly poems. Also, please, share with us some of your methods to reach a state of trance.

 

Meditation, medication, monotonous creative work, mushrooms. It’s hard to describe the landscape from which the lyrics come from, the are narcopocalyptic for sure in the sense that they are surrealistic and yes, poetic descriptions of thought rather than actual story-driven things transpiring, such as symbols and gods would be named for a natural distaster but that wouldn’t really define it. I think Bosch doing those strange paintings of hell is an apt comparison, to him as a man in the middle of the most devout time period and hell would surely be the thing that he feared the most. Yet, how he chooses to illustrate to this fear is beautifully strange and singular that most don’t actually see the idea of hell in it right away through his personal symbols. It’s that inner personal view of universal truths/untruths, mythos, nightmares etc that I try to illustrate but they tend to come out warped.

 

Still connected on the previous question and I like to ask some unusual questions. Before start working on this interview, I was reading about psychedelic sex. How do you see this, any interest? One of the experiences that I read concerning this: “he then meditated for a few hours, going back into that ego-less void of bliss beyond thought and desire.” How do you feel over this?

 

If that works for him and his lady isn’t turning into a mountain of maggots etc then the more power to him..

 

You can’t see clearly your image, yourself on Wormlust’s photos. What is the main reason behind it? Is it something about music being more important? And do you intend to keep yourself “anonymous”?

 

I am not really anonymous, otherwise there would be no photos, no names, no contact info etc. The veil is aesthetic reference to the hierophant, the oracle etc; the faceless idea of a thing rather then the thing itself.

 

I’d like to know your answer about the following subject: does a bedroom black metaller make a sound if he falls down in the woods? I’m joking, of course. On the some interviews that I’ve read with you, you seem to be humorous, at times ironic. Why that? Are you frustrated by my huge questions?

 

It’s a rhetorical fallacy, bedroom black metallers never leave their moms basement. I would anyway like to think being subversive or humorous portrays the small aspiration of acting intelligent. Also if you take your cues from the archetype of the cracked hermit you will notice the literary thread of  that possessing a self awareness would be maddening if not for the armour of humour and particulary self-deprecation again and again.

 

 

Back to the new album, perhaps you’ve already answered it on the first question. You used to feature lyrics in English, and then with “The Feral Wisdom”, a more personal album, all were in Icelandic. In my modest view, it made the album even more stunning. And what about Hallucinogenesis, are the lyrics in Icelandic or English?

 

I felt that there was a gap in communication, only half of the album came through experience-wise, multiple people tried translating them for me and it never rang true or even similar. Some like to listen to foreign bands were the lyrics sound like gibberish anyway so let’s put them aside for now. It’s understandable why music is littered with repeating simple and repeating phrases, it’s about communication – even though in the particular kind of music I am thinking of the message is garbage and the receivers minds like overflowing garbage cans. But the underlying concept must ring true, and if you truly feel that you have something of worth to say – then make it at least understandable.

 

Are you still interested in Zen Buddhist meditative disciplines? What have you learned with it? I ask this because I do share this interest.

 

The non-deity structure, somewhat void-like worship and the practice of trying to lose the unnecessary thought patterns are interesting ideas. But I chaotic in that I do think about the scientific fact that is the birth from singularity as well as the opposite ideas of the absolute some times. Mostly I am tempted to hand in my human intellect and embrace my “feral” side – stop trying to pretend I know anything.

 

Thank you for your time. I hope to hear more from the band. Your music is, as I said before, stunning. I know some of the questions were long and others were regular, but I feel like they were needed. Any last non-standard (and neither quasi philosophical quote) last words for our readers?

Takk; verið hress, ekkert stress og bless

May 22, 2014

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