Your "War In Europe" essay, citing former KKK Grand Wizard David Duke, appears to be profoundly anti-Semitic. Is that a charge you'd accept or deny, and to what extent do your political and racial views provide a context for "Umskiptar"?
Well, I also cited Gilad Atzmon and Avigdor Lieberman, both Jews I may add, in the same article, so I think it says more about you when you only react to the fact that I cited the former Republican Louisiana State Representative Dr. David Duke. I cited these three men because they tell the truth in context with at least a few of the topics discussed in the essay. Their backgrounds are of no interest to me as long as they tell the truth.
You should focus more on what individuals say
rather than what they were
or what they might have been
in the past.
The essay "War i Europe" is profoundly anti-Jewish and anti-Zionist only in the sense that it points at certain (to some) unpleasant facts
regarding the Jews. When I point at these facts you and others call me an "anti-Semite". Would you call me an anti-Nazi if I wrote an essay which appeared to be profoundly critical to the crimes of the Nazis? Or would I just be telling the truth?
Again I think the focus is misplaced. You should rather focus on what the Jews have been doing in Europe ever since they first arrived here, rather than attack those who point at these facts. You should watch a few of Dr. David Dukes videos instead of spending any time talking about a tiny part of his background. They are all available on YouTube and elsewhere online. I highly recommend all of them.
With that said, all because of your inquiries I may add, I can return to the topic we should
be discussing in a music magazine, and tell that the only context for "Umskiptar"
is the profoundly
beautiful, pure, happy and healthy Pagan culture of Ancient Scandinavia. It is a purely mythical concept dealing with the metamorphoses of nature, as it takes place every year. Summer, Autumn, Winter and Spring.
"Umskiptar" is based on an epic Old Norse poem. What's the personal resonance of the poem for you, in terms of both the storyline and structure?
It is written for at least two different types of audiences, and it has two very different meanings, one exoteric and one esoteric. It can be an entertaining story, about dwarves and giants, deities and war, but it can also be the passwords which need to be memories and understood by the initiates for them to be allowed to challenge the king in the yearly contests – the bride races. It is called Völuspå ("the prophecy of the sorceress"), because it explains the metamorphoses of nature taking place every year, and if you know this you can always know what is going to happen next – and thus you will make a good king. Hence the name "prophecy". It was made in an age of sorcery, when sorcerers were the rulers of society, after being initiated by a sorceress in the realm of death (the burial mound). Hence "the prophecy of the sorceress". You can read all about this and much more in my book "Sorcery And Religion In Ancient Scandinavia"
Does the shift towards clean vocals signify a change of perspective for you?
Possibly yes, but I think the shift this time was more due to the fact that there were so much more lyrics this time compared to older albums. It would have been less dynamic if all the vocals were to be sung or spoken with the same vocal style. I intend to do similar things in the future as well, I may add.
You've been very prolific since your release. Is this a workrate that's going to continue?
Well, if you take a look at my past I am actually taking things easy these days, making only one album each year. I did make four albums and one EP in about 1,5 years in the beginning of the 90ies, so you shouldn't be surprised if I make one each year in the future.
Author: Jonathan Selzer (© 2012 "Metal Hammer" magazine UK)