Interview: Nightbringer
August 5 2010 at 12:58:30 PM  The black work. Nightbringer’s first full-length record, Death and the Black Work, embraced classic Black Metal sound(s) and mostly eschewed terminal blasting for lingering, hypnotic composition. The band’s latest offering, Apocalypse Sun, is quite a contrast to the former, relying on breakneck speed and aggression to convey its message. Here, Naas Alcameth (lyricist, vocals, guitar) and guitarist Ophis discuss their latest work and the ideas behind them. LHP: Response to Apocalypse Sun has been mixed. Was it difficult to follow-up Death and the Black Work? Naas Alcameth: Death and the Black Work was most certainly a hard album to follow. The difficulty was in creating something that would stand on its own without rehashing what was done on the previous album. To some extent I would say this was accomplished, but there are a few key elements that I feel kept this album from fully achieving what we had intended, the drum production being one of them. What about the criticisms regarding the record’s drum sound: Are they in fact “real drums?” Or are they triggered? Why do you think the drum sound has been a hurdle for critics and other listeners? Nox played the drums, per usual, and triggers were indeed used. I think many people misunderstand what triggers are exactly. Triggers are not the same as drum programming. Many black metal bands today use triggers though you would not know it, as the drum sound “replacement” typically is an organic and real sound. The result of this approach in regards to Apocalypse Sun was a drum sound that dominated the forefront, which I think sometimes hindered more than it helped. Apocalypse Sun was more or less a conceptual album, which I composed mostly myself. The concept that fueled the idea, I felt called for something more aggressive and abrasive then what Nightbringer is typically known for, and keeping this in mind I gravitated towards compositions that were faster, with more dissonance and “chaotic” parts. More variation would have served to break things up somewhat. As they say, hindsight is always 20/20. Nevertheless, I feel Apocalypse Sun is a strong album. Is the band satisfied with Apocalypse Sun? Naas Alcameth: If I had it to do again I would certainly make adjustments, but then again I could say that about all of our previous albums. I do not imagine a time when I would be able to sincerely claim that what I have created is perfect. An honest and conscientious artist will always find flaws; it is all a part of progression towards the ideal sound. We stand by what we have created. Are all Nightbringer’s members Satanists? If not, do some or all engage in occult practices? Naas Alcameth: The term “Satanist” is made ambiguous by many interpretations. It is misanthropy. It is individualism. It is devil worship. It is a religion. It is purely philosophical. It is this and it is that. Thus on an individual level its quintessential meaning resides within the individual, while at a collective level it has been stripped of all meaning. I recognize a divine adversarial force. The quintessence of this force is the slow slaying “solve” and for the few the “coagula.” At its source lies the gate of liberation from all forms of limitation, but understand that there is no rebirth without death. This force of which I speak has known many names, one of which is indeed Satan. In this sense, and this sense only, I am a Satanist. In this same sense I am then also a Typhonian, Luciferian, Setian, and Promethian, and one who seeks not only the illumination of Satan, but in turn that of Ahraman, Kali, Durga, Tiamat, Shakti and all other divine names that have been laid upon the “dark” and “infernal” sources of power. In truth I do not call myself any of these things, as these self-styled titles mean nothing, while action means all. I have no interest in any forms of “Satanism” that are devoid of the concept of which I spoke. To address the question, Ophis and I are the active element in regards to the source of spirit, which imbues the entity of Nightbringer. We are very much dedicated to the study and understanding of traditional esoterica with an emphasis on that which has been dubbed the “left-hand path.” We understand that one cannot truly understand a concept, which is meta-physical without experiencing it first hand, thus practice is essential. This is the crossroad we found ourselves at not so long ago. Practices thus far have included work with various meditative techniques as well as some exploration of lucid dream work and some substance use (though the later is recognized as a passive form of experience which has its only use in glimpsing other states but has no transcendental use as it is devoid of triumph). These are only the first steps upon the ineffable path, and we aspire towards further more intensive means of experience. The other actual members (keeping in mind we have had the necessity of using various session members for live) aspire to varying degrees and some are more interested and inclined than others in regards to esoteric pursuit. All members have a basic understanding of the forces represented by Nightbringer. At its most profane level it is death, something that all members are penetrated by. What exactly do you mean by this: “I recognize a divine adversarial force. The quintessence of this force is the slow slaying ‘solve’ and for the few the ‘coagula.’” Naas Alcameth: The adversarial force of which I speak relates to the specific approach of the Left Hand Path as it is practiced by certain Eastern Tantric adepts. Understand that when we refer to “divinity” we are not speaking exoterically of an “other”, since to truly know is to be (though a more religious and devotional approach could be a way of reaching this, so long as the “other” does not always remain “other”). Behind the symbol of the Adversary is a mode of being for one who goes “against the current.” The hermetic axiom, “solve et coagula,” is most relevant to the left-hand path as this path would initially dissolve all ignoble and profane qualities that bind one to the world of limitation (Samsara). For the few that could endure such a profoundly fatal path, those that possess what Agrippa dubbed “natural dignity” or the tantric rajabhava, lays the potentiality for illumination. Such reliance on Satanism as “object specific,” (i.e. conceived of the notion there’s a deity, Satan, who works perpetually in opposition to the Christian godhead) actually makes Christianity more prominent. We can’t talk of Satan without speaking of YAHWEH, or Jesus Christ, which shows how the two are inextricably bound. The irony, of course, is Black Metal bands end up coming off more zealous than the religion they allegedly rail against. Do you think this is why there are more and more Black Metal bands “hedging” their music in more esoteric and inchoate occult matter? Simply saying they are Satanists doesn’t do much for them anymore; it actually makes them more vulnerable. Naas Alcameth: I would agree that such a stance does indeed make one vulnerable, as this utterly profane view of Satan is reliant on an equally profane belief in God, Yahweh, Christ, etc. This is a very Western way of viewing spirituality, reducing the numinous to story book mythos grossly interpreted in the most literal sense. With that said, can you see why we are not so eager to lump ourselves in with the rest under the aegis of the “Satanist”? If occult subjects seem inchoate to the listener/reader I would say that this says more about the individual than it does about the occult. “Esotericism” is perhaps a better term to use these days since much of what is placed under the label of “occultism” is the worst kind of New Age confusion and incomprehension, representing deformations of the truly sacred science possessed by the ancients. True esoteric knowledge is anything but “inchoate,” and certainly not contrary to reason, which it transcends. If a band is incorporating such matter simply to avoid being seen as ironic or hypocritical, or simply as a means to be unique, then I would argue that their intent is still fatally flawed. At any rate, esotericism in black metal is by no means a new thing. Ophis: Of course, if one defines “evil” in terms of Christian belief, one recognizes the legitimacy of the Christian ideals of “goodness” which this “evil” violates. This is the dilemma you are proposing, and it is something many seem to be caught in unknowingly. Why rail against Christianity if it provides the very raison d’etre for your opposition? This is probably why many of the “orthodox” bands have quite knowingly worked within the parameters of Christian belief. The “orthodox” approach is at least consistent, but if one truly opposes Christianity (the reasons for opposing Christianity are diverse and will not be entered into here), one must escape the Christian parameters that define the “playing field;” this means moving into realms where “good” and “evil” lose much of their force, since one becomes less interested in morality as such. In fact, these terms only derive their legitimacy from an esoteric point of view, outside of which they are relative. Esoterically, “evil” is the dispersion or weakening of Being. This Being should not be confused with the Christian notion of God as an entity to be worshiped, but is rather a state beyond multiplicity, a state of power and knowledge for the Self, as an eternal actuality of the potential “I” or human ego. In terms of spiritual realization, such dispersion is a real obstacle (though according to a rather difficult technique used by the Tanrikas, obstacles can become aids, ceasing to act in a negative manner and leading towards instead of away from greater Being). In general, I think an esoteric approach is the only way of avoiding the dilemma for those who truly oppose Christianity and do not want to define Black Metal only in Christian terms. Nevertheless, the use of the Christian adversary can in one sense be a powerful symbol, if only qua adversary. This view can lead one to a more esoteric approach, and this has been our method. We favor a more wide-ranging interpretation of the symbol of the Adversary or Opposer, one that embraces other cultures and ways of viewing “evil” and “destruction.” Those interested should examine the works of Andrew Chumbley for a viewpoint close to our own. All of this should be understood in the context of the Left Hand Path, as it is known in the East, which I feel can serve as a metaphysical basis for such destructive and transformative music as Black Metal potentially is. There can also be a way of esoterically “reappraising” those Christian myths concerned with Hell and the Devil for one who seeks to escape the conditioning of a Christian upbringing, since for such a one Christian symbolism may still resonate powerfully. Siding with the Devil in opposition to God could have a liberating effect for some, so long as one does not become obsessed with simple-minded notions of inversion, sin, and evil (unfortunately much of Black Metal does exactly this). It should be kept in mind that much of Christian mythology is not unique to it (the word “hell” for instance is Germanic/Scandinavian), and so things can be understood in various ways and not only in the dogmatic Christian sense. For example, the “fires of hell”, can be understood as a reference to fire as a purifying and enlightening agent, as in the East a certain kind of internal heat known as “tapas” is thought to awaken in deep meditation. In this connection, the alchemical formula V.I.T.R.I.O.L. is most relevant. Opposition to “God” is often understood in a Gnostic sense, as an opposition to the world of an “evil” demiurge who enslaves his creation. This is rather one-sided, valuing pure transcendence without accounting for immanence (or by demonizing immanence), and if one approaches this scenario literally from a “satanic” and “evil” point of view, to be consistent one would have to support such a demiurge since He is the source of this “evil”. A better viewpoint is non-dualism, in which the opposition between transcendence and immanence is ultimately overcome. In this way, there is no need to “escape” from the world, since one does not deny the “descending” current or shakti which manifests limitation (this is the viewpoint of Tantra, in which that which binds is used instead as an instrument of liberation). In this viewpoint, samsara is nirvana, the form of the formless, and enjoyment of the world is not divorced from a liberating ascesis. Having said this, in the quest for the transcendence of limitation there can be an initial attitude of anomie towards the world and a “God” who is thought of as something like the sum of all limiting conditions or as a kind of hypostasized “other”. From this viewpoint, the unlimited could be viewed as “evil” to the limited, since it destroys (or transforms) all limitation, though this “evil” is really a good from a higher point of view. However, such anomie cannot be absolute (in alchemy, after the solve there is the coagula in which spirit and body are made one thing). There could be no opposition within the Absolute, as it must be simple and contain all things equally. The Absolute is the power to manifest itself freely in an absolute manner, that is, beyond any limitations. This also means that the power of limitation could not be denied to it. This approaches paradox, but it seems to me the only consistent way of reconciling transcendence with immanence, or the unlimited with limitation. Ultimately such knowledge would be unspeakable, and this is everywhere affirmed of the Supreme. Do you consider Nightbringer’s music Black Metal? Naas Alcameth: The essential questions here: What characteristics define black metal, and at what point is any digression from these characteristics grounds for emancipation from the genre? If we define black metal by taking a snap shot of what it was at its inception, then it is fair to say that many acts currently within this scene, including ourselves, have fallen (or in many cases grown) outside of the limitation of the initial concept. Many would say that Black Metal is synonymous with Satanism. I would say that Black Metal is synonymous with a profound adversarial rebellion representing a striving for spiritual liberation, and that in turn is synonymous with the view of Satanism, which I have espoused above. With this said, yes, we do consider Nightbringer Black Metal and always will. Erik Danielsson once said Black Metal without Satan is like a gun without bullets. Many Black Metal bands have characterized Black Metal as music for Satan, by Satanists. Do you agree with these statements? Naas Alcameth: Again it would depend on the definition of terms. If this statement implies an adherence to an icon of Christian dogma, then no, I would not agree with this statement. However, I have never viewed Satan in such a way. The emanation we are referring to as Satan is not subject to limitations of names or forms or any other limitations for that matter, as he is in everything, “formless yet endowed with every form.” Let me also stress that we are no way opposed to the usage of the term Satan in black metal music, quite the contrary. We reference his divinity often by many names and with many symbols. If a black metal band praises the destructive aspect of Black Kali, and makes no mention of Satan, then should they be stripped of the genre entitlement? If “Satan” is indeed the password of admittance into the genre of “black metal,” with no other expectations or exceptions, then the genre, in large is merely image driven musical entertainment, and belongs to such a wide variety of spiritually and philosophically stunted riff-raff that one may be forced to question their own involvement within the genre. However, I do not believe this to be the case, not completely at least. I do not however believe that black metal should be “come one come all,” as it is an art form that is specific to the “adverse” or “dark” spiritual and philosophical path. Anything other simply is not black metal; it is some other form of music. There is much said of what “True Black Metal” consists in. People incessantly ascribe traits of perfection to imperfect ensembles, failing to realize Black Metal rots in ideal. Yet, few can reconcile what this ideal—or ideals—must hold. In your opinion, what are “True Black Metal Ideals?” Are these tenets “things” that anyone—or anything—is capable of making “real?” How can the genre hope to flourish when so many continue to pull it down, diluting it, remaking it in commercial body, and spirit? Naas Alcameth: If we were to agree that Black Metal is based on concepts that can be relegated to a realm of lawlessness, chaos, and darkness, these being the symbols and forms that, at least in one sense, are indicative of dispersion, then perhaps it is not so surprising that black metal has existed, since its inception, in a state of flux, since the core symbolism represents flux and not order. Unless you were to argue that Black Metal realized a perfected form at its most rudimentary stage, why wouldn’t you wish for growth and change? I am not speaking of the commercialization of the genre, as I think that is an inevitable result of the times, be it music, philosophy or religion (yoga is a great example here). I for one would have no interest in black metal had it stagnated in a cesspool of Levi-Satanism and goat worship. As far as what is “real” in regards to Black Metal, this will remain elusive, as there are various degrees of “reality.” Something like mass consensus would make this or that thing no more “real” than before. A sincere attempt to create music that reverberates with a sense of profound darkness is what I seek out within the genre. That is what is “real” for me. I have no desire for Black Metal to flourish as it would not serve me in any way that is relevant to the intent of my involvement within Black Metal. Ophis: If ideals are “bloodless” and fairly abstract things to you, then I can understand your skepticism. However, if one sees ideals in something like the Platonic sense, then the ideal is the truly real while all else is imitation and false or illusory to a certain extent. Ultimately, one must ask, just what is real, and what is illusion? Most traditions speak of a kind of reversal of perspective form an “outward” to a more “inward” form of consciousness, wherein sensory experience is made “unreal” to a certain extent (less real would be more accurate). Keep in mind that this is one way of speaking about such things, and it does not imply some kind of absolute dichotomy between the “flesh” and the “spirit”. This is not the place to go into this in too much detail, however. I prefer to see ideals as limits towards which one aspires; a purely human mode of existence is the potentiality from which the ideal form arises, a form which is an eternal actuality. This is symbolized in various ways: as Resurrection, as the creation of the Philosopher’s Stone, or as the “Diamond Thunderbolt” body, to name a few. To understand what is meant by these terms requires some familiarity with certain philosophies and esoteric doctrines. While one must not necessarily believe or have faith, in the Christian sense, in esoteric ideals, one must nevertheless have confidence. This confidence is born of experience that confirms that which is taught, and this personal experience may become something more than “subjective” in the pejorative sense (what most consider “objective” and “real” is really impotence in the face of an “other;” true knowledge and power would have to overcome the distinction between subject and object). If you follow a road map for some distance and find that it has accurately led you thus far, you can have confidence that the map is sound and will lead you to your destination. I do not think there are any such things as “True Black Metal Ideals,” unless these ideals correspond to the real in the sense I have spoken of. I use Black Metal as a tool to express a certain kind of spirituality but see no sense in trying to follow what others think is “true” or in keeping with a Black Metal “tradition.” We have certainly taken much of the aesthetic of the early scene but have adapted it in our own way. Things must progress and not be limited to what people think Euronymous or anyone else would have wanted. I would say that, in general, the scene is not flourishing, as there are few bands dedicated to anything beyond image or juvenile notions of “evil”. The “scene”, however, is not so important, since it is largely a collective phenomenon anyway; behind the current scene are those few who aspire to something that cannot be limited by narrow conceptions and “scene” mentality. Hopefully, there are those who resonate with what we are doing and who see Black Metal as a powerful expression of spiritual ideals. Nightbringer’s lyrics are quite dense and specialized. In many ways they—to borrow a phrase from Adorno—“run in the worn grooves of association.” What does Nightbringer hope to fulfill with these lyrical concepts? Does the band think people will read them and understand the theological/mythical concepts that empower them? Naas Alcameth: The lyrics are indeed dense. The goal is to successfully relay things that are meta-physical which necessitates the use of heavy symbolism and allegory, that when done effectively creates a surface message that is mostly evocative while beneath lies the greater meaning of the “thing within itself.” Association does indeed lie at the heart of symbolism, and in regards to symbols of an esoteric nature there are often multiple levels of associative qualities that can shift given the context in which a given symbol is used. The perfect example here, and especially in regards to the album, is the symbol of the sun. The sun we so often reference within the text maintains some of its core associative elements (supremacy, virility, triumph) while others are inverted. The sun that signifies light and nourishes what is below now has turned black by way of the “ordeal of the abyss” and its paradoxical illumination now slays that which is below, or that which is wholly confined in “Malkuth.” Allegorically this concept is embodied at a personal and initiatic level within texts such as the Egyptian Amduat, where the Pharaoh (the son of Ra typified within the text as the sun god himself) enters the underworld, and verily passes through its ordeals then rises triumphantly reborn. From the perspective of the initiate of the left-hand path, the virile movement through the abyss is quintessential and the alchemical black sun, which is also equated to the non-sephira Daath, symbolically acts as a central figure, that of the gate of death and the abyss through which the initiate must triumphantly pass. Our aim is to relay such metaphysical ideals in a way that is firstly evocative as to inspire and guide imagination and second and more importantly do justice to the profound and hidden essence of the ideals presented. As far as who will and will not understand the ideas presented, it is hard to say as I reside at the core of the creation and given the nature of the work it can be hard to see with the eyes of another. I think it likely that different people may have varying levels of understanding and interpretation of what we have presented. Even if one is completely unfamiliar with esoteric symbolism it is assumed that most can at least make a connection to the basic archetypical characteristics of the given symbols. The lyrics presented within Apocalypse Sun have been inundated with proper names such as deific titles. The thought here was that vast and multi-faceted metaphysical concepts could be summed up to a certain degree by using proper names of entities that govern a given concept. I feel in some places this worked well, while in other places it did not. The perspective of the work as a whole is macrocosmic in scope, which may have served to depersonalize the lyrics to some degree painting everything with mythic proportion that speaks more to occult philosophy and ultimate aspirations and less about personal experiences and triumphs. We recognize a need to imbue future releases with a bit more of the personal perspective, as this approach will lend the work more credence and power. In various interviews, including this one, you’ve spoken of “Satan” and “God” through indefinite, ambiguous language. Satan is not one specific thing or another to you, nor is worship of the aforementioned. In an interview with “Metal Psalter,” you spoke of “God” in a similar fashion. Your understandings of theological “godheads” are purely conceptual, and often metaphorical. Do you see Nightbringer in a similar light? Do you think this benefits the band and its music? Ophis: Here is our view on worship: Worship is at best a technique making use of dynamic images approached through an attitude of surrender and devotion. This is one way, which could be called mystical, and it is most often limited to a religious perspective, in which the divine always remains “other.” Another approach to the divine is one that sees godforms as symbolic of states of being, or of various enlightening forces, and not as anthropomorphic entities that one prays to; such gods are symbolic of possibilities for the “I.” These two approaches can be complimentary, or they can be taken separately, though a purely mystical approach has many shortcomings. As far as an understanding of the divine is concerned, how else can one speak of such things? Again, symbolism is the only way, and this may be rather “conceptual” at first; this is the “shell” of the thing, but it is not therefore inaccurate, even if, taken in and of itself, it is rather like mistaking the finger pointing at the moon for the moon itself. Keeping in mind that to truly know is to be, how many can claim to know the state of being a god in such a way? And how else could one truly claim to know divinity if not through identity? What most people consider to be relations with the divine are often simple emotional effusions or otherwise vaguely “mystical” feelings, but not a concrete awakening of knowledge through identity. The hinge of the matter is whether or not the divine is to be sought within or without. Clearly, you can see that we do not really favor a purely religious approach, though you may have thought that was the only approach possible. As I stated elsewhere, we do not see the divine through Christian eyes. That which is symbolized as “God” would surely be the source of both “good” as well as “evil,” hence it is generally pointless, outside of the approaches I have outlined elsewhere, to claim to be in allegiance to “Satan” as opposed to “God.” The divine is both the ultimate good as well as evil, though both of these terms are relative to one’s approach and point of view. Is a force that threatens to destroy my petty “self” a good or an evil? If I fear it, it may well be seen to be evil. If I go beyond my fears and embrace it, then I may come to realize that my earlier sense of “self” was in need of being destroyed, and this destruction was really the greatest good from the standpoint of a higher vision. That which we term good would be seen as evil to most, since it would entail the destruction of all that they imagine themselves to be. There is really nothing ambiguous here; the ambiguity lies in us as limited beings when we are faced with that which transcends us. Ultimately there is no good or evil as conceived in a moral sense. Good is what leads to a greater intensity of being and inner unity, up to Being or Godhood at its limit (though the ultimate goal is beyond even this). Evil is dissipation and weakness, and those who wish to wallow in depravity and “evil,” thinking it is the “left-hand path,” will find out where that leads them. Replace “good” with “favorable” and “evil” with “unfavorable,” keeping in mind that these will vary depending on one’s individual nature, and this point may come across more clearly. One does not have to be at the level of a god to understand this and understand it in a more than conceptual way. In relation to the preceding, and in order to set forth some further perspectives, it can be said that the embrace of forces usually considered destructive and “evil,” such as a certain wild and Dionysian frenzy, can lead to godhead as well as other paths. What we are trying to do is to find the spiritual value in such things as death, destruction, and violation, in a way which transcends facile notions of good and evil or God and Satan, and yes, our music is suited to this. Needless to say, all that has been discussed here is very relevant to Nightbringer and our commitment to an esoteric perspective. Lest you think that this is all pure speculation and only conceptual, I will state that some of us have been drawn to esoteric matters through certain real experiences that have proven to us the value and truth of spiritual traditions and the shallowness of much modern thought. We feel no need to “prove” this to anyone else, as if it could be proven in a manner that would be open to all, relating as it does to the mysteries of the “I.” In the end, like knows like, and the awakening of certain affinities is the best guide. When it comes to things beyond our experience, we have drawn on traditional sources, such as certain forms of Tantra, as well as on both ancient and modern writers who have expounded various spiritual traditions. Again, based on experience and extrapolations based on these experiences, we have come to certain conclusions as to what may and may not be possible, though we strive to test what we can in the light of experience. Even if certain things are understood in a conceptual way at the moment, this in no way diminishes their import. Besides, conceptual understanding is a necessity at first, and the pondering of the many mysteries contained within an esoteric doctrine is a virtually inexhaustible source of inspiration. You told FMP the Gathering of Shadows, a “clandestine gathering of black metal bands in the Rocky Mountains,” was undertaken essentially to remove black metal from a bar or club setting, yet sources have conveyed to me GoS was nothing more than a bunch of people getting fucked up in the woods listening to black metal. Is this true? If not, did the “disworlding” of the music enhance its quality? Naas Alcameth: The initial intent was there. Who would have thought that if you brought a bunch of black metal fans together in the woods that there would be drinking? Regardless, I would say that the experience is based on the mindset and intent of the individual attending as well as the band performing. An inspiring atmosphere was supplied and the rest was up to the participants. There have been countless attendees and bands that brought nothing to this event. There have also been some monumental sets that certainly would not have had the same effect had it occurred at a venue or bar. Watching the morning star rise at dawn while Demoncy is still in the midst of a Joined in Darkness set is something to behold. Anyhow, I should note, that though I helped to start GoS, I am not the mind behind it, and therefore I cannot take credit for this event as I am not the one who organizes it. What does the artwork for Apocalypse Sun represent? Was this the band’s idea or Ben Vierling’s? What was it like working with Vierling? Naas Alcameth: Benjamin had an initial concept based off the album title and “theme” and we started going back and forth via email until the vision was refined. The painting depicts a robed figure (initiate) descending the steps of a sacred temple. He carries a staff topped with a wrathful sun (sol niger). The temple entrance behind the figure is comprised of five arches, through which the “initiate” has passed. There are seven skulls and six upturned chalices above the doorway, and a seventh chalice tossed upon the temple steps, from which blood has spilled. The seven chalices represent the seven cups of the apocalyptic tradition. The sacred number is a constant within the prose and its meaning is multifaceted. There are two “daemonic” figures kneeling in defeat at either side of the entrance, both holding timepieces. The figure has past beyond (descending) the aforementioned symbols triumphantly carrying with him the figure of the black sun. The image is full of esoteric symbolism relevant to the idea of the initiatic moment, or spiritual “apocalypse”, with the key symbol being that of the radiant black sun. It was great working with Benjamin. He is involved with the esoteric and had some great ideas in regards to the album art. He will be rendering the next album cover as well and we are already hashing out ideas. Does Nightbringer have an innate purpose—a reason for the music it makes? What does the band hope to accomplish? Naas Alcameth: I am firstly and foremost driven by a tendency I believe is very much atavistic. This coupled with an innate desire to create feeds the entity so to speak. Individually speaking, my aspirations lie with the spiritual path I have chosen. Nightbringer is the creative outflow that manifests as I carry on down this path. For myself, what I create within the circle of Nightbringer is not the means towards spiritual realizations and accomplishments. That would be absurd. It is the outflow of creativity inspired by my current place upon my path. If it serves to inspire others, so be it. Explain your connection and/or opinion on the following: JULIUS EVOLA Ophis: A modern Sage, Adept of the Left Hand Path, beyond the criticism of lesser beings. “By contrast to the vision embraced by multitudes of individuals who, unconscious victims of despair, seek each other’s company and love, huddled together like children in a storm, seeking a taste of those values they lack in their common bond and common surrender to the omnipotent Lord, the vision arises of those free individuals, those Saved from the Waters, that Race Under No King, Those Who Breathe: luminous, self-sufficient beings who trample on all laws and “exist in themselves”. Those who ask not but yield forth from the over-abundance of their own power and light; those who do not humble themselves to prove equal to others or to love, but who remain unattached; those who lead a resolute life and tend towards an increasingly elevated form of existence by following a hierarchical order which comes, not from on high, but from the intensity of their own being. This race of men with terrible gaze, this race of Lords, stands in need of no consolation, of no gods or Providence.” THE SWASTIKA Ophis: Symbol of the spiritual and celestial Pole. Naas Alcameth: Symbol of the Pole round which the heavens turn and a catalyst for confiscated CDs.  [Stewart Voegtlin] Photos: Steven Brown
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The answers themselves are not bad yet again by trying to show how good they "studied" their gnoses (for they seem to root their belief in several of them) they tend to loose themselves in multi-linguistic blah full of terms that only those well familiar with the esoteric jargon properly understand.
In one point I totally agree with them that in terms of speaking about the occult thou must forget the whole "Christian point of view" which was established only for the purpose of enslaving dull masses by giving them false hope of salvation for their "righteous" life and eternal damnation for those who dare to oppose the authority of the church. As they once said: "ora et labora"
But I tend to believe that the guys seem to forget 2 things:
Facing all these facts the best "current" is your own by simply using some patterns given yet searching for the ultimate truth on your own effort and not relying gnostic teachings as a Yehowa's witness does on his Bible
Lï¿©vi instructs us how to practically apply the Four Powers of the Sphinx in his final work, The Great Secret:
To attain such an achievement it is necessary to KNOW what has to be done, to WILL what is required, to DARE what must be attempted and to KEEP SILENT with discernment.
Homers Odysseus had to contend with the gods, the elements, the cyclops, the sirens, Circe, etc. ... that is to say with all the difficulties and dangers of life.
His palace is invaded, his wife is pestered, his goods are plundered, his death is resolved on, he loses his comrades, his ships are sunk; at last, he alone is left to fight it out against the night and the sea. And single-handed he sways the gods, he escapes from the sea, he blinds the cyclops, he cheats the sirens, he masters Circe, he re-takes his palace, he rescues his wife, he slays those plotting his death; because he willed to see Ithaca and Penelope again, because he always knew how to extricate himself from danger, because he dared what had to be done and because he always kept silent when it was not expedient to speak.
When one does not know, one should will to learn. To the extent that one does not know it is foolhardy to dare, but it is always well to keep silent.
Thus the Four Powers are employed much like steps in a process; we must know before we can will, and so on. This idea is reinforced in Transcendental Magick:
To learn how to will is to learn how to exercise dominion. But to be able to exert will power you must first know; for will power applied to folly is madness, death, and hell.
Also:
In order to DARE we must KNOW; in order to WILL, we must DARE; we must WILL to possess empire and to reign we must BE SILENT.
What I want to say by this is that it is maybe not so wise at it may seem to expose your knowledge in your published lyrics and blabber out the rest in interviews.
The element that pushes an artist to communicate in such a way is -as far as I can tell- unrelated with the quest for esoteric knowledge. It is instead very much about the 'mundane' desires for human communication, social interaction and a certain Schopenhauer-ish, 'division of time', i.e. to stave off boredom and give one something to do. Esoteric knowledge, apparently, is useful not only in Odyssean application but also for being ruminated upon idly. At least as far as brain function goes it is useful, I don't know what an esoteric stance would be on Schopenhauer, if any such exists.
The band seems honest about this when they reply that Nightbringer is not the vessel for their esoteric quest, but a sideproduct of their way of life. Such could also be said about this interview.
Slightly unrelated: I know it's a somewhat base psychoanalytical stance to take but sometimes I wish black metal bands being asked on 'why black metal?' would reply from their basic personal experience first, which mostly could be summed up as 'I listened to Venom twenty years ago and loved it'.
I don't intend to demean the extra philosophy by saying this, I just get the sense (and I speak from personal experience here, also) that if it wasn't black metal at a formative age but instead some other sort of music, then one would be fashioning their reality today using that other sort of music as a vessel. Black metal's coincidential in a way and I don't think that's such a bad thing. Placing black metal on a pedestal as if it's an organon devised and best used for the highest alchemy tends to sidetrack attention from the human aspect of how people get into loud music and subcultures, and I don't think that stuff is irrelevant at all.
The interview was very interesting. TLHP could do worse than fix the character limit on its comment system or at least make it plainer when it is reached, too.