Thursday, June 9, 2011

Second Wende interview - with S. Stormhammer of Valkynaz

Zamiel of "Wende" Interview (by Stormhammer)

NEW INTERVIEW WITH THE TRANSYLVANIAN FOREST E-ZINE INSIDE MAN, STORMHAMMER WITH ZAMIEL OF THE BAND "WENDE" ... -Danny

(SURTR STORMHAMMER)




Surtr:
Thanks for meeting with me, Zamiel, I appreciate the opportunity
to pick your mind! And thanks again for being interviewed by me
as well as Transylvanian Forest E-Zine!

(ZAMIEL)




Zamiel:
You’re very welcome.

Surtr:
So, I've known you a long time, brohammer! How long has it been
since you first came up with the idea ov Wende?

Zamiel:
Yes, you’ve known my music since before it was described as ‘Wende’.

In some ways, I’ve always had the idea for Wende, I simply had to make myself ready to find it. It some ways, Wende hasn’t begun yet, it’s still in the process of meandering.

I find that events or actions commonly described as having a beginning, in actuality had no ‘beginning’ at all, having only gradually meandered into existence. Do wars only begin with the first death? Does love only begin when you feel it? Can it begin before you develop the capacity to love? Does knowledge begin with studies, thoughts and practice? Can you gain knowledge before you are ready to learn?

Originally, I wrote music, fully completed, and put it on my computer so I could listen to it. It was for me, for my own use, and belonged to nobody else. How nice to be a listener and a creator too, you always have exclusive music on hand! It had no name, and why should it? It simply was my music. Why should I involve others? I could play every instrument just fine for my purposes, and they could never understand what I wanted to hear as well as I could.

For a long time, nobody heard it, until I decided, vulnerably, to show it to my friends only. I only gave my art a name when asking necessitated. I put very little thought into the first few name choices and figured it wasn’t really important, because the name was for them, not for me. I knew perfectly well what it really was. Eventually I realized that giving the art a name and direction need not be a limiting exercise, so much as a focusing one. The concept of Wende, active long before it ‘began’, took focus in the spring of 2008.




Surtr:
I couldn't agree more, especially considering I first heard your demo
albums from when you had no name for Wende. Since your newest
release, Vorspiel einer Philosophie der Zukunft, I've been listening
to the Demo album versus what you created with it. What new things
have you conceived since your self-titled demo?

Zamiel:
I should first mention that I’m very unhappy with how the demo sounds, and I’m in the process of re-recording it right now. I didn’t arrive at this decision lightly, but then again, I never considered it ‘finished’ anyway. It will be called ‘Dritte und Edel’ and should be considered the first Wende album, though obviously recorded out of sequence.

I’m planning a four-album canon, though there may be more music in the manner of Wende outside the four. The first of the four (Dritte und Edel) sounds primarily depressive and morose, as it attempts to tell the story of the going-under and defeat of the ancient and the noble, and innocent, the turn from the path of centuries, and the coming of the plague. To speak the word ‘European’ is to speak of sadness. The second album (Vorspiel) sounds primarily introspective, open and ‘suspended’, and should be the catalyst for a new philosophy, or perhaps a return to a more ancient philosophy. The third album will have a violent and disjointed sound, as the borders and walls of our prison are cast aside. The fourth album will have a calming and serene sound, and will be the beginning of the new way and a rebirth. This is Wende, to call attention to our dying world, and our dying minds and offer an escape, the chance of turn.




Surtr:
Long since you've released these two albums, I've been obsessed with
your musical processes! How has it been since then that you decided
to change things up? How have you worked on things to where they're
so different between the Self-titled demo and Vorspiel einer
Philosophie der Zukunft?

Zamiel:

Well, most obviously, Vorspiel is better recorded, I’m much happier with the sound, and probably won’t change anything in future recordings.

Vorspiel is more thought-out than the demo, more time was spent on focusing the message, and more energy was spent on giving intention to the sound. Personally, I don’t feel that Vorspiel is very different from the demo, it’s simply a continuation of what I felt was successful.

I wanted to give Vorspiel a very spacious and ‘open’ sound. Like the wind on the barren upper reaches of a mountain. I also wanted the tonality to be somewhat obscured and esoteric, so the listener is not quite sure where the chord is rooted, or where it exists, as if the music resides in the grey-scale between tonalities. Not giving away ‘secrets’, but I highly recommend the music of Debussy, especially “La cathédrale engloutie”, and the music of other impressionist musicians too, e.g. Ravel or Satie.

I wrote rhythmic, melodic and even chordal leitmotivs on Vorspiel to enhance the message of the text, and give deeper meaning to the music. It may take a more discerning ear to pick up on all of them, I don’t know, but understand: everything on this album is intentional, and everything was done for a reason, perhaps multiple reasons. I can’t tell anyone how to experience my art, but listen deeply and intently, discover the keys to my meaning but also discover keys to your own meanings and nuance. And listen to future works, not all musical concepts are paid off in this album alone…

The text was written to read like a story, or perhaps two stories, which may or may not be related. Each track attempts to address what I feel are the most pertinent concepts of philosophy, at least to the philosophy of the future – War, Death, Truth, Solitude and the Self, Time and Nature.

I may or may not give further account on the concepts and creation of Vorspiel on wendmusic.blogspot.com

The self-titled demo was nothing more than that - a demo, I never really intended to have it listened to by anyone but me, though I happily gave it to anyone who wanted one. I also handed out four song cd-r copies to people at Skinwalker shows I felt were worthy, in an apparently futile attempt to gain some underground recognition.




Surtr:
I agree full heartedly with that as well, my friend. It's unfortunate
that more people involved in the underground scene use it as a way to
"be different" from others than others that actually have a deep
passion and recognition in the importance ov the actual music and the
message it brings. Speaking ov which, I've noticed a lot ov
philosophical ramifications going into the process ov creating
between your two albums. Any ideas you'd like to identify for our
readers, other than those stated above?

Zamiel:

I suppose reading through the lyrics of my albums is enough to answer this question.

Dream, with no fear of the journey. Be wary of all done in the name of tradition and authority, the great murderers of thought and life. Become who you are and let your ethics happen upon you, Hold reverence for the nature of nature, and have confidence in nature. Seek a profundity to life, and do not be obsessed with empty things. Be aware and conscious.



Surtr:
Well said! As you stated, you also play bassist for the Washington
band Skinwalker. How has that been and what sort ov tricks have you
picked up since starting with these bandmates?

Zamiel:

I enjoy the project. The direction is very different from Wende, Both Insomniac and Blacksmith are great guys, and we’re good friends outside of the band too. It was nice to experience a different approach to this music. Realize that probably only about 10-15 people in our entire county listen to this music, let alone play it. There’s been a lot of traveling, playing, camping, late night recording sessions, early morning return trips, and a fair amount of libations.

I feel that the sound is firmly rooted in the past, and that’s not so bad, considering how laughable the music has now become, by and large. The sound is dirty, unrefined, raw and violent – everything it should be. Tricks? Maybe experiences.


Surtr:
Skinwalker has played live in several cities since this point! How
involved are you with the band's songwriting and focus and what hopes
do you have for the future, regarding Skinwalker?

Zamiel:

We’ve played venues from Seattle to Helena, though have yet to reach Canada or Oregon. The price of petrol is now beginning to reach EU prices, and though on a personal level, expenditure slides ever higher, hopefully we’ll see widespread adoption of a more European outlook on fuel and transport, though I doubt it.

I’m very involved in every level of Skinwalker. I wouldn’t waste anyone’s time with my presence and not be involved.

In the future, the agenda may include a small label, or it may not. More shows, more music, maybe a small tour. Nothing too assuming.

Surtr:
Working with my own set ov bands, I know how taxing it can be to meet
a deadline for a release. How is it you retain your own personal
lifestyle along with that ov your bands? (Including others than
Wende and Skinwalker).

Zamiel:

Wende and Skinwalker never impinge on my life, if anything, my life gets in the way of my music. I’ve always felt it important to have my art be a projection of me, but also important to myself be exemplary of my art. There’s always (increasingly) room for imagination and fantasy in art. But there is no great disconnect between Wende or Skinwalker and my ‘personal’ life, there’s budgeting of time and that’s it, I live the same life throughout.

I’m always wary of people that live fantasy double lives through their music. It can be done sure, and done very effectively, but I simply don’t believe those bands that sing of gore, murder, suffering, arson, suicide, heathenism, heritage or revolt and lead normal, boring lives. They’re simply circus performers, entertainers, and sometimes they don’t even entertain.

I’ll briefly mention something here that’s important to me. If your band glorifies ‘Satan’, ‘Lucifer’ or the ‘Devil’ and sings of being ‘Satanic’, you’re a Judeo-Christian band, and you play Judeo-Christian music. Satan is a Jewish character, and is shared by all three Abrahamic religions. To believe and give credence to this concept is to believe and give credence to the Judeo-Christian world-view and paradigm of thought.

I fully abhor this world-view and its violent, destructive, life-hating, anti-culture message. Don’t give it the time of day, my brothers, let alone speak of its concepts through your music. You sully yourselves.




Surtr:
Well put, mighty Zamiel! I fully agree, it is the assassin ov free
thought throughout the world! But it is time to wrap this up. Thanks
full-heartedly for your time brohammer! If it's within permission ov
both you and TFE-zine, I'd like to do a review on at least one, if
not both Wende albums! They are really good and deserving lime-light
in my opinion!

Hails!!

-S. Stormhammer, Transylvanian Forest E-Zine

Link to the original:
http://tfezine.blogspot.com/2011/06/zamiel-of-wende-review-by-stormhammer.html

Wednesday, April 6, 2011

Lyrics - Vorspiel einer Philosophie der Zukunft

I apologize to anyone who has received a copy of Vorspiel(...) from me personally or offline without being able to read and understand the texts.

Essentially, texts are my meditations, written down, on what I find to be the six most significant and recurring ideas or perhaps, fixations of philosophy. These ideas being War, (or in a certain sense, struggle), Death, Truth, Solitude and the Self, (or in a certain sense, individuality), Time and Nature. The original goal was to offer a way of thinking, perhaps a new and different way, that I feel is absolutely essential for healthful survival in a modern world gone mad. My thoughts offered on each subject usually only examine one small, aesthetically interesting aspect of these subjects, yet hopefully act as a catalyst for further thought on the part of the listener.

Aside from this, or in addition to, the texts are a rather loose, fragmentary telling of a story. Following the near-universal concept of the fighter, the struggler, the knight, the rider, through the decidedly universal experience of struggle, eventual death and reflection, journey, destination and acceptance.

The vocalized sections of text are written in a more lyrical style, whereas the texts written for the instrumental tracks are written in a more poetic style, using a more antiquated vocabulary and structure.

So, belated though they are, here are the texts for Vorspiel einer Philosophie der Zukunft.

Der Ritter
(...of and concerning war)

beyond the farthest horizons of night;
there forth departs the rider.
where all left behind begins to fade -
It is a locked gate.

the gate stands silent, closed, waiting,
all of nature spread before it.
he who knows the end of pain
is now the master of Keys.

no hall sounds with laughter,
no breath is drawn for song,
no face shivers in the moonlight;
for the end of War.

eternity finds its ending,
in the cold of a dying sun.
songs of leaving press the air -
and open a hole in the sky.

no lake echoes with rain,
no mountain groans with ice,
no tree screams to the night;
at the end of War.

one is most alive when dying.

Verklarung
(...of and concerning death)

… And it happened that the rider clad of sable raiment in those moments immediately thereupon bethought and was ware of a great many things. As all around, spread far upon the laund whereupon had been made much warring and clamour of arms, now lay the dying and forgotten. Ever alone they are in personal torment, ever alone ere their death is given. As beneath the unfolding towers of day and night, enfolded to mud and worm, stream and leaf; the grave is also the birthgiver, the wakeful world the tomb.

Among the dead wend the maidens, clad in sable colours of mourning, making lamentations of much dolour. The cloaked ones went also their way, and bespoke the many orisons of their kind, yet they would not approach a great many of the fallen. Arose then the mists, and the reek of decay from the newly dead, set upon by crow and worm. For already was the transfiguration come and gone to those who had once drawn breath, now so unmade and relinquished.

Bethought the rider of the thence, now, and whence, of man’s attenement and nature’s artistry in this wise:

Upon the brief span of time whereupon day changeth to night and umbrous colours cloak the holts and slades below, ere the moon’s travels.

Upon mind’s paintures given to behold ere crossing the river of consciouness.

Upon the noblesse of mourns through trees that hold fast against wind.

Upon water’s turn of chance to purpose from fell to sea.

Upon the whispers and tumults through wealds bedight with snow.

…And upon all things whereupon doom is seemly passed… of finality, though to proudly endure whilst they may.

Such are things that truly hold beauty beyond the comprehension of man, and which provide keys to the world beyond time. Came then the rider as the master of keys, and assumed the transfiguration, in crossing the river of consciousness the last time.

Hold upon finality, embrace, forth of transfiguration, thereupon the wakeful world is changéd, and all is undiminished, elevated in cause of its end. For that is the gift given to men above all beasts, hight - the knowledge of finality, which doth enhance and garner the wakeful world.

Death is the gift that giveth the wakeful world chance of beauty.

Nichts und Schönheit
(...of and concerning truth)

Distant below, the silent fields
the spears are in the dead,
the light scalds the mist,
the crow picks the skull.

Always from the dead fields
flows the river of screaming,
flows through the forests of stars,
flows to the Well of Consciousness.

The old man beholds the peak
his complete life spent to attain,
his steps left behind the others,
his choice alone to journey further.

He spoke,
without sorrow,
without longing,
without pain,
without fear,

To the sky, his words sought truth
Understanding then happened
Truth was ever nothing,
is ever nothing.

Complete, the old man fell dead.

Much he beheld on his path
beheld valley
beheld forest
beheld lake
beheld night

Beauty will save us from truth.

Dasein
(...of and concerning solitude and the self)

…And thereafter departure; went then the rider clad of sable raiment, to wander errantly over slade and fell, through stream and thorns. The night wealds and hithermoors, as yet bedight in memory. Crossed then the rider over many dales, each darker than the last, and anon chanced upon coppices of linden, oak and ash, boding of preception. Through the exceeding gloam therein fell lemes of half-light, and all was silent as of drawing breath. Presently the rider did lief enter upon the forest endless, and beheld then the weald of swevens. The bear returns. The wolf moans. The hart watches.

After long faring upon unwonted paths, anon came the rider upon a swath of wode over swale, wherein extant limbs, white from eld passing, appeared to the rider through the dark. Upon this untoward place fell nor wind nor light, and the air waxed empty and stale, weary of being held. Herein walked the unbroken line of whisperers, as wraiths of despair and mourning, to hitherward ends of sight. The mourners, nor witting of their despair, nor of other ways, nor of danger nor wanderlust; as they were, beyond everything.

Bethought the rider further of the thence, now, and whence, of man’s attenement and nature’s artistry in this wise:

Upon the singular sensation of the moon’s enlightement upon wanting flesh.

Upon the dissevering and malleation of stene into the fastness of man’s construct.

Upon the florets of the vernal term first yawning unto the light.

Upon the stillnesse of night atwain rend of lucence and clamour of stormful protest.

Upon the haze of dying breath as gathered upon release to winter gale.

…And upon all things whereupon doom is seemly passed… of finality, though to proudly endure whilst they may.

Such are things that provide keys, though are as beyond heed of the mourners. One must betake to enter the weald sauvage, by overgrown paths and be put to adventure; of danger, of night, of chaos. For to yon, who art beholden to chaos, are keys bestowed. Bethought then the rider upon others selfsame in wandering such paths, upon their fitness and withdrawal to wonder.

The rider, the self that thinks of the self, turns and mounts forth as master of keys and is assumed into the light. The most profound truths are understood when alone and remote.

Loneliness is a function of nobility.

Der Ring des Kosmos
(...of and concerning time)

Dream,
with no fear of the journey.
Seek your way through
through the vale of sleep,
through the river of memory.

To the castle beyond time
fast in the realm of eternal.

How I hate the wakeful world.

Nothing has no beginning,
and nothing has no end.

How I hate the wakeful world.

Time,
speaks only in words of decay.
Leave the path of singularity,
see the distance with new sight,
see the end and beginning as one.

…and already is all consciousness made unaware
…and already is all feeling made indifferent
…and already is all life made dead
…and already is all light made dark

How I hate the wakeful world.

The ring of Power is now the ring of Time.
…and Time is the last enemy destroyed by the noble man.

Hercynian
(...of and concerning nature)

… And thereupon accedence, in fearless light, rewove then the rider with cosmic chaos - sang anew the lay of eternity. Bespoke finality; Know thou, ye world of evidence doth exist in causality of chaos. Chaos giveth the turn from soleness, begat the individual, and leads ye world of evidence to ruin, upon the end. And so the wheel turns.

Know thou, chaos is a function of nature. And nature as hindmost truth is nor near nor far nor beyond, rather it is the way of such things, completely without turn. What then is nature? Indifference.

The rider then remembered of remembering;
Remembered of the world less agéd, now triumphed over by time.
Remembered why we held our fear close in sunless hours.
Remembered why the grave looks north.
Remembered when we had no speech, only song.
Remembered when we asked the forest of ourselves.
Remembered why the tree-custom determines to rejoin the world with the sun, maugre witting of winter’s return.
Remembered of the wan-light, and the third way, the solar turn, beyond dark and light, atwain night and day. And upon such memory, wist then the rider of order in the cosmos, of dignity over the microcosm, reverence under the macrocosm. And so the wheel turns.

Bethought the rider finally of the thence, now, and whence, of man’s attenement and nature’s artistry in this wise:

Upon the revelry and wundor assumed to the self come ware at the self.

Upon all ceased and fatal remains upon mortal reply to fell and wold; made hale of such enhancement.

Upon trenchant blade thus sheathed upon beating heart.

Upon the fiaunce of wisdom upon turning of consciousness.

Upon the puissant moment the cosmos became ware.

…And upon all things whereupon doom is seemly passed… of finality, though to proudly endure whilst they may.

Such are things that exhibit meaning beyond statement. Forsooth, not begat of nature is man - contrariwise, man is nature. An only man wouldst turn to memory. That man is a function of nature, the vestige of the way- as crest to sea, as cion to holt, as stene to fell. What happened sith as blazons in the nightsky, now as waking world and rider, henceforth again as ground and firmament, so is the way of everything, and in such wise, nothing dies. And so it is not ye world of evidence that truly shifts, but the perception.

What then is the philosophy of the future?
To see destination become journey and journey become destination.

Tuesday, March 22, 2011

Vorspiel einer Philosophie der Zukunft


I've made the second Wende album available through this blog and through

thebrotherhoodofsteel666.blogspot.com

These are the only two blogs I endorse to post a download link at this time. The first album link has been removed, as it will soon be re-recorded in full.

Lyrics and Album Details will be posted soon.

Listen and Understand HERE.

Monday, March 21, 2011

Visual Art

Painters/Draughtsmen whose work interests me (an ever-expanding list):

Modern/Contemporary

Zdislav Beksinski
H.R. Giger
Lars Bo
Gareth Buxton
Jannicke Wiise-Hansen (Aghast)
Alan Lee
Boris Olshanskiy

Romantic

Johann Christian Dahl
John Robert Cozens
Per Nicolai Arbo
Theodore Kittelsen
Gustave Doré
Ivan Shishkin
Felix Jean Gauchard

Fantasy/Art Nouveau

John Bauer
Arthur Rackham
Kay Nielsen
Einar Norelius
Gustaf Tenggren

Mediæval

Hieronymus Bosch

Monday, February 14, 2011

Album Completion


The second Wende album/demo "Vorspiel einer Philosophie der Zukunft" is completed. I might make it available on this blogspot, and possibly a few other blogs in the near future. In addition, I hope someday to provide the option of purchasing a more complete product (booklet, lyrics, etc.) for a nominal fee. I am very proud of this album; it came out very close to what I set out to create, so many months ago. The whole album was mean to be "honest". There are lots of imperfections, and very little time or energy was spent on altering what went straight into the computer. There are no fade-ins or -outs, some slightly off guitar notes, a dropped stick, and even a nasal sniff on a vocal take. Basically what you hear is exactly what I was meant to play, in every sense of the word.

-Recorded through a Fostex MR-8mkII digital recorder, except vocals, which were recorded through a (very cheap) tape deck.
-All guitars were played on a Dean Evo Noir guitar, factory pick-ups, Eb standard tuning, with a single pick, now in possession of Dead Insomniac of Skinwalker.
-All distortion was provided by a Digitech "Death Metal" pedal, with both 1/4 inch outs used simultaneously. Level @ 12:00, Low @ 3:00, Mid @ 1:00, High @ 11:00.
-Bass was played on a Esp 5-string bass.
-Drums (unfortunately, as I would've preferred live drums, but such is apartment life) were played on a Yamaha DTxpress, Beech Custom factory preset.
-All keyboard parts played on a Yamaha DGX-505 portable grand.
-Background noise on tracks 2 and 6 public domain, found on internet.
-Background noise on track 4 is me walking around the north side of Rainy Lake, in the North Cascades, on 5-6 feet of snow.

This album/demo is very much inspired by philosophy. The lyrics and text outline aspects of my philosophy, but also what I believe to be a meaningful philosophy for others, and aspects of the philosophy of some of my favorite philosophers. My goal was two-fold: to create a repeatedly enjoyable album, and also to enunciate a meaningful and healthy morality that can be used and applied both personally and impersonally, toward all manner of situations.

Looking forward, the third Wende album/demo should be completed in about a year and a half (this seems to be the normal gestation period). I will also completely re-record my debut s/t album/demo, because I'm dissatisfied with how it came out, and I feel that I didn't do the music justice. Hopefully, I'll have that completed before summer is finished, then it's on to the third album/demo, which will be... different.

Zamiel - Feb. 14, 2011