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Interviews
Valhalla Promotions (February 2008)
Heathen Hammer (November 2007)
Conqueror (December 2006)
Unrestrained! Magazine (September 2006)
Rockline.it (June 2006)
Worm Gear Zine (May 2006)
Unrestrained! Magazine (2004)
By: Semivivus, Valhalla Promotions
Hi Daemonskald, first of all a huge "thank you" and congratulations for being chosen for the very first interview of VALHALLA PROMOTIONS! When I first heard your limited demo "The Stranger" I got blasted away by the great catchy tunes of the beautiful music. How do you look back at the beginning?
Originally, I had a plan to do all acoustic/ambient type of music. I guess you could say I wanted to take the acoustic/lighter moments of say the Bathory Viking-metal albums and have it all as one album, without any metal. The first result was “The Stranger”, which was a six song half-hour long demo release. I also wanted to have a heavy emphasis on the lyrical content. In fact, there are no lyrics to the title track “The Stranger”, it is actually a short story that I wrote that I had to print out on a separate sheet of paper to send with the CD! Even with mostly instrumentals at the time, I thought it was important to have lyrics or poetry to accompany them, even if there were no vocals, to have a well-rounded experience. I only printed 100 copies, most of which were sent out for reviews, promos, friends, and some were sold at various online distros. My next CD “Sailing the Seas of Fate”, added more metal elements to the mix, as I quickly found you limit yourself by imposing arbitrary decisions on the expression of the music (i.e acoustic or metal instruments). So basically whatever I needed to create my vision, I used. I am proud of the early material, but I also saw where I needed to progress, and I think the new CD “Beyond the North Winds” will be another step in the right direction. Or at least whatever direction my visions take me. Later this year we will try to reprint “The Stranger” and “Sailing the Seas of Fate” as they are both sold-out now.
You finished the recordings of your new album now and it will be released soon. What can the people expect from this release? Are there any new influences in the music?
I think this release is definitely more “mainstream” if I dare use the word, in so far as some of the songs are more traditional metal songs, with more vocals, more song-like arrangements. But there are still many instrumental/mystical moments that is the common binding element of most SIG:AR:TYR music. I just hope I’ve been able to develop my skills further in the song-writing realm, and continue to have strong albums where no song is filler, and every note counts. Where even though each song is very different, it can be accepted as a whole package that flows from beginning to end. I think this release will appeal to a wider range of people, and maybe not so introverted or self-indulgent as the previous material. On the last CD “Sailing the Seas of Fate” a lot of people liked the metal work I was doing, and others who more appreciated the acoustic aspects too. I think this new CD “Beyond The North Winds” continues that development, and I think it will appeal to fans both old and new.
Besides your albums, what else did Sig:Ar:Tyr release? Are there any forgotten songs, or demo-versions that you recorded once? Is there a chance for a CD with unreleased material?
I don’t believe in unreleased songs/bonus tracks etc… Every album I do I have a plan, and each song has its place in that overall vision. I can’t just write extra tracks and throw them on there, as they will have no cohesiveness with the other songs and will not share the same initial vision that I get when planning an album. There are of course riffs, ideas, concepts that I do get from time to time, but I just try to keep them in memory, and try to meld them together with any future visions. I’m already planning the follow-up CD to “Beyond the North Winds”. I already have the “vision” so-to-speak for it, but nothing has been created fully yet, its still forming in my mind. Sometimes I get ideas that would not work in the SIG:AR:TYR context, and would have to wait until I worked on some other different project with it.
You are the only member of SIG:AR:TYR, how do you look at a future with live-performances and touring? Are there any plans so far? Did you ever think about having other musicians in your one-man band?
I have thought about it from time to time, but I doubt it would happen. SIG:AR:TYR is very personal to me, and I doubt I could convey the same concepts and ideas to other people when trying to work on new music. I would, however, definitely like to participate in a band, at least where I wouldn’t be the only one making decisions, and would contribute some songs while other people in the band would contribute others. I think this would be more in a rock/metal genre, rather than folk/Viking/black metal etc… SIG:AR:TYR puts a lot of pressure on me personally, since I am conveying very deep, personal visions and I require having complete control over everything. A successful band cannot have that type of arrangement, and I would be happy enough in a rock band playing away on the guitar in conjunction with other musicians/song writers and get to live without all the full creative pressure.
Tell us, what means your own music precisely for yourself? Can you describe us what Sig:Ar:Tyr personally means to you?
I started SIG:AR:TYR as a musical outlet for my deeper spiritual thoughts and experiences. I don’t expect everyone to agree with them or understand them, but I hope that it connects with those who feel the same way about certain things. I would say that someone who spends a lot of the time day-dreaming like me (haha), who thinks of things beyond this world and our day-to-day activities, is someone who would connect to SIG:AR:TYR. In connection with the spiritual aspect is the rediscovery of my roots and ethnic traditions. I think it is critical to discover and preserve the primary traditional ways of our ancestors, and continue to live them even though we live in a time which shuns history and traditions. When I mean “ways”, I mean trying to live a traditional way of living life, not necessarily as a non-technological person living in some anachronistic way (the kind you meet at renaissance fairs), but ways of living with other people, preservation of family, traditions, courage, honesty, all qualities of the “northern” peoples, in all of your worldly dealings.
It's seems you found many inspiration in the Viking Metal albums of Bathory, are there any other bands that inspired your work?
I am also very influenced by Burzum. I feel that Varg created something very special by mixing his harsh brand of metal with some very deep atmospheric moments. And the album “Hvis Lyset Tar Oss” is one of my favourites and speaks to me on a deep level. Obviously I was also influenced by Yngwie Malmsteen and his style of guitar-playing. I also like certain types of classical music and movie soundtracks. Especially those that evoke very epic feelings such as Wagner, or those who use Wagnerian elements in their music such as John Williams “Star Wars” soundtrack. My favourite metal band is Iron Maiden, and I am also a huge King Diamond fan, as I appreciate his story and atmospheric oriented approach, and am also heavily influnced by his primary guitarist Andy LaRocque. Basically I like any musician who can evoke something within you to think of other times and places beyond this world, and can arouse a sense of something “greater”, and in this sense the album “Hammerheart” by Bathory really struck home. Primordial from Ireland is also a band who really struck me with their music, very dark, epic, spiritual, original metal and sound.
You are living in the beautiful Canada, a country with great nature and lots of talented bands, can you advice fans of Sig:Ar:Tyr any good Pagan/Viking or Folk Metal from your country?
There has been an explosion of folk/pagan/Viking oriented music from Canada lately. Mostly on the West coast (Alberta) such as Dark Forest, and in Quebec, such as Brume d’Automne/Ur Falc’h. I just traded CDs with an acoustic/ambient project called Musk Ox from Ottawa, and we were talking the other day about how when younger we often fantasized about the landscape of Scandinavian countries where all black metal and Viking metal was coming from, yet in Canada, especially in the far west, east, and north, there is some incredible places with their own natural majesty. Who knows what happened in the dim recesses of time and wandered in the ancient Canadian northlands?
Daemonskald, thank you for this short interview. Any last words to your fans or Valhalla Promotions?
Thanks always for everyone's support. The new CD “"Beyond the North Winds" is done, and we are just sorting out the layout and release details, probably for April release. I look forward to finally getting this CD out there, and I appreciate Valhalla Promotions extraordinary support and promotion for this, and also the support for all lesser-known folk/pagan/Viking metal acts.
By: Barghest, Heathen Hammer zine
1. Hail Daemonskald. Please give a brief history of SIG:AR:TYR and the aims behind this project.
I created SIG:AR:TYR to provide a musical vehicle for my thoughts and writings of the mysteries of life and beyond life, based mostly around the myths and traditions of Northern Europe. Initially, I wanted to create very heavy and atmospheric music without the use of typical metal instruments such as electric guitar, bass, and drums. My first release was all-acoustic, but I have since drifted from that to add metal elements to my music, while still retaining an overall acoustic-ambient atmosphere. Each release, I like to have the music, lyrics, and artwork, all reflect a certain theme and atmosphere. Each piece is just as important as the music. It has to be the total package. Atmosphere, I believe, is the most important element in the music, regardless of the instruments used.
2. What is the meaning of the name SIG:AR:TYR? From which rune row do these named runes derive? In traditional runology they are associated, succinctly, with the Sun, abundance, and obviously Tyr. What is the significance of their adjunction in the name SIG:AR:TYR?
The rune word set SIG:AR:TYR embodies three major aspects of existence: Chaos-Balance-Order. This can also be thought of as Fire-Matter-Ice. The words SIG:AR:TYR are the names of three runes that embody these characteristics in one form or another. These forces form the core materials of existence. SIG is a short form version of the Old English word "sigel" which is the sun. "Sig" is actually the germanic word for "victory", but in this sense I use it as short for Sigel: the sun. The Sun is the primal fire, or the root of Chaos, for that's what exactly the sun is on a physical (primal ball of fire) level and a spiritual one where it represents the logos and initiator of life for the particular galaxy it created. It can be the creator or destroyer, something that we must mirror in ourselves to break free of the natural ordering of the universe. What we consider Chaos is not only an entropic destructive force but also a powerful creative force that transgresses the boundaries of an ordered universe. AR means "year", or more specifically a "good year". This rune represents the culmination of a successful year in the symbol of the harvest. It is the completion of a cycle. In the Elder Germanic Futhark of 24 runes, this is the middle 12th rune (Jera). In this respect, it represents "balance" in the universe when the struggle of Chaos and Order are even in power resulting in the perfect time (the "good year") for physical and spiritual evolution. This is a symbol of Midgard or "Middle Earth". This is the middle of the worlds between the higher spiritual realms and the lower chthonic realms. In Northern mythology, it was the place sought after most of all by gods and men. In contrast to salvation-based religions such as Christianity, or spiritually negative ones such as Buddhism where Earth is considered evil and release from earthly physical bonds are desired, the physical centre of the Universe is considered to be the most important realm for spiritual evolution. The Norse gods did not laze around in some pointless heavenly abode where nothing happens. This would lead to spiritual and physical decay and eventual dissolution of the soul itself into the organic universe. The gods recognized that this realm provides the most opportunity for evolution and would play out their adventures in life, love, war, and death in this realm to become more powerful in the next. TYR is actually the original "sky-god" and most powerful of the Northern pantheon before being supplanted by Odin. Odin and Tyr are both related to war and death, but where Odin's objectives are chaotic, destructive, and bend the balance towards entropy, Tyr's battles are based on tipping the cosmic balance towards law and order. Tyr represents the concept of sovereign power based on justice. As such, Tyr in some ways is the polar opposite of what "SIG" represents. It is like "ice" because it is like a permanent concept frozen in time, an eternal law that always was and always will be. But it is not the "ice" of the natural universe (as represented by Isa), it is something beyond the natural universe that causes it to be ordered as it is. It is also interesting to note that the ancient Northmen associated the pole star with Tyr. In this form, Tyr is the immovable center, the axis of the world, and the balance on which it revolves. Together the terms SIG:AR:TYR strung together become a formula illustrating the forces of chaos, balance, and order. Their interweavings manifest in our existence as a physical creature, brought into being in an ordered Universe, where the chaos of our souls yearn to birth, live, and die, to further its power and evolution.
3. “Sailing The Seas of Fate” (reviewed elsewhere in this issue) is an incredibly album. The production on “Sailing The Seas of Fate” really does the music justice. How did you find the recording and writing process? Are you pleased with the final outcome?
Recording is a lot of fun, but only when you are actually playing. The time it takes to mic things properly, mix the tracks, get the right reverb and atmosphere etc… is ridiculous for something who just does it all myself. I’d like to get more help to have someone do all the engineering, but I can’t afford a real studio, so I have to make do with what I have. There are always criticisms I can make looking back at the whole thing, but I am proud of the final product. The main problem was that during recording, I actually moved between cities twice, and found myself in very difficult environments to record. Imagine doing an acoustic guitar solo in the basement of a house on a busy street only to have it ruined by a passing car honking its horn, or an airplane going by! But I battled through, and eventually got it done. It was a huge learning experience, and I found that even with great adversity you can still create and be victorious. That is the “Northern” way…
4. What equipment do you use/did you use on this album?
Actually, it is bit embarrassing, as I did not have much equipment at the time, and recorded it uses an 8-track digital recorder, and mixed it on a laptop computer. Considering the circumstances, it actually came out sounding pretty good. For acoustic guitar, I have an Ovation Tangent electric-acoustic. I want to get a good, hand-made wood one for the future, but they are very expensive. For electric guitars, I have two Fender Stratocasters. The percussion is sampled, except on the track “Frost on Dead Leaves” I played an Irish bodhran (as best I could!). Hopefully the next CD will have better production values as I learn more about recording, and it is possible I might get a session drum player to assist me this time. I’m also experimenting with more clean vocals this time around.
5. Why did you choose to have Morbid Winter Records – a relatively new label – release this album? The album has quite an accessible sound; as well as being worthy, I would have thought, to be released on a larger label.
About six weeks after releasing my first release/demo “The Stranger”, I was offered a contract by Karmageddon Media in the Netherlands, who was a fairly big indie player when it came to folk and pagan metal a few years ago. There were initially many delays on my side with the music and the artwork, but by the time Karmageddon received the final version, they were undergoing financial stress and after a lengthy delay, they decided they could not release the album right away. I decided to ask for my release and go my own way as I did not want to wait on them any longer. My friend at Morbid Winter was one of the first people who ever contacted me about my music, and has always supported me. As he was just getting his label underway, he offered to release it. We share many of the same ideals, and he is dedicated to releasing unique pagan and folk type of metal. So it is a perfect match for SIG:AR:TYR.
6. The artwork, mostly containing imagery by Gustav Doré, perfectly complements the music on “Sailing The Seas…” Are there any other artists you admire?
Originally, I was supposed to have artwork done by my niece’s husband, but after a few initial sketches, they got divorced so I never saw him again and I couldn’t use the artwork that he did. So I turned to the same concept as I had used for “The Stranger” release, and used some artwork from illustrator Gustave Dore to tell the tale. It turned out well, but I would have rather used original artwork. I’m not an art expert, but like most people, I appreciate classic art rather than the modern rubbish they call “art”. The past masters could weave a spell with their art, and to this day you can be mesmerized for hours looking at paintings in the Louvre! Contrast this with contemporary art museums where you could walk through in 30 minutes and not see anything worthy of the attention of your spirit. The classic pictures are full of spirit and life. But I also love any “folky” art and illustrated books, such as those by Dore.
7. Your lyrics show great erudition of myths and literature. You have quoted from a number of prominent mythological literary sources, such as the Eddas and the Anglo-Saxon Rune Poem. What draws you to such literature? What book(s) would you thoroughly recommend for modern European man?
I think it is important to read the original Eddas, sagas, myths, in their own context, so you can make your own conclusions before reading those of other authors. As background information, I would definitely recommend any books by H.R. Ellis Davidson, such as “Gods and Myths of Northern Europe”. Copies of the Eddas with footnotes for context are also very helpful, such as Lee Hollander’s Poetic Edda translation. I’m especially fond of Egil’s Saga. I’d also highly recommend “A Pageant of Old Scandinavia” by Henry G. Leach that is a fairly old book, but contains some rare sagas not published elsewhere, and the translations are very poetic.
8. Would you please explain the lyrical concepts behind this opus? Who are the featured figures Halvdan and Vidar? Is this the same Vidar, the Avenger of Odin? And what is the meaning behind their duologue?
The primary message of "Sailing…" is that cultures are based upon the relationship between a people and their gods. If they have a strong connection to their gods, which are genetically part of their collective race soul, and they understand this natural state of being, their civilization will flourish. When they lose that connection, when they have turned their back on their gods, their laws, their nature, their heritage, the civilization will turn to ruin. The two characters Vidar "Far Ruler?" and Halvdan "Half-Dane" were chosen to signify two types of thought. Vidar, named after Odin's son who slays the Fenris wolf and is to survive Ragnarok, represents the true spirit of the elder gods, their culture, and heritage. It must be preserved at all costs, in this world and the next. Even though all seems lost, he is determined to take up one final quest to seek the answers in the ways of tradition. Halvdan represents those who are tired of the fight, and who would rather take the easier road of placation and peace. Although he fully supports his comrade and his seemingly mad quest, his inner thoughts seek otherwise, and he would rather lay down his arms and accept the new way rather than fight it any longer. Although he is willing to fight alongside his brethren, he only sees distrust in the elder gods, and fears their fickleness will only create more strife. The acceptance of the foreign gods and their ways that claim to support unification and peace seem an easier and pragmatic decision to him with little greater consequence.
9. The last three tracks are entitled Urd, Verdandi and Skuld respectively. What is your view on fate, or more appropriately “wyrd”? In Eddic mythology even the Gods are subject to the Norns. Do you therefore think it was the fate of Europe to be Christianised? What do you think fate has in store for Europe in the modern era?
Fate or wyrd are difficult topics obviously. Sometimes we feel we are guided by an unaltered destiny, yet, sometimes we are find ourselves forging our own path. As much as “Sailing…” seems to be anti-Christian, there is no denying that Christianity “won”, and became the traditional spiritual life that bonded all European peoples. As much as many heathens deplore the existence of this religion, they must remember that is although Christianity eventually won over the old ways, it has found itself the vanguard of the traditions, ethics, laws, and mores of the North European peoples in these current dark times. But these aspects of our peoples come not from Christianity, but from their original traditions. The world goes in cycles, and civilizations rise and fall. When they lose the connection with their original traditions and gods, then they cease to exist. Whether modern Europe and its former colonies in the Americas can withstand their current predicament without some sort of return to their traditions, is difficult to say. But whenever the Northern peoples have seemingly disappeared, they reappear again somewhere else. We are a dynamic, wandering people, and if our current civilization falls, we will reappear again somewhere else, stronger than ever. There is always a seed for the future.
10. As mentioned prior you draw heavily from Germanic/Norse mythology. What interests you about this mythos more than say Celtic mythology? Would you call yourself a heathen? And as a Canadian how difficult is it to trace your ancestral roots, and hence the faith that inheres to your blood?
I was born in Canada, however, my parents are from England, and I consider myself European at heart anyway. Like most people, I was brought up in a Christian family, but found it wanting by my teenage years. After several years of studying world history and the history of religions, I found myself drawn to the North European myths beyond all others. The Celts are a branch of the overall Indo-European traditions, and I am interested in their ways, just as I am the Greeks and Romans, and so on. But one cannot deny the powerful writings that have come down to us from Scandinavia, and preserved by Christian scribes over hundreds of years. They show a primal world of fire and ice, of life and death, of light and darkness. More so that any other body of mythical literature I feel. I don’t know if I would call myself a Heathen. I am most attracted to the concept popularized by the Italian philosopher, Julius Evola, about the idea of “Tradition”, meaning an ancient way of relating to this world and the higher world of the spirit which was common to all Northern European peoples and their pagan myths. This “Tradition”, this way of thinking and living, has been slowly lost, and if we are to survive as a civilization, we must be reconnected to it.
11. What do you think of the syncretism of many neo-paganism sects? Wicca to name but one of many. Do you think it is hard for modern man to truly get back to his or her religious roots?
It’s difficult to say whether the “new-age” movement of the 60’s until now has been beneficial or damaging to personal spirituality. Unfortunately, what has primarily happened is that people who would have normally been Christians have simply traded in their symbols for something else, the core beliefs still remain the same. For example, a new-age/pagan type might trade in their crucifix for some crystals and beads, yet they still might “pray” to a god (even if its mother earth), and expect spiritual knowledge and experience to come at them from outside of themselves. Think of it as a circle. They are still sitting on the rim of the circle trying to understand its center. But when they externalize it, no matter how often they change their gods and symbols, they are still just moving around the rim of the circle not any closer to their goal. True spiritual power is having mastery over your self, and also the world around you. You must go within, not outside of you. I also emphasize on finding spiritual value in this world, not the next world (whether it be Heaven, Nirvana, Asgard and so on). The Northern Gods always wanted to be in our world, to live, fight, love, and die. Even in Asgard, they prepared and sharpened their weapons to fight again when the chance came. Living a Northern spiritual life is about dynamism and living a full, experienced life, not a long life of stasis and degeneracy to wait for more fulfilment in the next world. It is here and now! But modern man wants to escape from this world. He finds no fulfilment in it, for there is no spiritual underpinning in his life. He works, watches TV, and dies with no purpose. Christianity has withered away, and I believe it is time for people to get back to their roots, the gods of their blood. It has never died, because it always burns within you like an eternal flame, and is passed on from generation to generation in your children. Traditions can be forgotten in the memory of the mind, but never in the memory of the blood.
12. The Bathory influences behind SIG:AR:TYR are clear, as are the influences of Malmsteen. What other bands have influenced you? And what other bands/composers do you enjoy?Beyond metal, I really do love classical music, and movie soundtracks as well, such as the work of John Williams with “Star Wars” and Ennio Morricone, the famous Italian soundtrack composer. “Star Wars” was Wagnerian in its approach to telling the on-screen story. You can’t think of certain scenes in that movie without hearing the musical themes that played with them. Soundtracks like these provide the complete marriage between the onscreen images and the music. This is something I try to do with SIG:AR:TYR as well. A CD is not just about the music, its also combined with the lyrics, the artwork, and so on, to provide the complete picture. The atmosphere has to be consistent and complete across all the mediums.
13. If you had to choose one Bathory album which would it be?
Definitely “Hammerheart”. I had never really liked Bathory before then, however I did pick up “Blood, Fire, Death” after seeing the majestic front cover. There was some excellent heart-felt music on that CD, and you could see that Quorthon was straying into more spiritual territory with tracks like “Oden’s Ride over Nordland”. I think “Hammerheart” is the culmination of this, and it was released at a time when death metal was very popular, and music in general was becoming more aggressive and ugly. “Hammerheart” went the other direction relying on beautiful acoustic passages and majestic soundscapes to tell its tale. This type of atmosphere and mood is very influential on what I do. Without a spiritual underpinning, no CD can really “speak” to the listener, and touch the same archetypes in their soul.
14. Your first release, “The Stranger” was limited to a small number. Are there any plans to re-release it? I imagine there would be high demands by now.
There is plans to probably re-release is sometime next year. The first release was only 100 CDR copies for the demo, so it will be nice to release it in proper form, I will probably change the CD layout and artwork as well. I doubt there will be any bonus tracks, as I don't really believe in such a thing. The release stands on its own with the six tracks I recorded for it, and to add other things would simply take away its magic as it was made a certain way for a certain place in time for me.
15. Finally, what are your future plans for SIG:AR:TYR?
I'm currently in the recording process for the next full-length CD that will be titled "Beyond the North Winds", which is the literal translation of 'Hyperborea'. The music will be heavier and more electric guitar oriented, with the acoustic parts more blended in to the CD as a whole. It should, of course, still retain the acoustic-ambient atmosphere that is the hallmark of SIG:AR:TYR, but will lean more towards what could be called the Pagan Metal genre. I’m playing with the idea of doing another all-acoustic album of some sorts after that.
16. Hail and thanks Daemonskald for taking the time to answer these questions. The last words are yours.
Thanks for the great interview. SIG:AR:TYR weaves both music, ideas, words, images, and spiritual thoughts into the creative process, and it is great to see a magazine that can deal with the spiritual side of the equation along with the musical. It is the vital, dynamic force that wills us to create beyond on our horizons.
By: Francisco Viegas, Conqueror
Hail , Can you speak a little about Sig Ar Tyr saga so far?
I released my first demo/release "The Stranger" near the end of 2003. It was an all-acoustic release, as at the time, I wanted to create very heavy and powerful music but without the use of typical metal instruments. After that release, I had an idea for a pagan/viking metal type album, which would add a few more elements of metal music to the mix, so that is what resulted in "Sailing The Seas of Fate" which was released in early 2006. Currently, I am working on my next CD, which is going to be titled "Beyond the North Winds", and it will continue the pagan metal progression into an album that will be mostly metal, but still retaining the acoustic-ambient atmosphere.
Concerning your latest release “Sailing The Seas of Fate” through Morbid Winter Rex and “The Stranger”.... what’s the biggest differences between both works, from your point of view?
While "The Stranger" was all-acoustic effort, and had several songs based on similar themes, "Sailing the Seas of Fate" is a full concept album about a story that came to me, a story of a viking quest. It includes both metal and acoustic music, and is a further progression from what I originally tried out with "The Stranger", and I think will set the tone for my further works.
For what I read the moniker itself embodies the symbolic meanings of tree runes: chaos, balance and order… Give us a more detailed explanation please…
I believe that mankind, who lives in Midgard, the "Middle Earth" acts as a balance between the unconscious powers of the universe, the beings of chaos, in the old legends, these were personified by the Jotuns, the giants. The powers of order are the conscious powers of the universe, the gods, the creators. Man is a being who has a little bit of both sides to him, so he can be very creative, and very destructive as well. And it is "mankind" that acts as the balance between these two forces.
Lyric wise, what can you tell us about the conception of “Sig Ar Tyr”? Since all your poems seems to be part of your own kingdom, perhaps you could unveil something....
The lyrics for the music are just as important as the music itself. So I take great care with them. And most often, I think up the lyrics and theme for a song before I ever come up with the music to go along with it. They are simply the reflections of my spiritual thoughts and journeys throughout my life so far. Of course, they also circle around the myths and tales of our Northern ancestors, which I feel resonate very strongly for those of us who don't feel like we are part of this 'modern' world.
What do you plan to achieve with this new work? Also I know that a new work it’s also already on the Forge, I’m talking about the upcoming “Beyond The North Winds”… Can you advance something about it?
I really wanted "Sailing the Seas of Fate" to get me on the musical map, and basically get heard. My original demo was only 100 copies, so not too many people got to hear it, but I wanted this to change with the new CD, and I have got a great reaction so far for what I have done. My next CD, "Beyond The North Winds" will continue a progression into pagan metal realms, and this time the theme will be the earth, mountains, and stone, as opposed to the whole snow and ice theme of "Sailing...". I think this next release will be somewhat more accessible to people as the acoustic/metal elements will be more blended into a more cohesive whole. I'm also going to try some real clean singing this time, rather than the spoken word or black metal type vocals.
Have a dream of yours ever come true? How was the live experience, if I can know....?
I always have certain images or dreams that do come true, but they are always very personal things that would only have meaning to me. Sometimes you "build" certain ideas in your dream world, then it is up to you to make them reality. By taking something from your subjective self, and then making it happen for real in the objective world, this is the key to all creation!
What do you think / feel about the actual situation of the world, the constant destruction of Mother nature, the lack of values nowadays, the high development of terrorism… and the list goes on!
I think we have yet to see Mother Nature's worst! What we have seen now is nothing compared to the great cataclysms of civilizations past. These things are cyclic, and every so often, Mother Nature has to wipe the slate clean so to speak! Terrorism.. well that is nothing new, there has always been "terrorism", just sometimes called by different names. The current problem of Islamic terrorism is a pure result of western arrogance and imperialism in the MIddle East. I always the feel the world is big enough for everyone, just stick to your own kind and your own borders! The main thing that I see happening is soon is a great natural cataclysm, very much like the the earthquake and tsunami in India etc... but on a much greater scale. This will in turn create what we would call "environmental refugees", millions of people displaced by earthquakes or coastal flooding, with no where go. It will be a very chaotic time.
Upon which values is based your life code? Would you rather die than break then?
Is patriotism a important factor in your actual life? How do you see subjects as: Nationalism, Racism & Paganism?If we are ever to return to a more natural and healthy state of being, our youth must learn again of our great origins, of our heritage and past, and be able to live in a culture and society that fosters the highest of ideals. Our current world is hell-bent on cultivating the lowest elements of the human condition, and ultimately celebrate and cultivate human failure. We live in a strange world where the most ugliest, weakest, life-extinguishing elements of society are paraded around as icons. All around us we have the decadent culture of materialism, low standards of education, mindless television and media, MTV culture, junk food, multiculturalism and the erasure of identity, that leave nothing but empty minds and empty souls in its wake. I believe in ethnic sovereignty, meaning everyone has their right, whatever their ethnicity, of being able to direct their own affairs in their own nation. This concept is being destroyed in the Western nations by rampant promotion of extremist liberalism, egalitarianism, unchecked immigration, and enforced multiculturalism. At the opposite end, I also reject the concept of unchecked imperialism and globalism. All of this results in the disruption of the natural state of the world. People want to be among their own kind and direct their own affairs. The current globalist drive to make the entire world economic slaves is the primary threat today. The peoples of the world must get back to their origins, their own heritage, and to protect it at all costs, to ensure their sovereignty and their future.
Have you ever felt threatened by something or someone in a way or another? If so, how did you reacted to it?
Not directly, but I always feel threatened whenever I create. It seems whenever I try to be creative, the Universe tries to throw something in my way to divert my energy and attention, such as real world issues, job, etc.. It is very tough when you have creative energy you want to get out, and you keep getting blocked, but you battle through anyway to get it done and out there into the world. The Universe is full of unthinking chaos, and does not like people who go "against" its flow, and try to take a divergent path. It is like swimming against a tidal wave going the other direction, but if you are strong and persevere, you will break through.
Is there anything you regret doing in the past? What?
I guess you could say there are some things that I really wished I knew when I was younger, but I guess that is what happens when one gets older and wiser. You have a journey, and you are always learning and absorbing during that journey, there is no point to go back and try to fix something, you simply look forward, and try not to make the same mistake again!
Which bands do you respect most nowadays in Canada? And what do you know about the Portuguese national underground scene?
There are a great number of good bands coming out of Canada at the moment, especially folk or viking metal acts such as Dark Forest, or Brume d'Automne. I'm honestly not that familiar with the Portuguese scene though.
‘Sailing The Seas of Fate’… How do you see the fate of humanity in the Future looking at this present?
Right now, the future is pretty ugly! But as I said before, these things go in cycles, there is always a rise, a fall, then a rise again. Who knows how many great civilizations have come and gone on this Earth? Maybe we are next to fall, and then it will just start all over again. I think the next phase of humanity will be very spiritual, while another part of humanity will descend into barbarianism, it will be almost a "Mad Max" world in some places I think. While other places will be almost like ancient Greece, very intellectual and philosophical.
Would Ragnarok embrace us all in the times to come? How do you see all the picture?
Ragnarok is not only about an end, it is a new beginning as well. Other gods live on into the next world, to create and start again. The northern mythology was always cyclic in nature. The fire that descends is always purifying, it removes the dross, elements of humanity, while those of greater spirit will rise again from the ashes like a phoenix.
Ok, time for a few lines of your own poetry??? Go ahead...
oh haha... umm..
When Odin cast, his breath to last
To Baldur's ear, a secret fear
Of ages past, and future's seen
Of gods and men, and all in betweenThat’s all for tonight, thanks for your time & all the best for Sig Ar Tyr journey.... Until humanity restore his pride again!!!!
Thank you for the Interview, it is much appreciated. Great questions!
By: Jacopo Prada, Rockline.it
For the first time ever, Daemonskald, founder and member of SIG:AR:TYR, speaks to RockLine.it about his unique project, capable of unitying Viking, Folk and Ambient for a really surprising musical arrangement. Shortly after the relase of Sailing The Seas Of Fate, here are the impressions and views of the canadian singer...
J.P. - Hi Demonskald, welcome to RockLine.it. How are you?
Daemonskald - I'm feeling great, and looking forward to this interview as this is the first one I have done for a European audience.
J.P. - First of all, which is for you the best genre to classify your music?
Daemonskald - It's hard to say really, I've had it called black metal, pagan metal, folk metal, dark metal, Viking metal, dark folk, ambient folk, and so on. SIG:AR:TYR started out as an all-acoustic guitar project which quickly started to drift by adding metal elements and so on. I think most of the music I will be doing in the future will be a mix of metal and acoustic moments, with lyrics that evoke pagan imagery. I think Pagan Metal would probably best describe its spirit.
J.P. - Are you happy of your last released or do you have some remorse?
Daemonskald - I am quite happy with how it turned out, but the only unfortunate thing I regret is that it wasn't released sooner because these ideas are about two years old, and with all the delays in getting it released, it is sometimes difficult for me to relate to those feelings I had when first creating it. So many changes in your outlook on life and your musical growth happen in those years.
J.P. - I know that The Stranger received great reviews around the world. How about Sealing The Seas Of Fate?
Daemonskald - It has only been released a short time, so the reviews are just starting to come in now. So far it has been very positive. I am most pleased when people really "get" what I was trying to do and what sort of spirit I was trying to evoke with the music and the lyrics.
J.P. - In The Stranger you played just acoustic guitar and keyboards. Why did you choose to play also other instruments in your last album such as bass, electric guitar and drums?
Daemonskald - It quickly became limiting to try and create the imagery that was going on in my mind with just an acoustic guitar. It really demanded additional instruments and more metal moments than what I had planned, especially with the "Viking" theme. There is still that acoustic ambience running through the whole CD, even with the metal songs. It would probably also get very boring to hear an entire CD of just the acoustic guitar, you need dynamics in there to really tell a full tale. The Stranger worked as an all-acoustic release because it was shorter, and was originally just a demo.
J.P. - It seems that you take great care of your lyrics, isn’t it? How did you find the inspiration to write them?
Daemonskald - To me the lyrics are just as important as the music that underlies them. I take great care in my lyrics, and to be honest, I usually create the theme and the lyrics of a song before the actual music comes about. I know that's backwards to how a lot of people do it, but I always work from a theme first, then the lyrics, then the music. I love to write, and it gives me a chance to try to put my thoughts and imagery of the song into words. Even with the lyrics of song, I usually create an accompanying commentary that goes along with it as well. Maybe that makes me long-winded, but it's important for me to try to get the full imagery across through all mediums.
J.P. - What is more important for a song? The lyrics or the music?
Daemonskald - They both go hand in hand for me. I do a lot of instrumentals too, so sometimes I even write "lyrics" or a "poem" that goes along with the instrumental, even if there is no vocals in the song. For "The Stranger" there was even a short-story that went along with title track. I couldn't fit it on the CD insert, so I had to print it separately and send it with the CD when someone bought it. Both the lyrics and the music should come together naturally to form a coherent, overall theme.
J.P. - I find the artwork of Sealing The Seas Of Fate really fantastic. Did you choose it personally or did you totally place your trust in Paul McCarroll?
Daemonskald - Well the artwork is a long story. The illustrations are actually by Gustave Dore, the famous 19th century French illustrator. Paul brought them together and designed the entire layout to make it seem like an illustrated book. Originally, a husband of a family member was going to draw original artwork for me, but he never finished, and they got divorced, so I only had a few rough sketches that weren't going to work. I decided to go back to the same style as The Stranger and chose a few pictures by Dore to represent the different songs. It wasn't my original intention, and it would have been great to have original artwork, but it wasn't meant to be. So Paul did a fantastic job with this design, as it really evokes the spirit of the music and the lyrics. I hope people don't get too upset that the pictures really have nothing to do with Vikings or Viking ships like the original artwork was supposed to, but the concept of a sea-faring quest is not limited to Vikings, and evoke other archetypal European myths and stories such as Jason and the Argonauts and The Rime of the Ancient Mariner.
J.P. - How did you work on your last album? Has it been very different as regards of the work done for The Stranger?
Daemonskald - I upgraded my original equipment, as The Stranger was actually only recorded with a laptop computer and a cheap PC microphone! So the sound is much better I think. It was recorded in pieces over the course of about a year, during which I actually moved residences twice which really was difficult. Then I had to deal with all the usual home recording problems such as noise, the sounds of cars and buses, neighbours mowing their lawn during guitar solos which I then had to redo! It was a real battle, but I made it through and finally finished it.
J.P. - Here in Italy Sailing The Seas Of Fate is not so easy to find in shops. Where can an Italian fan buy your last album?
Daemonskald - Well, it's definitely an "underground" release so it won't be in stores and it may be hard to find. I don't know of any Italian distros that may be selling it, but I am sure there are quite a few European based distros that can help. You can always order them direct from www.morbidwinter.com as well.
J.P. - You play a lot of instruments. Which is your favourite one? Which is the one you think you are more able to play?
Daemonskald - On Sailing, I did everything except the drums which are sequenced. I played a bodhran on the track Frost on Dead Leaves, which I don't really know how to play properly but thought I would try it anyway. My bass guitar skills are pretty basic, so the lines are pretty simple, same with the drums. The percussion in the metal songs is very minimalist and "Viking" metal, in that they emulate the sort of "rowing" drums that go along with a ship. The guitar is definitely my favourite as it is the most expressive, and that is the instrument I know best.
J.P. - Did you ever play live shows with some session guests? If you didn’t, wouldn’t you like to do it?
Daemonskald - Since SIG:AR:TYR is just me, I don't have a band and don't plan on playing live right now. In the future it might be interesting to get some session musicians and have an actual band, but I don't have time for all the things that go along with that, such as practices and arguments etc. This music is very personal to me, so I think it can only ever really be played by me. If I had a band, it would probably be a totally different project and I would still do SIG:AR:TYR on the side. This music would not translate well in a live environment where it would mostly be a bunch of sweaty drunk people! This music is mostly about reflection in quiet, solitary times.
J.P. - How do you feel in the role of lead singer?
Daemonskald - Not very comfortable! I've been practicing to do more actual singing on the next CD, as opposed to the spoken word and black metal type of vocals. I really want it to sound more organic, and while screaming works for some songs, I think some clean vocals are more appropriate for others. I think it's definitely my least favourite thing to do when recording, I would rather be playing the guitar.
J.P. - I find your screaming very good. Which are for you the best screamers? In the past?
Daemonskald - When I first started listening to metal, I mostly enjoyed the "real" singers, such as Bruce Dickinson, Ronnie James Dio, Geoff Tate etc. Later when I got into black metal, I really liked the screaming of vocals such as by Ihsahn on the early Emperor albums, even though it was harsh, it had a very far reaching quality about it. I'm going to try to avoid screaming in future works, but if it fits that particular song, I will use it.
J.P. - You have a nice and functional website. Who takes care of it?
Daemonskald - Just me, I do it all myself. I tend to keep things simple, and prefer substance over flash. I use it as a portal for my thoughts, and update it with articles on North European myths or whatever I happen to be thinking about at the time beyond just serving as an information site about the music.
J.P. - What about your My Space? Isn’t it a great way to contact people all around the world?
Daemonskald - I was a little reluctant at first to use it, but it’s a good promotional tool with the ability to host mp3's as well. I've met quite a few good friends through there so I can't complain. Not just fans, but other bands as well. It's a good networking site.
J.P. - Do you play in some other band or is SIG:AR:TYR your only musical project?
Daemonskald - No, this is the only project I have going on at the moment. As I mentioned earlier, if I did have a band it would be something completely different from SIG:AR:TYR, since it is my own personal project. If I did have a band it would probably be more rock'n'roll, something where I can put my mind on the shelf and relax, haha.
J.P. - Don’t you think that SIG:AR:TYR sounds a little bit strange for a band name? Maybe with another name you could have more success…
Daemonskald - They are the names of three letters of the runic alphabet (S:A:T). I wanted something unique for a name, and at first instead of using the rune names, I was going to use the actual rune symbols, but that is very common nowadays on metal albums. So I thought I would do something a little different and use the actual rune names. Its true meaning is a secret, but on an outward level, it basically means mankind (who dwells in Midgard) exists between and balances the forces of chaos and order. It is a bit strange, but not easily forgotten, and I think also represents the uniqueness of the music and the concept.
J.P. - Do you listen only to Metal or Rock music?
Daemonskald - I went through a long period, sometime after about 1995, where I couldn't listen to metal anymore for a few years. It was just so boring and no one was doing anything original or heartfelt. So during that time I mostly listened to classical, movie soundtracks (especially the work of Ennio Morricone and John Williams), and also just rock such as AC/DC, Deep Purple, old Scorpions, Led Zeppelin etc. One of the reasons for creating SIG:AR:TYR was to hopefully create something unique and original in the scene.
J.P. - Which are your favourite bands at the moment? And in the past?
Daemonskald - Right now, my good friend at Morbid Winter has me all into the Ukrainian and Russian bands such as Drudkh and Temnozor. There is some very heartfelt and original pagan/folk metal music coming from these areas. Primordial (from Ireland) are amazing and very original and emotive as well. In the past, Iron Maiden were always my favourites, Yngwie Malmsteen, Dio, Helloween. Bathory's Hammerheart has a very special place in my heart, and was something that was very influential to Sailing The Seas of Fate. Later, when I got into Black metal, I really liked Burzum, and Emperor mainly. Burzum is very special and totally different from all other black metal because it goes beyond it, into dark archetypes of North European history, something I try to achieve also with SIG:AR:TYR.
J.P. - Did you like any Italian Metal band in particular?
Daemonskald - I am not too familiar with many Italian metal bands. When I think of Italy I always think of Antonio Vivaldi and Ennio Morricone!
J.P. - Do you feel being part of the Viking scene?
Daemonskald - There are all types of "Viking metal", many of it kind of silly with basically "drink some beer" and "swing your sword" types of lyrics and attitude, and others who take it more seriously and delve deeper into the North European pagan history and myths. For me there is really only one true Viking metal album and that is Hammerheart by Bathory. But there are other great folk/pagan/Viking metal bands out there who I think keep this true vibe alive, such as Falkenbach and Nachtfalke. Recently I've just heard Tyr from the Faroese islands who are very good.
J.P. - Do you read also books about Vikings and their culture?
Daemonskald - Every chance I get! Lately I've been mostly reading the Eddas and sagas, the original poetry and words, and not so much books "about" them by modern people. SIG:AR:TYR came about as I was undergoing some deep changes in regards to how I started to connect again to my North European heritage. So I am always trying to reconnect to that "Traditional" spirit of the olden times.
J.P. - Is there a real Pagan scene in Canada? If yes, how is it?
Daemonskald - I'm sure there is but not overly organized. There is more interest in this type of scene in Quebec. Things like culture and heritage are not emphasized too much in Canada, except for in Quebec. They are more used to preserving their culture in a country that seemingly wants to wipe away any thoughts of ethnic and cultural sovereignty. But I am sure there are people all over Canada who connect deeply to these old European ways.
J.P. - Do you practise a specific religion?
Daemonskald - I'm a very spiritual person, but it is not really organized or connected to any one scene. I wouldn't consider myself an Odinist or Asatru in that sense, even though I connect more with the gods of Northern Europe than anything else. I'm more into personal spiritual power, and that comes with deep explorations on your own, and not in a group setting. You do not gather in a group and "worship" Odin, you try to follow his example, his wanderings and deeds to become as him. But I do not underestimate the great power in the collective memory of a race of people who remember their divine origins.
J.P. - Is there a Pagan God who represents your personality?
Daemonskald - That's difficult to choose, I think if I had to select any Scandinavian character (not just a God) whom I admire and sometimes feel akin to is Egil Skallagrimsson, the Icelandic skald and Viking, an anti-hero with a poetic side. When he wasn't winning renown, adventuring, and killing people, he was writing poetry. But in his adventures, he resembles the god Odin.
J.P. - What do you think of Christianity and Christians?
Daemonskald - This is a tough one to answer. Some people may think that "Sailing The Seas Of Fate" is very anti-Christian, but it wasn't really meant to be. It takes place in a period of time in the late Viking age when Scandinavia was slowly becoming Christian and the old ways were being replaced. To me Christianity was a foreign interloper from the south that destroyed in the people's memory their true pagan and "northern" past. They turned their backs on their gods to take up the god of another. But as we all know, Christianity did win, and triumphed for many centuries. Now Christianity is dying out, and people are returning to their old ways again. However, the idea and values of Christianity as we know it were molded over centuries to be the vanguard of the expression of all the European peoples. So when we think of certain things as "Christian" values or morals, I feel that they are "European" values that would exist even if Christianity didn't exist. However, in these modern times, everyone has turned away from the things of the spirit, and have lapsed into a deadly nihilism. I don't mind if people want to be Christian or Pagan or whatever, as long as they connect with their spiritual side, protect their physical culture and heritage, and combat the growing threat of globalism, materialism, and enforced multiculturalism.
J.P. - When are you going to start writing new songs for the next album? Have you got already some ideas?
Daemonskald - I have some ideas ready, but I have not recorded them yet. I think the songs will be even more metal this time, but still with the acoustic-ambience throughout. The acoustic/metal moments will be more combined into each song instead of being separate pieces. It is tentatively called Beyond The North Winds, which is the literal translation of Hyperborea, and in contrast to the themes of water, snow, and ice of Sailing, it will be centred around the earth, mountains, and stone.
J.P. - Have you got other projects for the future?
Daemonskald - Nothing other than SIG:AR:TYR for now, it keeps me busy enough as it is. Beyond music, I am also a writer, and have been working on various fiction (fantasy and horror) and non-fiction writing projects.
J.P. - I think, time for us is over. Thank you for spending some time with us. We wish you the best for the future and we hope to see SIG:AR:TYR again soon. Skål!
Daemonskald - Thanks again for the interview, hail!
SIG:AR:TYR: Under the Runes
By: Marty Rytkonen, Worm Gear ZineFrom the inspired debut, "The Stranger", where instrumental classical guitar was at the forefront of SIG:AR:TYR's emotive and mystical creativity, the proper full-length, "Sailing the Seas of Fate" incorporates so many more colorful elements to strengthen both the folk and metal musical worlds. SIG:AR:TYR transcends the classification of "Viking metal" simply for the heart found in the songwriting and obvious abounding technical proficiency. Sole member Daemonskald is not afraid to summon the listener to enter a grand journey with his releases and for an artist to possess the talent and ability to usher a music fans thoughts back in time to actually feel the ocean spray on their face from the bow of a mighty dragon ship, is truly to be applauded and it is necessary for the more open minded metal/folk fans out there to actually invest some time with the deep compositions coming from Canada"s SIG:AR:TYR. So rattle those shields and prepare to storm the coastline, for England is in site and tonight we shall burn the houses of the one god and feast on the spoils of our raid, with the music of SIG:AR:TYR filling us with pride for our quest and homeland -Marty
Welcome Daemonskald! I must say that I find your music to be a very refreshing dose of creativity and boldness in the often-copycat black/pagan metal genre. 2 albums worth of instrumental dominant compositions... Intriguing. What has driven you to consciously avoid the trends and strike out to make a musical statement with SIG:AR:TYR?
I think it got to the point where I was so tired of the current music scene where it seemed nothing original or nothing that would speak to me on a deeper level was occurring. I've been playing metal since the 80's, and it seemed all that I wrote in the past never seemed original enough to me so I never recorded it. I even put down the guitar for a long time and never wrote or played music at all. For a period of time I never even listened to metal at all, and listened to mostly classical, folk, and movie soundtracks. About five years ago, something just sort of 'snapped' within me, and certain things on a personal spiritual level really came into place where I felt comfortable enough to pick up the guitar and start writing again, writing things that came from deep within. This came with a rediscovery of the value of my culture and heritage, and wanting to express that both through the written word and via music. It's that feeling that you've tapped into something permanent and vital, a stream of history, spirit, thoughts, and deeds that brought you to this very point in time. Obviously there are still musical influences there, such as Viking-era Bathory and Burzum, but if anything, I would like to think I am continuing the same 'vibe', in that their music really reflects what was within those musicians at the time and it came out in such an original and deep, dark emotional way. So when I think comparisons are made, it is because of the vibe and atmosphere, and the music is quite different I think.
How would you classify your own music and do you even consider yourself part of the bigger, more traditional metal picture?
This has always been a hard part to define. I have no idea what to call it. Metal, folk, neo-folk, ambient, Viking-metal, dark metal, black metal, pagan metal... I really don't know. When I first created "The Stranger", I had no idea what to do with it. Where could I send an all-acoustic, mostly instrumental demo to? Should I send it to metal magazines and labels, or neo-folk/avantgarde labels etc.? I opted for the metal side of things since that is my background, and although I do like some neo-folk type of material, I think it very different from what I am doing and that type of music comes from more of that experimental/industrial scene. Plus, what I think I was creating was not the sort of folk/ambient that merely required passive listening while your doing your homework or mindlessly doing nothing, it demands active attention. The aggressive attack on the acoustic guitar also differentiates it as well with the neo-classical type of playing. Rather than wanting people to drift off, I wanted them to snap awake and think.
Beginning with "The Stranger" ...classical and folk guitar passages expertly co-exist with an eerie sense of dark ambience. Was this debut more of a freeform experiment to see what you could do with limited instrumentation? Having to appeal to what seems to be more of a close-minded herd mentality in the metal scene, how well was this release received? Did you accomplish all that you set out to do with "The Stranger"?
Yes, I really wanted to see what I could accomplish with basically an acoustic guitar, some light-synth and that's all. I did this partly as experimentation, and partly because I didn't have much equipment at the time! In fact, I recorded "The Stranger" on one acoustic guitar and a cheap computer microphone into my laptop! I wanted to create something very heavy and powerful, without the typical use of metal guitars and drums. For example, you listen to something like Mozart's Requiem, or anything by Wagner... it just blows you away with that heaviness and emotion, without the need for power chords, blast beats, and screaming. I also wanted to try something a bit different and instead of having lyrics for a song, I wrote a short story that accompanied the title track. I don't know if that had been done before, but I couldn't fit in on the CD insert, so I had to print it out myself and send it with the CD when someone bought it! Overall, it was received very well by the underground metal scene, which really surprised me since it wasn't your typical black metal music. I like to think I kept the black metal vibe and infused that into a different medium. Just like how Burzum's synth pieces are still black metal in spirit, I hoped I could do the same thing with the acoustic guitar and it seemed to have worked judging by the reaction.
With the rune combination in your name and other instances of pagan symbolism, I assumed (perhaps wrongly) that you find some sort of connection with the NS scene, whether it's by way of symbolism or certain beliefs, or is this simply a fascination with Northern European/Scandinavian mythology?
I avoided the use of actual Runestaves in the band name/logo, because actually it's a little overdone these days, and then everyone thinks you are some Lord of The Rings freak or an NSBM band. After rediscovering, or rather 'remembering' my origins, I believe that the Northern Traditions most accurately reflect what I think are some basic spiritual truths concerning the dynamics of spirituality, both light and dark. A dynamic life is the centre of the Northern Tradition, not stasis. I think that is why this tradition is so different from others such as Christianity, Buddhism, even new-age beliefs which seek only spiritual value outside of this life. They see souls as trapped in a body, and as something to escape from. I feel the Northern Tradition emphasizes that the spirit and body must exist together and this is the real natural way of things. The northern Gods, or any gods of the related Indo-European pantheons, did not float around in an afterlife meditating or playing harps. They wanted to be incarnated into the flesh to fight, to love, to hate, to experience all they can to evolve their spirit via the experiences of the body. This is best represented in Odin himself, the all-father, and all his many wanderings. Midgard, this world, is the crucible for evolution into gods. Everything you do here should reflect a higher purpose.
This should also be reflected on a political level too, and there are some similarities to this with NS. The state should be able to protect the individual and to provide a vehicle for their higher evolution. Personally, I believe in ethnic sovereignty, meaning everyone has their right, whatever their ethnicity, of being able to direct their own affairs in their own nation. This concept is being destroyed in the Western nations by rampant promotion of extremist liberalism, egalitarianism, unchecked immigration, and enforced multiculturalism. At the opposite end, I also reject the concept of unchecked imperialism and globalism. All of this results in the disruption of the natural state of the world. People want to be among their own kind and direct their own affairs. The current globalist drive to make the entire world economic slaves is the primary threat today. The peoples of the world must get back to their origins, their own heritage, and to protect it at all costs, to ensure their sovereignty and their future.
I'll probably get flak for saying this, but personally, I really don't understand the idea of a "National Socialist Black Metal" band. Really, the Nazi's hated American jazz and sent the Swing Kids to the concentration camps... imagine what they would have thought of their fine German youth painted up in corpsepaint and blood and running around in the forest? There are many excellent pagan-oriented metal bands out there who don't need to reference NS symbols, the pagan pre-Christian traditions of their heritage stand on their own. The fascination with NS is understandable, and there is a great body of work by those who lived under that regime in rediscovering our origins and providing a vehicle for personal spiritual and biological evolution. I think what most people forget is that totalitarianism was a foreign concept to the true traditions of times past, and whatever positive role NS had in nurturing a healthy, organic state, it was subsumed by the lack of freedom under that type of state. Most of the rune magicians and mystics that I admire from those times were persecuted at one time or another by the agents of the state.
Lyrics taken from At the Gates on "The Stranger": "The gates stand closed to the lesser ones. Forgotten in time, shunned by the light, and the dark. Their blood is weak, impure and faded. None shall pass, the twisted iron, and the one eye." Ideology/politics verses music. Is there a place for the 2 to co-exist? I realize that I'm not overly educated on the subject, only recently doing a bit of research on the net, but I wonder how does one interpret olden pagan teachings/nature based beliefs to be transformed into the more modern adaptation of hatred that seemingly has replaced traditional Satanism in the black/pagan metal scene in particular?
"At The Gates" is a song about personal spiritual discovery and finding your own true path. To me, this is what true spiritual elitism is all about. Being 'at the gates' is at that point in time where you are making an important choice in your life, where all past occurrences and future possibilities suddenly converge as one in the eternal Now. It is a spiritual milestone in your life when you start operating on a different level. At the end of the song, the lyrics are "to walk forward, to the beginning", meaning that you now start again on a new path and a new destiny that you are forging. For most people who simply go about their life with no knowledge of the spirit and furthering its evolution (and therefore also furthering the evolution of the physical being it inhabits), never even see the 'gates'. The future possibilities behind the gates are closed to them because they can't even see or feel them. They have no spiritual horizons in their life. That is why I say they are "shunned by the light and the dark", and "impure and faded". Without evolution, they suffer from spiritual and physical atrophy and die, only to be reincarnated again to try to learn the same lessons over and over again. The "one eye" is of course Odin. He stands like a judge before the gates, and will only let you pass to the next level of being when you are ready. His Einherjer are hand-picked from the elitist of warriors who will go to the final battle... the others who showed no courage or honour in their life and died old and feeble on their sickbed, they shall not pass. There is nothing overly political about my music as I tend to stick with thoughts on the spirit. I know people get themselves all in knot everytime the word "blood" is mentioned in lyrics or otherwise... but let's face it, I'm quite convinced that spiritual and biological evolution go hand in hand. Your blood, your DNA, are like a magical memory that take you back to the dawn of your origins, brought down from father to son. You cannot turn your back on your heritage, it lives inside of you, there is no running away from it. That is the tale of "Sailing The Seas Of Fate". It deals on a superficial level with the spiritual and physical ramifications of the Christianization of the Northern European peoples, but also deals on an esoteric level with this imagery of the bloodline, the grail, and how in the misty times of our origins, we were seeded by the gods, to become gods ourselves.
The hatred that you find in today's black metal scene has gone from a Satanist anti-Christian stance, to what in some cases I think is entirely nihilistic against life itself, which is terrible. The youth of today (I hate to say that since I only just turned 36!), they have very little spiritual direction in their lives. Christianity is a dead horse that cannot be flogged anymore, and the decadent culture of materialism, low standards of education, mindless television and media, MTV culture, junk food, multiculturalism and the erasure of identity, leave nothing but empty minds and empty souls in its wake. If we are ever to return to a more natural and healthy state of being, our youth must learn again of our great origins, of our heritage and past, and be able to live in a culture and society that fosters the highest of ideals. Our current world is hell-bent on cultivating the lowest elements of the human condition, and ultimately celebrate and cultivate human failure. The trend towards pagan metal and to some extent NS metal, is a positive trend where youth are looking for meaning in their music, something to be proud of. This is most pronounced in Eastern Europe and Russia, primarily because of the yoke of Marxism and Communism that was lifted from these countries has made them turn again to their history and their heritage which now fills their spirits with pride. And this is starting to spread, especially to England, Ireland, Scandinavia, the U.S. and Canada, where people are again feeling pride in their culture and heritage against an increasingly hostile world that wants to stamp that out. This hatred is borne out against those who would deny them their birthright, those who trample the blood that their father's spilled to win their freedom and sovereignty. Today, the youth now rebel against the forces of globalism. And I think this applies for all ethnicities and cultures, but I am son of the north, and I can only speak for my own kind.
Do you feel that it's important for some of your social/worldly views to be represented in the music of SIG:AR:TYR?
In this case, yes, SIG:AR:TYR is my outlet of all my views, worldly, other-worldly, and beyond. I have thought of doing other projects that would be more in 'fun' whether they would be metal, rock'n'roll, etc., but this project is about me and me only. I don't think it would work to turn it into an actual band, it's too personal. In this I run the risk of being too self-indulgent... but it comes with the territory of doing music like this that fully reflects inner, spiritual feelings. Your only hope is that someone else feels the same way you do and can have a certain empathy with it. I've undergone great awakenings, and I hope to inspire the same in others with my music and writings. In some ways, SIG:AR:TYR would have to stay underground to have any meaning because it only appeals to certain types of people and would never have mass appeal anyway. This is essentially elitist, I write it for those that will hear the call.
After becoming lost in the atmosphere and impressive guitar work found on "The Stranger", I honestly found it hard to imagine how you would build upon this airy formula on subsequent releases. Enter the inspired, "Sailing the Seas of Fate". Could you explain your thinking behind the creation of this album?
The concept came about before the music. It was actually while I was just releasing "The Stranger" back in late 2003, that I had a strange vision one day, and I began to write out words and lyrics furiously for several hours. In those few hours, everything about the album came to me, and the story was complete. I know that it sounds weird to say I "wrote" the album before any of the music was even written, but that's how it went. As for when I got around to writing the music that would surround these words and imagery, I didn't want to drift too far from the acoustic ambience of "The Stranger", but I felt a bit constrained and confined to do all-acoustic again. The theme needed other elements to it, but the electric guitar parts needed to be worked in seamlessly. I didn't want it sounding like some progressive album where its like one minute electric, the next acoustic in a stiff structure, the music had to flow together. So there are heavy songs, acoustic songs, instrumentals, but joined together by a common theme and ambience. I think every track on this CD sounds completely different than the next, but it all flows together as one story, one theme.
The more I have listened to each album, it has struck me that every song somehow paints a mental picture, flowing into the greater story with each passing track. How does one write in this manner? Telling a story with very few lyrics as on "The Stranger" seems to be working under the assumption that the listener is indeed connected/consumed with what you are doing enough to realize there is a bigger picture. Is this asking too much from most people in a musical climate that seems to promote short attention spans?
"The Stranger", when I look back on it now... I think I assumed too much of the listener. The lyrics didn't give much away, and with there only being a one-page CD insert, didn't really give me much space to elaborate for the listener. I created commentaries for each song on my website to go into further details, but you know most people don't probably have the time to read my rantings for hours (haha). So I wanted "Sailing" to be more complete, have all the lyrics and imagery there up front. I did write a lengthy commentary to it as well on my website for those who want to probe deeper. I'm glad that you got the 'mental picture', because that is exactly how the album came about. For example, the track "To Cronia", I had the image of a Viking ship coming out of some icy mist into warmer waters, with dead bodies floating in the water, their eyes staring up at them. So from that vision, I wrote the lyrics, and then the music came last. The ominous beginning with the 'rowing-drums' and the 'oohhs, ahhhhs' was like the soundtrack to what I was seeing in the vision. If people start seeing the visions I received when creating this, then I know that I have tapped into something archetypal and meaningful to more than just myself.
What comes first? The concept for the storyline, or the music? How important is the overall concept to the music you have created?
To me every album should have some kind of theme to work around. For example, Iron Maiden always put out the most amazing albums with songs and artwork and even the stage show that all centered around a certain theme. I don't write singles, and every song should represent some aspect of your overall theme. I don't like albums that I can only listen to a few songs. I like to listen to it as a whole from beginning to end and for that you need a common theme running through it. As I mentioned earlier, the theme comes to me first, then usually the song names/lyrics, and finally the music. It has to be the total package.
"Sailing the Seas of Fate" goes even further with some poignantly penned lyrical tales. Could you give the readers a brief overview on what the journey/story is for this album and how do you relate personally to the content in your lyrics?
The ultimate message of "Sailing the Seas of Fate" is that cultures are based upon the relationship between a people and their gods. If they have a strong connection to their gods, which are genetically part of their race-soul, and they understand this natural state of being, their civilization will flourish. When they lose that connection, when they have turned their back on their gods, their laws, their nature, their heritage, the civilization will turn to ruin. That's the esoteric side, but it is told within the time reference of the Viking age and their eventual Christianization. In this story, the protagonists decide to take a fateful quest to search for an object that will turn the tide of encroaching Christianity that is supplanting their own heritage. In this quest, they are taken on a journey back into time to learn of their origins, their golden age, when their relationship with their gods and their lands were very close. They learn the secret of the primordial grail stone, a legend that permeates throughout Indo-European legends, not just Christian. The first six songs are about the journey itself, the final three songs, "Urd", "Verdandi", and "Skuld", are the past, present, and possible future.
Personally, I relate to it in that I had my own similar personal journey to 'remember' my history and heritage outside of the paradigms that we are brought up in Western civilization. Even beyond religion and Christianity, for example, in school, we rarely learn about our great history, especially classical studies of Greek and Roman civilization. They used to, but not anymore. English history, Celtic history, Scandinavian, German history and so on, it's not part of our basic education anymore. It's like your heritage and origins are being erased from your memory. But although it can be forgotten in the memory of the mind, it is never be forgotten in the memory of the blood. I think this is why there is a great resurgence of ethnic nationalism right now, most strongly in Eastern Europe because of the destruction of Communism, but definitely signs all over the northern European world. People are starting to remember...You have skillfully taken the core SIG:AR:TYR formula and added a bit more percussion and even some Viking era Bathory-isms to the finished product. Being the huge Quorthon fan that I am, the track "Skuld" struck me as a very emotive continuation and evolution of the Quorthon aesthetic. Was this your intention and will the next album witness even more exploration into this eclectic realm of expression?
I think what irritates me most about 'Viking-metal' today, is that it usually just a bunch of raise your sword and drink some beer type of chest-beating lyrics and themes. We can go on about how silly some of the early Viking-metal music was, such as Manowar, or if anyone remembers Canadian-act Thor, but the first real and quintessential Viking-metal album is "Hammerheart" by Bathory. A very ground-breaking album during a time when the rest of the metal world was going faster, heavier, and sicker, this music was driven purely from the heart, and I think it captured the Northern essence and spirituality of what this type of music should be."Skuld" is definitely the most 'accessible' track, being a more typical metal song, and has a very basic riff to it. I wasn't really trying for any particular sound or song-style, it just came out the way it did like all the other tracks. But I do love that combined acoustic guitar and electric guitar playing the main riff as Quorthon perfected, and I am not about to hide that fact! As I mentioned earlier, I hope that people get the same vibe and atmosphere listening to my music as they did with "Hammerheart". The music is different I think, but they were forged in the same fires.
Digging a bit further... "Sailing..." just feels more "together" ...more song oriented to me. Perhaps as you developed the sound with more vocals and percussion, did you become more comfortable with the material on this album to push yourself a bit more... Maybe give even more of yourself over to the music? How has this breakthrough affected you and the way you approach the material for album #3?
"The Stranger" was originally only to be a three-song demo, but then before I knew it I had written six songs and then decided to release the whole thing anyway. It was about half an hour's worth of music and could stand on its own, even if not quite a full album. Right from the beginning, "Sailing" was meant to be a full-length album. Actually, when I had first signed to Karmageddon in early 2004, they wanted me to add a few more songs to "The Stranger" and release that. But I was already done with that 'theme' and had to move on to something else. I couldn't add to it, because there was nothing else to add, it was complete, and I don't really believe in bonus tracks etc. All my thoughts at that time were towards writing "Sailing", so they agreed to wait for it. All the delays with releasing "Sailing" came from that fateful decision, and it eventually led to myself and the label parting ways. I think they liked it, but by that time I was done, they didn't have the resources to make it happen.
Doing more percussion and vocals was certainly challenging, as they are not my strong points. But I hope to add to that in the future. I think this release at least shows my metal side, and that atmospheres can be created with harshness as well. For my next CD, I think the electric/acoustic blend will be even more pronounced, meaning I think all the songs will have electric/acoustic elements to them, and will probably sound more cohesive than my past output. There will be less spoken word and more singing vocals as well which should be a surprise. It will be called "Beyond the North Winds". This is the literal translation of what Hyperborea means. Theme-wise, it will center around motifs of earth, stone, and mountains, as opposed to the snow, water, and ice theme of "Sailing". It will probably be much more of a metal record than "Sailing" is. I'm not doing this in reaction to anything, it's just the way the music and themes are coming out of me. But of course, there will still be the acoustic-ambience underlying the whole thing that bears the mark of SIG:AR:TYR.
You site Yngwie Malmsteen and Quorthon as influences to your playing and I can agree to hearing both of the player/songwriters elements in your music, but at times there are also some solos that bring to mind other players like Andy LaRoque. Who are some of your favorite players in the metal scene?
Oh yeah, Andy LaRocque (and King Diamond) are absolutely huge influences. King Diamond for his story-telling and theme albums, and Andy LaRocque for his amazing solos, not only for the technical aspect, but for their tastefulness and how they always go well with the song. It is never just mindless noodling, he crafts his solos very well, and I try to do the same thing. I would never do a solo just for the sake of doing one. You'll notice that with some songs on "Sailing" they don't have any solos at all because they didn't need one.
I grew up listening to Iron Maiden, and Ozzy with Randy Rhoads and later Jake E. Lee. Their solos were always so well crafted to the song and never mindless like a lot of metal solos are. Yngwie is the king of course, when I first heard that neo-classical style, it blew me away. Unfortunately, I think his solos have really gone downhill over the years, they don't seem very inspired anymore. Lately I've been more into the players that influenced him, primarily Uli Roth, and Ritchie Blackmore.What are your thoughts on quality guitar solos seemingly vanishing from a lot of extreme metal these days? It seems to me like the art of "the player" is becoming lost to the ages with the affordability of recording equipment and even more non-schooled songwriters earning degrees of popularity throughout the black metal scene in particular...
I think guitar solos in general just became something that only 'glam metal' bands did or showoff progressive bands. It's all Nirvana's fault really! No one has done a solo since then unless they are from the 80's generation. It is a dying art which is a shame. I think it can provide a nice exclamation point (!) to a song, and can be something memorable that you sing along with, just as you would sing along with a chorus. All the best solos are like that, if you can remember it and sing it... it's a good one. Black metal is a different creature though, and in some cases solos don't really go along with its vibe very well, typically because it's too fast and intense for one thing. The best Black metal gets its magic from the harsh ambience it creates. For example, Primordial is one of my favourite current bands, they don't do solos, simply because they don't need them, they don't belong to their sound, and would not fit their unique style.
As you continue onward with SIG:AR:TYR, is there any desire to take this music to the live medium, perhaps with a full band backing you when needed? What would you imagine the perfect setting would be for SIG:AR:TYR's music?
I've thought about creating a band, but I don't think it will happen. I just don't have the time to practice, deal with band members, and write my own music, along with the rest of my busy life. This project is very personal to me and can really only be created by me. There is the possibility I might use a session drummer in the future for recordings, since the percussion is really lacking and not one of my strong points, but I'll never say never. I think the best setting for SIG:AR:TYR is the same setting in which any music has affected and influenced me. Usually I am out walking alone, or day-dreaming in the dark, listening to music in my solitude. It is the only time when you can awake to greater things beyond this world.
Thank you Daemonskald for taking the time to inform our readers about the workings of SIG:AR:TYR. We here at Worm Gear are definitely fans of your inspired compositions and strong sense of creativity. Kindly give us a glimpse into this projects future and also make it known what sort of merchandise you have available. The final words are yours...
"Sailing The Seas Of Fate" is available at www.morbidwinter.com, and all sorts of other distros out there. "The Stranger" is almost sold out, there is a few left at Morbid Winter, and some floating around at other distros. I've been thinking about making t-shirts if there is a demand, although myself, I don't even wear band shirts (haha). The next SIG:AR:TYR CD "Beyond The North Winds", probably won't be ready until early next year, but I think it will be worth the wait. I hope that my music can provide a gateway for those seeking for greater things in their life and beyond. They are the ones that will usher in the next age, beyond the dying sun. Thanks for the fantastic support from Worm Gear, it is much appreciated.
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