Feel The Funeral Breeze – A Epic Interview With Sami Albert Hynninen   Leave a comment

Sami Albert Hynninen aka Albert Witchfinder is one of the most underrated members of the world-wide doom community. The real “doom-fan” know who is his of course but he isn’t exactly a household name among metal fans just yet but he should be. Having been involved with bands such as Reverend Bizarre, Spiritus Mortis, The Puritan, (Armanenschaft, Azrael Rising, The Candles Burning Blue, KLV, Lohja SS, March 15, Orne, Punisment and now with own solo project Opium Warlords, this man is a prolific, talented doom-metal artist for one but more importantly a gifted musician. This interview you are about to read is epic so I hope you are sitting comfortably. This is un-edited for your enjoyment !

Q: Salute, Sami! I would like to thank you for your time, I really appreciate it and I hope that you will not consider it as a waste answering my questions. What kind of questions do you hate most now after all of your interviews?

-Hello Aleks! I am sure we will do just fine! I do not consider this as a waste of time, but maybe more like a purgatory or the “final test” right now, even though I know there is no end or rest in sight.

What kind of questions I hate? What a start for this sitting. I am not sure if “hate” is the right word, but it is true that I have become extremely tired and bored to repeat the same shallow trivia, like how bands started, who are the biggest influences, what are the songs about, and how do I write them, how was it in the studio, or on tour, and so on.

Sadly most of the music journalism today consists only of this. It has become mainly a media to advertise products. Lazy writers ask the same old questions from bored artists, who like robots give the same answers to each magazine, or radio- or TV-channel. I won’t comply with this. I rather stay out.

If possible, I would like to completely decline from answering to people who do not have a slightest interest towards my work, and who do not seem to have any background information, especially now, when there is too much information available. These kind of interviews are waste of time for me, and also for the interviewers, who could be writing about something they find inspiring and interesting, something they really love or hate. Fortunately I have been saved from this lately, maybe because mainstream media is not interested in my current works.

I am also quite much done with, now when three years has passed since we ceased to exist, repeating Reverend Bizarre oriented things again and again. There is not much to add to all that has been said, several times, and I rather look forward anyway. And because of quite many Spiritus Mortis interviews I have done during the past two years, that subject has also become something I would like to avoid at least for a while. Everything worthwhile has been said few times already.

Basically, I would like to talk only about something that is new and fresh, and then leave that behind for good, but I understand that people have interest in the things of past, and as things that interest me, in my work, are the things that have not been released, or even started yet, it is understandably impossible to have any real discussion about them.

There are some very old things that have now become interesting to me again, but those things are probably too esoteric to outsiders. I am talking about things I did as a child and a young boy; the beginning of everything. These periods of time mean more and more to me as the years goes by. Mid 80´s and early 90´s. But how many interviewers, or readers, are interested?

Q: Sami, you’re well-known as a interesting artist, you lead a couple of different musical projects usually but you’re not too much of a social person at the same time. Is it important for you to communicate with media or fans? It seems that any band could exist without it, but some kind of support is never excessive.

-I like to be alone and most of the time I spend in solitude, but same time I am, at least in certain circles, known as a person who is very talkative, and open, and very loud. This might seem like a paradox, but for me it is very natural, even if rather distressing. I would love to be like the characters Clint Eastwood and Charles Bronson play. Silent!

I CAN be among people, but I do not like to do that too often. It gets on my nerves, and often increases my manic behaviour, and I am not that interested in the lives of the others in that sense. I like to observe the world, but I rather stay outside of it.

It has been like this since I was just a child. My family had to face great sorrow and loss, and this all wounded me deeply, and because of these wounds, I started to see the world from a different view or angle than many others of my age, and I became kind of a hermit, and I have stayed like that.

Perhaps I also felt that I have to hide certain things, and same time protect the ones who are close to me. Maybe with different kind of past I would be more social, but now I need that room of my own, also just because of my artistic work.

But I am not one of these bit nerdy antisocial loners, who do not know what to do when among people. I do not have those problems. Sometimes I become bit more “closed”, but that is because I can spend long periods of time in almost complete solitude and after that it is bit hard to return.

Usually when I am somewhere in public places, I feel down afterwards about it, about how I behaved and what I said, or at least how I remember things happening. It is so hard for me to keep the control of myself, and I fear and mourn the things I perhaps have done, and even more, the things that might have happened if the situations had been bit different. I have been injured several times, and ended up in jail and hospital few times. Same time I am also very merciless towards myself, and see something bad even in things which went just fine. This makes my “morning afters” even harder.

Strange things have happened on stage too, but that is different. That is sort of no man’s land, and if someone asks me to “perform”, they take that risk. Or at least I sometimes like to think that way. But for a long time now I have been turning most of the gig offers down, even some that have been so good, that I have been trembling after sending an email telling that I won’t be coming.

I have even thought about totally quitting doing gigs, so I guess I still have some feelings of responsibility towards the audience and the organizers, and rather save them from the shock. I bet Seth Putnam does not have these problems! But mostly it is about feeling anxious with crowded places, and everything that is connected with performing live, and travelling, and waiting, and being cold and tired and hungry. Or injured, or out of mind, or dead.

Luckily most of my “fans” are very sensible and smart people, and they do not try to get too close to me, and I can deal with these kind of people, at least for a while, and I try to be nice, and I do give autographs, and even draw some silly drawings for them sometimes, and so on, but I can not take this kind of action for long, and if I am under very heavy stress, or in my own thoughts, I can not take it at all.

Or, if I am sober, which of course does not happen in rock and roll related happenings, because I need to be slightly intoxicated to cope with everything, and in the end I usually become heavily intoxicated. Sadly. I would be very happy to be sober for the rest of my life. Alcohol is one of my worst enemies mentally, and nowadays also physically.

Sometimes I can be bit too harsh when someone tries to talk to me. And if I am at some gig, watching some band, and someone comes to shout to my ear, that is the limit of my understanding. But believe me when I say that I feel bad about being hostile towards someone, even when they deserve it. Again, one more reason to stay on my own as much as possible.

It is more important for record labels who release my works that I communicate with the outer world. If I could choose, I would like to be well known enough, not to have to do interviews or any promotion, but I am not. Then again, I do not want to be that well known after all. So maybe I just have to find the right kind of balance of doing enough interviews to keep the wheels rolling, but not so many that I burn out, as I have done many times.

Of course to be able to continue work in this “business” you need some press coverage. I do understand that. And because I do not have much money I would not have any chance to continue my work without publicity and the audience.

I should be grateful, as an artist who belongs to the margin of margin, for all the interest towards my work that I can get, especially nowadays when the business has become much harder than what it used to be around 1999 – 2007, and of course I am, but that is not why I do these things. I did not start any of these projects in order to gain something… you know, money or women or shit like that.

I always had the songs and ideas first, and I had the need to get them out, so that I would not have to carry them with me. Still, I am carrying huge amount of material in my memory, but I am slowly getting rid of it. This is very important for me right now, and also one of the reasons why I try to be bit more careful about my health and safety. Back in the day I did not care if I would lose few fingers, or so on, but now everything counts. For me the work itself is what matters. Nothing else. I am basically slave for these ideas I have inside of me.

And there will come that day, when no one cares about what I am doing, or what I have done, or who I am. That day, the solitude will become something else than what it is now. It won’t be my friend anymore. Blessing becomes a curse, and I maybe die alone, and forgotten and broken, as so many did before me. Because of this I should try to live as well as possible now, and here I am answering to you, being dead tired and sweating like a pig.

Q: Sami, is Opium Warlords still most actual of your musical projects?

-I think it is becoming more actual all the time.

When I started working on the first album, back in the beginning of 2009, I thought that in the worst case scenario it might become the last ever recording I would do, but I knew that I had to do it, no matter of what. I was very deeply in the pit of depression, and the whole process was bit too hard for me, and I had other problems too, health issues, and a court case. All of this brought me deeper to the darkness, but what kept me going was that clear knowledge, and determination, that I simply have to finish it.

And when it was finally done, or with better words, when it had to be stopped, I did not want to think about the whole album anymore at all, but of course I could not get it from my mind. I was devastated because of few minor problems that I had with the final mixing, caused by someone else, without courage to admit his errors, which could have been fixed if he had opened his mouth bit earlier, and because of this all, also troubles with mastering, and on top of everything the fact that right away after giving the last comments on the mastering, I had to go on tour with Spiritus Mortis, so I did not get any rest after these few, extremely stressful and busy final weeks, before being on the road.

I was very close to complete breakdown. I really mean it. And I am not yet done with these issues even today. I still get into extreme mental conditions because of that album, or more because of the process of producing it. It haunts me, whispering to my ear very ugly and violent things.

The positive thing is that all of that struggle, and I must say suffering, is probably captured to that work. I can not tell for sure, as I have not been listening to it after it was released. But same time I have to say that these things I was worried about are on so perfectionist and obsessive level, that probably no one else can spot them out. All that obvious derangement of the playing and production, which many would describe as possible failures, was intentional, and something that will remain in coming works too.

Anyway, then when I knew, quite immediately after the album was out, that I would continue working on this project, I still thought, that this would be the last band or project I start, and I still think that way. I know that this won’t necessarily be the case, but at least I wish that I can continue with Opium Warlords for many years to come, and make it fuller and richer.

With it I do not have any boundaries. I can do what ever I want, and now after all these many years full of producing music and art under rather horrible conditions, I would not mind to try to reach towards bit more easy going and enjoyable way of working.

I am not there yet, but with Opium Warlords I have at least a chance to be there one day. And the sessions for the new material have already been easier, even when the zero budget of course always causes some extra stress, and hurry, and technical problems. They are something you just have to overcome.

There are two Opium Warlords records under mixing right now. Mini-LP and the second full length CD/double LP. The material was recorded in between March and September 2010. We still have lots of work to do, but at least something is slowly happening again.

At the moment other actual projects for me have been the debut album of Azrael Rising, which is under mixing as well, and Orne’s second album, which to my knowledge only lacks the mastering. Great to have all of this stuff out sooner or later! This was a busy and hard year!

Q: Once you were telling in a interview that “Live at Colonia Dignigad” is like a diary, but I think that its saying that you’re not consistent. Let us discuss that matter if you do not mind. First of all I can suppose that we have to observe Opium Warlords in a diorama of your other musical projects. Do you agree with that sentence?

-I do not mind at all… and that diary reference is not so much connected to the songs themselves, but the production of the album, some little details added there as the whole process evolved, things in the booklet, and so on. Many of those songs are very old and have their connections to earlier times, but the way how I compiled this album has its “diary” effect. For me this album immediately brings back to my mind those painful times in 2009.

The main thing is the idea of TRUTH. This is very truthful and real album. It is not fantasy or genre-oriented posing. It is a real document of those times. This does not mean that all the lyrics are based on things that have happened to me, but all the lyrics still reflect my soul, and include metaphors of things I have lived through, and the atmosphere of the album is very strongly tied to certain things I have had inside of me. Some of them are still there.

I want to underline that I did not come up with that diary thing myself, but it was something the interviewer had in his mind first. Of course it was something I could agree about too, in certain terms, so it became part of my thinking too.

This diorama idea is quite interesting. Yes, I have to agree, that this album surely brings together many different aspects from my musical activities of past. It is almost like a compilation of everything I have done, or at least almost everything. I did not have in my mind to do a musical picture as wide as possible, but simply as truthful work as I could. It came together naturally.

Most of all Opium Warlords material is in this sense connected to my work with KLV. I have in many ways returned to my artistic ideals, and even methods of early 90´s. Back then I felt I had total freedom, also in relation to society, and I feel I have it now again, even if for different reasons and in different extent. I exist now, even more than then, outside of “normal life”.

To be honest, back then I did not know much about life, or how it would turn out to be. Now I know how it was, but also how it can be. I made this long journey and now I am back at home, but not in the starting point; I can not even compare the knowledge and experience I now have to what I used to have. I am the same person, and same time something totally different. Like Moses before and after those 40 days on Mount Sinai.

Nowadays I often find myself thinking about the years from 1991 to 1998. Those years were crucial for what I later became. They really shaped me as a person, but also artistically. I became an artist in a way. And I had burning passion inside of me. I have lost some of that because of the state of my health and living conditions, but I can still relate to those artistic ideas. Now I finally have time and “room” to return to all of that. I wish I can also do it.

However, when WORKING with Opium Warlords I do not think so much about things that I have done before. I concentrate just in the work itself. So it is not conscious diorama, if it is diorama at all. This diorama reference is bit like that diary reference. I can agree about it, but it is not something I was trying to reach for!

Q: I can’t say that after Reverend Bizarre this change in your music was sudden: your doom-works were sonorous enough but also you always have raw black projects Armanenschaft and Azrael Rising and as it seems The Puritan project was your link between RB and OW. Were there  times when you were concentrated onto only one band?

-First of all I have to say that for ME the only real doom metal band I have ever had was Reverend Bizarre. And of course Spiritus Mortis now too, but those guys have never worried too much about any labels and tags. The best way to describe that music is to call it heavy metal, even though I myself view it as a real and pure doom.

It is important to understand, that to me, and to many with whom I have worked, and been in touch with during these past ten years, all, or even most, of the slow and repetitive music, is NOT doom metal, but this is not something I will start to argue about anymore. If people like to label me as a doom metal musician it is their problem. My own musical spectrum is basically endless and doom metal has always been just one of my interests, even if one of the most special.

You are right about The Puritan being there in the middle. In some ways strangely enough Opium Warlords is almost getting closer to Reverend Bizarre again, and same time it goes even further than The Puritan. The Puritan is very cold and inhumane thing, very distant. Opium Warlords has more warmth and humor in it. Just like Reverend Bizarre had.

In the end, for me all these different bands are on the same line: They are all part of my work and the same world.

I have “always” had many things going on. I do not think I ever had just one band. Not even in the mid 80´s. There might have been a short period of time around 1987 and 1990 that I had nothing going on except my drawings and writings. I had several ideas about bands, but they did not come to be, and then I was for a while in this great death metal band Punisment, yes, without “h”, but after that I started the band that became KLV in 1992, and along with that all, the side projects, most famous of course being Reverend Bizarre.

Maybe one day I will have just one thing going on. I hope it will be like that.

Q: Sami, the name Opium Warlords appears not only from your love of history of the East, right? What kind of obligation does this title hold upon you? Or instead of this does it grant you just another form of freedom which differs from “freedoms” of your previous projects?

-Actually because of my love towards East Asian cultures I feel bit bad about that name, as it is so horrible and violent aspect in the history and present of East, of course also Middle East. Last thing I wish to do is to somehow violate or put down East Asian cultures or exploit them, or make anyone there to think that I consciously and carelessly use this kind of sad name.

I got that name from Dee Dee Ramone’s autobiography, where he told about opium warlords of the streets of New York. I found it a funny way to describe those major dealers, and thought that if guy like Dee Dee is bit afraid of something, it has to be something ultra hard!

I knew about opium wars of East, and something about what is going on now, but I though that this term “opium warlords” was just something made up by Dee Dee. I want to make it clear that I do not use this name in order to desecrate the memory of the victims of the real opium warlords, and the whole opium trade, but same time I do feel that the bloody history and present of these actions does connect with the violence of my music.

Maybe we could say that I was bit too careless though, as it did not come into my mind to check out background for that specific term, but too late to mourn that now, isn’t it? And I would not change the name anyway. If nothing else, it at least gives me few reasons to talk about Asia, and the western world. It certainly is good for people here in “West” to sometimes face the ugly truth about the imperialism and deprivation, which still goes on, now under the name of globalization.

It is exciting that you talk about freedom here… This IS something I thought about. This name gives me musical freedom. It is not regular band name, even though it aesthetically looks and sounds like one. It does not open up too much the style of music for someone who has not heard it yet. There are some band names that immediately give you some kind of description of the music. Of course intelligent artists can also use this as a tool of confusion.

I actually feared that the name would be bit too “funny” or “stoner”, but I was relieved to see that no one pointed these things out. Perhaps I was the only one uncivilized enough not to know about the usage and meaning of those words in modern media and discourse.

Q: You have a special interest in Tibet, in it’s history and it’s cultural legacy of course too. You as a man who’re certainly addicted to esoteric and occult teachings and of course know about “Bardo Thjodol” (also known as “Tibetan Book of the Dead”)… You know… I read not only Crowley or Lavey… So I want to ask you about such stuff: do you take it serious, this writing? And if you do then do you ever think about affects of your acts? About affects of your musical acts of course.

­-Yes, I am interested in Tibet, especially Lhasa, but I am not any kind of Tibet specialist, and my interest is for East Asia and Central Asia as a whole. I would call this interest my only “hobby”, but parts of it are certainly same time connected to my spiritual and esoteric interests.

You mean do I take Bardo Thödöl seriously? As a student of religions and mysticism, even on an academic level, I certainly do, but my knowledge about this particular text does not go much further from random person’s knowledge. I have never especially studied this work, maybe because it has always been there, available, and I have concentrated in harder to find works. One day I will return to it, but I only have these 24 hours per day.

So, to cut it short, this book is not there in the root of my spiritualism. At least not yet.

Still, Tibetan Buddhism and maybe even more the Bön religion are of course something I find fascinating. I just do not want to let anyone think I am a great expert. These are only things that give me pleasure to learn about, and I am constantly trying to find more East and Central Asian books and music and films and so on.

Maybe I could say I am sort of enthusiast of traditions and mythology of subterranean worlds and their residents, in folklores around the world. This all goes with the Golden Age, Hyperborea, polar regions, The King of the World, ancient advanced cultures and technology, cataclysm and disappearance of the “gods”. Many of these ideas are connected to Tibet, and also to Mongolia.

I fear that what is called “The Mystery of the Mysteries” has partially been destroyed already, maybe ages ago, as there are traces of all of this in certain secret operations, but I believe that it can not be completely desecrated, not even by the cancer of economy and consumerism, because already the forces used by certain monks and sages go beyond the limits and understanding of the material world, so what kind of powers the most absolute ones would have?

Here we step to the subject of world wide conspiracy, and process of hiding information, and killing or labeling as paranoids and schizophrenics those who know too much. This is the reason why the word “occult” is used in the first place. There are things that are intentionally hidden, and things that are naturally out of sight.

Do I take occultism seriously? It is a matter of how the term is understood, but in the way I and many others understand it, yes, I take it very seriously. It is part of my life. But I do not have much interest anymore into western traditions of ceremonial magic.

I do not find it necessary, or even desirable to have too much properties and customs in the things I do. For me it is more a question of concentration and world view. It is in every second I live. And it is very much part of my artistic work too. They are bound together. Esoteric thinking is, and I think it must be, some how scholastic, but for me it more about what is inside of me, and what has always been there.

I have found in occult tradition answers to questions I have had, and understood that this kind of inner work is a passage to the other dimension and the other world, which probably is also where I get many of my ideas. It is about the ever-going interaction and balancing between the inner and outer world, and understanding of “the world” and “me”. Basically all of this is the same. It is all together, and one.

LaVey means nothing to me outside of popular cultural level, but I have some “connections” to Crowley. I have rather good collection of his works and he has influenced me during my life, but I do not follow anyone, even when I tend to reach towards certain hidden places and entities.

Q: That question is leading us to OW’s song “Return to the Source” indeed which is “based on the death poem of Japanese Zen Buddhist teacher Gesshu- So-ko”. It is a really excellent idea indeed, but sacred emptiness of Zen is not the same as standard doomy “emptiness” which means simply current state of human mind – not eternal principle of being. Do you differ such terms for yourself? Which aspects of Zen teachings can the listener find in your music? Man, maybe I just try to see meaning where you even imply it not, but you look like the man who waste not words when they’re in a text of some song.

-I have never had too much room inside of me for this kind of whining self-pity, which you must mean with that standard DOOMY “emptiness”, and it does not have much to do with the pure doom metal either. I am sometimes self-destructive, and bit pessimistic about my future, but it is different thing than self-pity. It is more like realism and knowledge and understanding. I sometimes live bit rough life and it has its risks.

For me doom metal has always been about judgment, power, struggle, inner torment yes, but not in weak way of giving up. I have always seen it more about fighting back. Maybe I got too attached to that word “doom”, but it has to be said that generic and lame “funeral doom” music often operates on these most pathetic elements of life.

Of course the emptiness of Zen is different than this pitiful emptiness of human psyche, mind and body, and every day existence. The emptiness of Zen is same time “full”, and “more” than anything else, whereas miserable emptiness of life, or actually anti-life, is less than anything else. Its emptiness is “full” also, but only of DESIRE for something that is NOT, instead of fulfillment for what IS. It is “nothing”, but not in the same way as nothingness in the mind that is clear and full of invisible light.

Pure emptiness of Zen, must be like thought about silence that is overwhelming, or colours which do not exist, and finally a passage through the thought about no thoughts at all, to the state of not thinking and not being. Bliss.

I am not Zen Buddhist, but this kind of thinking and artistic vision of empty space and clear mind is present in my work and thinking. It is there in the emptiness between slow chords and beats, and it is in repetition and minimalism. It is also there in the clarity of the form, and its relation to the very meaning.

For ME my music is spiritual music. If some other does not feel the same I do not find it necessary to defend my thoughts. Everyone can take my work as they wish.

When a record is released it does not belong to me anymore. Every listener views it from the perspective and standards of her or his own life and background. But I know that few people who are into eastern religions and philosophies have heard this spiritual quality in some of my best musical works. And I believe that it has happened to many who do not have these religious connections as well, unintentionally, but with just as purifying force. Spirituality of this kind is more connected to truth than any particular tradition or teaching. It is the universal understanding and knowledge.

We can also see connection between, for example, Japanese koto music and this kind of slow music that I do. The long drones and the silence between the sounds are maybe even more important than beating the particular chords. At least they are as important. This is also how Zen, and pure emptiness is presented in art.

In certain paintings, poems and music there is this beautiful emptiness. Especially in traditional Japanese culture it seems to be present in almost everything. This kind of emptiness comes to my soul occasionally, for a very brief moment, giving me euphoric happiness. I have a long road to enlightenment, and I do not think I will ever reach it, but at least I think the road is the right one. I just get lost too often.

One morning I woke up and my mind was completely blank. I did not know where I was, but more interestingly I did not know who, or what, I were. Everything I saw and felt was strange and unfamiliar, like I felt it for the first time, like in birth. This lasted for about ten seconds and then I returned. I remembered my personality again, and then quite soon also the place, my own bedroom.

When I was younger I sometimes felt this bit similar kind of awe, of everything around me, the existence of everything. I felt amazed about that this all really exists. It is hard to describe, but it was very strong experience each time. I thought that this was something we all feel, but then when I was older and talked about it with different persons, it became evident that at least none of those people had felt the same, or maybe they had forgotten, or the words could not match with the feeling itself.

I have not had these flashes anymore, or at least not for a long time, but one night I felt to be in the same level of existence in everything around me, as I was drawing one special picture. I mean, I was the same with each object around me. My vibration was on the same molecular level with everything. I “felt” what everything felt. I saw from each angle and I was everything. This, at least, as far as I can see, is close to what it is when one reaches that “outside” level.

This brings to me one special memory connected to Zen. When I was just a little boy and my father was still alive, I remember being with him and my mother in the room of my sister, who was for one year in England, around 1986 and 1987. We wanted to sleep there for one night, because we missed her and my parents were probably worried.

This kind of thing was unusual thing to do in our family, because we did not show our emotions too openly, with exception of laughter, and occasional anger. I remember trying to read there this one book about Zen, I think it could have been the one written by Alan Watts, translated to Finnish first time in 1973, but I could not really understand it, and no wonder. Still, for a reason I can not remember anymore, I tried and tried. I wanted to understand. I guess I read about 50 pages and gave up. It was about some vases and their paintings or something like that.

Years later, around 1991 or 1992 I heard Arvo Pärt’s “Sarah Was Ninety Years Old” and everything was clear to me, or so I at least felt. Actually I guess everything was clear to me already in that one day of the early summer of 1990 when I sat on a large rock among the woods, after running in a shock for few kilometers, right after understanding that my father had died. But, in artworks and music I found form for all of this, this essence of distant light.

I still live some of these moments again and again. I should try to remember that rock in the woods, and that silence and inner light that came to me through the pain, instead of all the suffering and sorrow. I have one song about this Inmost Light in the coming second Opium Warlords album.

This particular poem by Gesshu Soko is there, not because of the author, or his background, even though without him being what he was it would not be what it is, but because of the poem itself, the words. It says something very important about what is perhaps the most primal thing in this life, in a way I could never say. The title itself, adapted from the poem, is almost already enough. When there is something greater than my own writings, describing something I feel, I use it instead of trying to make my own modification of the same idea.

And yes, I truly do not wish to waste words, or use them carelessly. Words are sacred. In old Finnish tradition and culture, with words you could overcome your enemy. They are a strong gateway inside human heart and soul. Of course even deeper gateway is in abstract forms, but words are dear to me, never the less.

Q: “Let It Pour, Let It Pour”… You knew that I will ask you about this song, of course you knew. Yes, this song is not typical for OW. Well, we can maintain that OW has it’s typical sound and conception, right? But let me compare it with RB instrumental composition “Kundalini Arisen”. I think that all of our readers know about Kundalini Energy and Aleister Crowley but which text you did use for this song. Sami, conquering of Kundalini power as we know is the dealing of self-control, it needs some kind of purity if you wish to control it on the whole but on the contrary you sing a glory to wasting of this natural power through an indulgence to primitive desire. I do it too; all of us do such things… But here’s another contradiction – what do you think?

-I myself would not be able to point any particular “sound” of Opium Warlords, or any typicality of the songs, so I obviously could not anticipate a question about this one song either, but then again, I am familiar with hours and hours of this music, and you have only heard one album. That one album has its sounds, but even in that context I would not say that any of those songs are some how “different”. They all describe the same world. Some are softer and some harsher, but it all comes from the same place.

But before you lose your temper, yes, I can see what you mean. I just want to make it clear that for me there is no one single “style” in which I operate now, or I have operated before. There are certainly sonic elements I would not use now, but who knows how it will be after few years.

The basic musical structure of this song we talk about now is not so different from structures of some of those heavier songs. Basically in everything I do there is this minimalism, even if it is covered with many things. In this sense there is this one sound, but it can be heard in noise music that I do, as much as in acoustic songs I have.

As I said, when the record is out there, I do not have much to say about it anymore. It is past for me, and present for you, at least for a while. It can be so, that you there, are more able to analyze things that I do. I am living inside of this all.

When it comes to this idea of yours of “wasting a natural power through an indulgence to primitive desire”, which to me seems to be totally surreal in context of THIS song, I wonder what kind of ideas you have about mind and body and sexuality, and its connections to spirituality, but those ideas certainly come from some sphere unknown to me, and so it shall be too! Already the way you use the words “wasting”, “indulgence” and “primitive” almost gives me creeps.

Usually I do not like to explain too much lyrical themes, as it always destroys something, but because of your obvious provocation I do you a favor: That song is clearly about process of connecting mind and body in the purest possible, some might say alchemical way, and by doing so, releasing some of the most powerful forces we, as human beings, can create, and, hear this word, CONTROL. It is about true connection and control, and same time total release. Bi-polar as everything that touches the truth.

About different kind of touching: I myself have never touched these lower kinds of profane pleasures “all of you do”, at least not consciously. Who knows what happens when I am completely “out of focus”, but then again is it “me” anymore? I do not think so.

Basically throughout my whole life, even when I was teenager, I have felt disgust, almost hatred, when seeing what kind of urge masses have for copulation.

For me, what could be called carnal fulfillments, have always been connected to something different, something that is, through right kind of fetishism, and true devotion, a doorway to another level of existence, similar to inspiration, artistic process of control and chaos, and that kind of understanding that I was talking about just a while ago, when you brought up Zen.

This is what I sing there in “Let It Pour, Let It Pour”, and this is what tantra does to Kundalini, even when the method is different. It is pure love. A gentle breeze and ravaging thunder.

I really do not know what kind of moment of self-satisfied “cleverness” made you want to compare these two songs, which are not only from two different albums, but also two different bands! As if there would exist this one particular scheme, or logic, going on though my whole work, always representing my personal views and ideology, completely without fictive personnel and happenings, and free from irony and questioning.

Funnily enough, these two examples happen to deal with the same aspects of life force and its different manifestations in ritualistic celebrations. Rather far from the logical contradiction you perhaps wanted to reveal, isn’t it? Not that I would have somehow thought about these songs to be connected to each other in what so ever way.

In the end each album is its own entity, and each song is its own microcosmic creation, even when for me all my albums together form what could be called a musical journey. It started in 1984. One day it will end. Then the big picture is finished. Then it is perhaps time for comparisons.

Q: Hm, here is another sentence. Don’t you think that popularity of modern common “Satanism” lays at the surface? Then pathetic “do that thou wilt” and so called “sexual magic” are just an excuse for dissipation and a lack of strong will.

-I have on my album a song in honour of Crowley and here you call this law of Thelema, pathetic!

There is nothing pathetic in Do What Thou Wilt for me, but I am aware about how wrongly this idea has been understood and used, still even today, when people have bit more information around them.

It is question of this common misunderstanding of the term WILL itself, which actually is very full, logic and compact idea, and more in the sense of Crowley, than how Rabellais had it, if you ask me, and you did.

Same confusion and ignorance hovers above sexual magic. It can easily be misused to fulfill ones cheap passions, but so are most of the spiritual and political traditions in the wrong hands. When used for higher purpose, it is one of the strongest powers available.

I am not particularly sex magician though. My personal outlook toward sexuality is very complicated and troubled, and far from incontinent joy and delight. It is an overwhelming and dominating force, but as I said under control it opens many doors.

I have repeatedly experienced that those who speak of so called “strong will” are very often mislead and lost, and dependent on groups and leaders. All of these poor beer-bellied Social Darwinists, and so on. True strong will can be found and lived according the law of Thelema, which is basically law of individualism. Of course it can be found in many other things too, but rarely in “blut und boden” and other straight forward ideals of nation and folk and pure manhood.

But, even when Thelema is rebellious and solitaire ideal of living, it is not about hedonistic ideals of individual’s “right” to follow each low form of lust they happen to have. Crowley himself in his many weak moments felt to this bit degenerated level of living, but what he wrote still makes sense, and is still important. It is that old wisdom of “Do as I tell you, not as I do myself”. Although, I personally try to live as I speak!

“Dissipation”… again you use these words like some Catholic nun would use them. Free your mind, and your body follows!

I do not have any connection or touch to “modern common Satanism”, so I do not know what you mean with it. It is hard for me to believe that there would be one strictly defined “Satanism”. All I see is different kinds of, more or less, shallow variations of already quite artificial traditions.

Only Satanism I truly care about is the artistic movement of late 1800´s, but I admit that I also have a fascination for some early, and solemn, and passionate Satanic, Luciferian and Palladist movements. But that is all I have to say about this now.

I have my reasons to look down all kinds of posing and role playing and paper-thin “occultism” and celebration of selfishness and false elite. I do not have that “Suck My Spear, Servant of Satan” there without a cause.

To be honest, I completely fail to see the reason behind this question, and the whole connection between Satanism and Thelema. Intentionally, and by decision, of course.

Q: I have to ask you about “Support Satanic Youth”, the last song of “Live at Colonia Dignidad”… You know that I could ask, I know that you can answer… So, Sami, this track’s length is only 5 seconds – do you really have time to scream all of it’s text?

“Let your blaze guide us
In our journey through the darkness
The flames fucking the wood
Support the satanic youth
Burn brightly house of lord”

-All those lyrics are there, but divided between three vocal tracks that are partially on top of each other, but I could shout all that in 5 seconds. Keep in mind, I did in between the years 1992 and 1995 hundreds of songs lasting from one to five seconds. Actually about two thousand of those. Fast stuff!

Q: I started to think that there is an answer: this perverted love of most doom-bands to witches… The image of helpless or almighty woman, which begging for mercy or cursing all living beings with her power. As Simon of The Lamp of Thoth said “Like all good ‘evil woman’ or witch burning metal songs it’s probably just an expression of men’s unspoken pathological hatred of womankind as the source of all their woe and pain, because secretly we believe they are all witches!” Would you agree with this idea?

-This is how the patriarchal society works and how the Bible, for example, is compiled. Those books that uncovered the equality between sexes were left out. It is the idea of “Madonna and Whore”. Women are either worshipped or put down, and both of these actions are ignoring the individuality of a woman as a human being.

I was raised by women and most of my best friends are female. I do not have much to do with the “man’s world”. I despise all kinds of chauvinism and retarded macho shit, and I do not have much interest to hang around with “common men”. Person who has strong urge to underline his manliness, by putting women down, or with some other ways, is in my eyes unsure and sorry loser.

When it comes to these doom songs… This witch theme seems to be much more popular among bands that came after Reverend Bizarre. We did not sing about witches too often, nor did the bands we were influenced by, and even our approach was basically consciously folkloristic, as was our take on occult too. We kept the real things for ourselves.

I think that most doom bands are aware of this misogynism of the witch themes, and use it with context of folklore, and /or sarcasm, or political discourse of showing the “shocking truth”. Or all of these! Maybe some use it only with similar “entertainment value” with which some horror films are justified, but I have met, or been somehow in touch, with many of the doom metal musicians, at some part of my life, and they are not idiots, which can not be said about nowadays mainstream metal masses.

In these more popular and populist levels of music business there is real patriarchal misogynism and fear of emancipation still today, which sometimes makes me wonder when will we learn anything?

Q: Didn’t you ever feel yourself as a servant of some musical genre? RB was and still is a great band, it sounds perfect and listeners expect that from a from professional and a complex doom band. But there are certain obvious clichés in it’s music – as every other band has because you surely must follow some rules, did genres ever hold you tight?

-The whole idea with that band was to BE a doom metal band, like some blues bands are purely blues bands; traditional and aware of the history and genre. We had very strict rules and limitations, but this was all something we came up with ourselves. We took from the old bands what we felt was real doom metal. It was ALL about clichés. We created nothing new, but put many things together in such way no-one else had done before our first album, and thus, we had at least partial influence to how doom metal is seen nowadays among younger generation.

Our originality was in tempos, some weird songs structures and ultimate minimalism, and the disturbance, and sickness, which is still unfamiliar quality to most of the doom metal, with exception of the mighty Electric Wizard, who of course were big influence to us. They had that dirt we wanted to touch too! It is great to see them being so strong today!

But to answer your question, no, I am not a servant, or slave to any boundaries in real life, only a slave before the art itself. In Reverend Bizarre’s case there was always that much needed sarcasm. I wanted to create ridiculously pure band. Reverend Bizarre started as a side project. There was no intention about creating anything else except music strongly connected to the traditions, in honour of the older bands. It was all about the genre, unlike the other bands I had, which were very loose and free minded and even experimental.

And this kind of genre loyalty that we had in the beginning can be very liberating also. Once you have the code inside of you, the right palette of possible riffs, working with them becomes very natural and easy. Like someone would guide you through a forest of thousand paths. Sometimes less truly is more! You do not waste time wondering about all the things you could do when the elements you can use are fewer.

Q: More than this: would you admit that such a intense creative life of you is a form of obsession which you can’t control? Do you know which step to do do next in your musical explorations? Can you suppose which form does you thoughts take next time?

-As I have had material worth of several albums in many different styles since mid 90´s, I have always had clear vision what I do next. I am always many steps ahead of my audience. People often think that when a new album comes out, it presents the current state of mind of the artist, and her or his musical thinking, but it is not necessarily like that. I for example simply pick things up from this vast arsenal of possible albums I have in my mind, in order to create larger continuations, like we did with Reverend Bizarre, and like I am now doing with Opium Warlords. The albums themselves are complete sonic trips of their own, but together they form even larger scheme. Albums are in interactions between each other. The order in which they come is well thought and meaningful.

I have about 8 albums waiting there, inside the vaults of my memory, at the moment, with full song lists, titles, artworks and so on. All I need is time and strength to make all that “real”. Hopefully when I am 40 years old, most of this material will be out, if there are records anymore. I can hardly see myself there in the mp3 markets.

Where from all this material has come during all these years is then again another question, but it gets the final shape under my control and arranging, even when I always follow the pure forms of the artwork itself. I do everything according to the true essence of the work, instead of letting some commercial “values” or some other expectations have impact to it.

When following the vision, or inspiration, or what ever you want to call it, I do not necessarily even let my own taste effect the result. I have in my music elements I almost dislike, like some of these soft rock guitars, but as a servant of the vision, which is much more important than what I am, I can not let my persona to be an obstacle for the truth to become accomplished. Sometimes it takes time before I understand some of the things I have done.

Q: The image of the Puritan are vanished from your music with the last release of RB and The Puritan project in itself. As I know this image or even this creed mean much for you, so does it mean what you turn your back to “the Good Side”? Or did it deal with only feeling of guilt and that’s all?

-I do not think I can follow your thoughts here, but I do not turn my back to the good side. I work every day very hard to become bit better, and also to help to save what is still good here in this world. Guilt is something I could deal with bit less, as it is something that really casts shadows to my life. One of the psychiatric main issues in my case really. I do not know what this all has to do with an ideas of “puritan”. There was not much goodness in them, and it is hard to think that they would have even felt guilt for their actions. They thought God was on their side.

Q: How did the name of your project The Puritan reflects on it’s music? The sound in itself rather harsh and dirty, songs’ titles are mysterious as from the world beyond. There’s no place for Christian virtues in such music.

-“Puritan” in the name of the band refers to artistic and spiritual, and maybe even physical purity. We also liked the contradiction of “evil” of the term “puritan” and its various historical manifestations, and the “good” in our music and lyrics and ideals. It is bit the same like with some punk bands who instead of telling what should be done, tell what is happening. I personally think this is more effective; to have the people questioning things and reacting themselves.

In historical context “puritan” equals to many other bit slimy words which have in their meaning sense of abuse or lie, like “nazi”, or “business man”, and this suits are purposes too, but still for us, in the first place the word means what it originally and literally refers to: purity.

We took the word back from those who had used it for their wrongdoings just like Buddhism “took back” the swastika from NSDAP. The difference here is of course that Buddhists had it all the time, since the time immemorial.

Third quality of the name, that I at least personally enjoy, is that in the music world “puritanism” often means artistic and formal conventionalism and traditionalism. The Puritan then again crushes all conventions. There is no law or rule for us, except our own very loose, and private rules. Again this is about contradiction and confusion and even idea of disinformation. We are NO puritan in this sense either, only in our own sense.

I do not know WHAT Christian values you talk about, but at least when thinking about some Christian traditions here in Finland, the most ascetic ones, our music comes rather close to their beliefs and ideals, even their musical traditions.

Our music is actually so close to these things, that it almost touches the God that does not have mercy for weaknesses of men, and their world of lust and greed. Of course this does not mean that we do our music FOR this kind of God, or that we would believe in that God, or that we would follow any ideology. Same time we are highly ideological. Again, in our own hermetic way.

Obviously we are strongly against the fundamental Christian chauvinism, and homophobia, and the idea of having human beings as Crown of Creation.

Mysticism and mysteries are close to my heart, but The Puritan is much more straightforward than anything else I have been involved in. The Puritan is not about occultism, but about this collective world of men. The Puritan is a weapon against human world.

Q: You said about your plans considering the release of The Puritan new album – how does this process go? How often do you meet with band’s mates to rehearse or just record new stuff?

-It has not been too active with The Puritan. Last time we all played together was in 2006. I have not met the guitar player since the summer 2009, when I basically said hello to him and that was that. Even back in 2006 we rehearsed only few times.

This “new album” is the album we started producing in December 2006, when the drums were recorded. The idea was to have it out before the last Reverend Bizarre gigs, but as always with RB there was no time for any other bands and projects and plans, and then we finally decided to do The Black Law 12” in 2007, and did not touch to this album material at all.

In 2008 we did bass and guitar takes, and this is where it ended. It would be good to continue working on this album summer 2011. We should do some guitars and all the vocals, and then the torturing mixing process. We already have in our minds one label that should release it. Let us see what happens.

Q: Sorry, it’s primitive but I have to say it – will the next Puritanic CD differ from “Lithium Gates”?

-Not too much. Basically this album should be there in between the first 12” and “The Black Law”. So it might sound bit outdated even. But still, it will be one of the best albums I have done, so I do not care.

Q: Sami, you play and scream in two black-metal bands – Armanenschaft or Azrael Rising. Which sides of you do your black-metal bands represent? Once you’ve said that your black metal works “are sardonic and mocking”, if I’m not mistaken. So it’s not a simple output of some dark energies of yours?

-It is singing Aleks, singing!

Everything that I do represents more or less the same “sides” of me. I am multicoloured all the time. My mind can go from the blackest night to the brightest sunlight in few moments, and back again. It is just the style that differs. Everything that I do, comes fully from within my mind, and body and soul. It is not like I would take different roles, or act to be something.

It is more about channeling different kinds of powers. Sometimes these forces take over me and I can not resist them, but I also have ability to open or close some of the mental channels by will. This ability makes it possible for me to do different kinds of vocals in a one session, with very pure emotion.

As I said, it is not acting something, but becoming it. This is crucial for an artist like me, who for financial reasons has to use every moment in recording sessions for something meaningful. Of course I have also, during these many years, learnt few methods that help me to get to the right vibe.

About the expression itself: With black metal band, or noise project like March 15 or Club Falcon, I can go further in certain levels of life, than I could for example with Spiritus Mortis, or Reverend Bizarre, but even with those two bands I have gone very far, just more briefly.

I often feel like a time bomb. When doing these extreme musical acts, I can buy bit more time for myself. I can release the most disgusting energies I have inside of me. When singing a good black metal song, and I only sing the good ones, I can really explode! There I can express and experience the most violent and psychotic inner turmoils, or emotional inhibitions, but also the most complete freedom and energy.

The essence of black metal itself, to me, is far more complicated than just being some blind servant of darkness, and repeating the same empty phrases, and pretending to be black magician. For me the idea of Lucifer presents the most natural and free form of living, living with the full flame, if you will. This is what I do, when I am inside of a song of Azrael Rising or Armanenschaft, or Opium Warlords, because that band also goes to those spheres.

This is not, however all that I need. I could not live only for this. And it is not about pure chaos either. It is true, that chaos inside of me sometimes tries to control my whole system. In black metal I can release that chaos, so that I can control myself, but I can also control that chaos. At least in the studio. In gigs that chaos sometimes takes over me.

I have felt the presence of something powerful since my childhood, and in a way I do feel I am “possessed”, but this possession has also opened up the doors for me to enter the another world, and bring back with me all of this music, and text, and pictures. This kind of possession, being part of a pact, is of course there in the mythology of the original blues music, which is naturally basis of many things I do too.

Maybe to really reach for the Soul of archaic music, which comes from the most primal and pure ways of sacral music of the dawn of man – through the sadness and comfort of the music of the slaves, to the deep south gospel, and jazz and blues, to Buddy Holly, and from there to Cream and Blue Cheer, and Black Sabbath, and Flipper, to this very day – you have to give away a piece of your own soul. Some give it to Jesus, some to drugs and alcohol and pussy, and some to something else.

In Hagakure you serve your master until the death. My master is the work, the vision and the process it demands, the creation itself.

And yes, instead of self-pity and depression, my black metal is mocking, and humiliating. It is what black mass really stands for, behind all the folklore and fiction. Complete relief, and rising above. Forcing yourself to face your own limitations, like aghoris in India. Taking that one step too far.

But as I said, I do this same thing outside of my black metal works as well. It is just bit easier in that genre. In a way it is the only option there. You can not create real black metal if you at the day time work as an engineer or a clerk in some large firm, and then go to your home, where your family waits for you, and you live comfortable and “ordinary” life together, watch tv and read stupid magazines and hung around in Facebook, and sometimes in weekends you rehearse with your band and have a good time, and pretend to be evil.

You can not rehearse black metal. It has to come as it is. Like real punk rock does too.

Q: Do you have any methods to calm yourself and return yourself to a feeling of harmony except composing/playing/listening music?

-My possibilities to relax are very narrow. I am ultimately restless person, and very bad sleeper too. Sometimes walking alone in the woods, or sitting by the lake eases my tension, or having a hot bath in a candle light, listening to East Asian music, or going to sauna, when ever I get that chance. Sometimes medication is the only way. In the worst case, it is intoxicants, but they just increase the pressure after all. I also read quite a lot and watch good movies, whenever I can.

And yes, sometimes playing music on my own can calm me down, for example, when I play some of my acoustic songs, or some ultra minimalist bass riff for a long time, almost like meditating, but even then there is the slight essence of the burden of having to carry all of this material with me, and the consciousness of the inevitable recording process, which always means heavy period of stress and disappointments.

So harmony is quite a long way from these works of mine.

I have now methods to change this state of affairs, and the changing has already begun, but it takes time, and demands radical operations. In the future I have to concentrate only in the most important things and projects, and cut off everything that is unnecessary, or disturbing. Without doubt, this means even more extreme isolation, but also strong bond to those, with whom I still want to work, and those, with whom I want to share my life.

My “black list“ has been growing dramatically during the last couple of years.

Q: When we spoke with you 3 years ago you did confess that gigs with RB brought some kind of psychic torment for you, is it same situation with your current bands? But you have to play shows with Spiritus Mortis at least…

-That was not a too great confession, as it was quite open for everyone to see and hear that everything was not right. I have never really enjoyed doing gigs, but I already told you about the reasons. I know that many musicians say that they really live only when on stage. For me it is nothing like that. I do not need that at all, and I do not get any kicks for being there, in front of the audience.

Of course there have been few exceptions, some single gigs I have enjoyed, as there are exceptions to everything, but mainly it has been as I said. Basically when I am there, I am inside of my own world, because that is the only place where I can go in that situation. So, being a great entertainer definitely is not how I see myself!

With Spiritus Mortis it has been bit easier, because I can trust 100% surely that the band does its job perfectly. I have to only worry about my own part, being sober enough, and remembering the lyrics, but still when the gig starts it is always the same to me. I enter some other state of mind. I do not feel the presence of the people anymore. I only feel the music and the lyrics, and just occasionally some other stimulus, like some idiots in the audience shouting stupid shit.

Reverend Bizarre gigs usually sucked musically, but they had their own aura, which no one else can reach. Spiritus Mortis is more under control, and it has different kind of ultimate strength. The gigs we did during SM’s EU tour were the best gigs I have ever done. That band was a killing machine!

I have turned down many gig offers and tried to avoid the whole idea, but at least I have one Spiritus Mortis gig coming already, so it is too early to say anything. If I would think only about myself, I probably would never play live again, or at least not for some years.

Of course in the end, I do not HAVE TO do anything, but I do it because of the other guys, who really enjoy playing gigs, and who know how to do it, and I have to say, I also feel that the audience deserves to see Spiritus Mortis live; to experience real heavy metal.

I did one secret gig in Greece some time ago, and that trip nearly killed me. Or my weak mental and physical condition, and my heavy usage of intoxicants did. Back at home I had to go to ECG, get medication for my heart, and five rabies injections, because of getting too familiar with few stray dogs. I also had several injuries all around my body, because of the gig itself, but this is nothing special. It is the same each time I perform somewhere.

I know now that I have used all my chances. Next time the luck won’t be on my side. My mind and body can’t bear anymore these kind of extreme conditions.

Q: Why did you record a couple of EPs and split-CDs with RB? You could gather all this material and pack it in 2 or 3 full-length albums.

-It has now been packed in two CDs under title “Death Is Glory… Now”, so everybody won!

Doing EPs, singles, and splits is much more relaxed and “fun” than working on a huge album projects, and all of the albums I have done have been huge. It is less stressful and more enjoyable to concentrate just in few songs, and you can also work on material, which you would never put on an album. And this is what we did. So, to cut it short: Those songs were never meant to be on any official album.

With Opium Warlords I will do few smaller records too, but I will focus in recording full length albums, so there won’t be pile of 7” or splits. Only few 12” MLPs or EPs.

Then again with Opium Warlords I have already broken so many self-written rules, that perhaps it is more wise not to promise or proclaim anything. If Melvins, Boris, or perhaps Opel Bastards or Urfaust would ask me to do split with them I might accept the offer.

Q: Do you ever wonder – in which country your bands are most popular? And response from which country did surprise you most?

-I tend to forget that anyone has ever heard my music, I really do. I am so concentrated in what I am doing at the time that I do not think about what has been, just what is, and what will be, and of course those works no one else has heard yet. I am still bit shaken up when I meet people, especially from some good bands, or in some surprising situations, who own some of my albums.

Of course I KNOW there are people buying and listening to this stuff, because certain amount of records, even if quite small, has been sold, but I really do not know where those people are, or where my bands are the most “popular”, maybe still here in Finland. Seeing Reverend Bizarre shirts and patches is not so uncommon here, at least when going to heavy metal gigs. But most of those people have become familiar faces to me.

I am not a well known personality here either, which suits me just fine. I would not mind getting some of the money some of these lazy brained and unoriginal mainstream acts here get though. It would help me to work under little bit more bearable stress and also produce records with faster pace.

I am happily surprised when ever I hear about some fan in Africa, East Asia, New Zealand or Australia, places which still bear some “exotica” for me, as I could never travel there with my incomes, and basically all of the places where it is unusual, or even bit hard to be a fan of this kind of music.

I know that few copies of records of, at least, Reverend Bizarre have spread almost all around this Earth, and that makes me happy, but as I said I often forget about these things. Maybe I should try to think about it more, and appreciate the existence of all of these people, who keep my “career” going on, but my mind is most of the time so negative, and under pressure that I can not.

I do not think that I have any fans in for example Mongolia or Vietnam or Tibet, but if you who are reading this right now are one of them, please send greetings to my Myspace mailbox! I would be very excited about that! I have by the way heard few very experimental and interesting Mongolian UG-metal bands. I even tried to contact them with no luck.

Q: That’s all for this time and I guess it would be right to say few words for our readers which are fans of some of your bands anyway. Thank you, Sami, for your patience and answers. Best regards!

-Thanks for interesting and partially “stimulating” questions Aleks! It is sort of a luxury. I also forgive some of these less inspiring regular ones in the end. This has to be one of the largest interviews I have ever done.

I most certainly wish to send my blessings to your readers! Russia has always been bit mysterious region for me as musician. I do not know how many parts per billion there are aware of what I have been doing, but I do know that some albums have been available there, and once I almost came to play in few cities in Russia, but it sadly never became reality. Then again it was about Reverend Bizarre and Barathrum doing that trip together, so maybe I would not be alive to tell this all to you anymore if we had done it.

My greetings to all of you out there, who know what we were talking about here, and also to those who maybe got that little sparkle to check the things out. Warm welcome!

Thanks for your interest! Keep your eyes and ears open, and take care and total control! Inmost Light!
Interview By Aleks Evdokimov
Opium Warlords @ Myspace
Reverend Bizarre @ MySpace
Reverend Bizarre’s Holy Parish of Doom
The Puritan @ Myspace


Posted December 16, 2010 by doommantia in Opium Warlords, Reverend Bizarre

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