Sunday, November 8, 2015

Neglect and rebirth

I have been neglecting this blog for a very long time. This space was intended to function as the repository for all things concerning Wende; news, lyrics, artwork, essays, links, and other related topics. Sadly, for expediency it is much easier to place these things on social media, which in turn means they quickly evaporate from public view. There is simply no way to archive communications of this sort. Perhaps blogspot too will prove equally ill-equipped as an archive. I find myself less trusting of online repositories by the day.

First some news: Wende is currently signed to prominent and respected label Moribund Records and the first two albums, The Third and the Noble, and Vorspiel einer Philosophie der Zukunft, are available for purchase on cd and mp3. I have also recorded a one-off song for an upcoming split, more details will be divulged soon. I am satisfied with the products Moribund is producing, which include full artwork and lyrics.

I never 'released' my music prior to signing with Moribund. I gave permission for Dead Insomniac of Skinwalker to place my music on the (defunct?) blog 'Brotherhood of Steel' for .rar download, and from there it was disseminated throughout the .rar download community, with some even going so far as to 'review' my 'release'. A chosen few individuals were given my music on hard copy, as nothing more than burned cd-rs. This is the total extent of the initial 'release'. Making the first two albums kept me occupied durning a difficult time in my life, and were made first and foremost for my own amusement. I simply made the music I wanted to hear more of, and was not getting. I never intended either album for widespread release, though I have been pleasantly surprised by the interest and response since. The release through Moribund Records should be considered the first release, not a re-release.

Currently, I am writing for a third album, also for release with Moribund Records. The process has been admittedly slow. I have changed directions and concepts many times, and three months ago, my computer crashed and deleted all my archived riff ideas, lyrics concepts and song structures. It will take more time, but the album writing process has begun.

In addition to everything concerning Wende musically, it is my hope to devote more time developing the philosophical aspect of this project. The moment I decided to 'go public' with my music, it became my intent to elicit change; 'Wende' is translated from German as 'to turn' or 'to change direction'. As they are completed, I will be uploading a number of essays, responses, book and lecture recommendations, conversations and polemics that I feel represent my personal philosophy, and a useful philosophy for others. It is not necessary to read or agree with any of the above mentioned materials to enjoy the music of Wende, and never will I provide a 'definitive' interpretation of the music, lyrics or artwork of Wende. However, I feel it has become incumbent upon me to do my level best to educate on topics and concepts of philosophy, and to advocate for philosophical positions I feel are important, even necessary.

Sunday, February 9, 2014

Wende, et al. Update

Though I haven't been focusing on Wende for a long time, for whatever reason, I've been busy. Skinwalker has a new album done. I wrote and played for it, but also produced and mastered it.
Listen to a track from Magic and Gore

I've also been focusing on Nekrö Kömmand, a throwback band to the old days when metal was feared and obscure. Very rooted in the style of 80s and early 90s blackthrash. More to come on this.

And I've been writing a diy heavy metal magazine with my friend Insomniac of Skinwalker, again as a throwback to tape trading days and cut-and-paste music magazine documentation.
And here

Plus, if you didn't know, I'm a full-time teacher.


Tuesday, February 5, 2013

New interview with Zamiel (February 5th, 2013)

Here it is folks, a very, very long (recent) interview with yours truly, conducted by AntifaMetalhead at over in Greece. The answers may be a tad long... too bad! Stay tuned for the results of an interview trade I conducted with S. Stormhammer of Valkynaz for TFE-zine, Cheers!

Question 1:

Lets start with some things about you. Would you like to say a few things
about your projects?

I took the name Wende from “Wende Im Zeichen Des Mikrokosmos”, the German translation of “Snu mikrokosmos tegn” (Turn The Sign Of Microcosm) by Burzum.
Wende means “the turn” or “turning point” in German, wenden (verb) means “to turn”. In English, wend means to “direct one’s way” but also to meander, that is, to not take the straightest or easiest path. Both the German and English words are cognates of the same Gothic root “wandjan”. The true meaning of “Wende” is slightly ambiguous. Perhaps “metal artist from the Pacific Northwest” is the newest definition. In both languages, wend(e) is a verb. I thought at the time that a musical project with a static name would invariably project static music with a static message. My music is intended to act on people. It means turn all right, but from what? Wende is a reflection of my contempt and revolt against the modern world and my love for antiquity, beauty, fantasy, danger and consciousness.

When I speak of my contempt for the “modern world”, understand that I do not mean anything like scientific advancement or technology. I like my computer, not least because it allows me to answer interview questions from Greece (!). I’m not an atavist idiot, desiring to live in a mud hut and following a “back to nature” life (as if living naturally somehow entails discarding scientific achievement.)

No, when I say that Wende is a revolt against the modern world, I mean modern thought. The new limits of depravity, ignorance and ‘safety’. The extreme realization of ancient human weaknesses through the aid of modern invention and craft. Wende is a synthesis and reconciliation between our technology and power, with a more aware, simple, and for lack of a better word, natural, consciousness. Each individual by their nature, each group from the consensus (consciousness) of its individuals. Wende is the fist in the face of Nietzsche’s lezte Mensch.

Musically, Wende is simply the music I want to listen to. Originally, I created music for my own enjoyment, and for my own listening exclusively. It was then shared with a few close friends, through with no real desire to ever be known by it. I certainly don’t plan on “getting rich” with Wende, so when I did “release” my music, I made it available for free. I’m interested in releasing physical copies sometime soon, so the lyrics and artwork can be available in a single package, in which case I would have to deal with currency, if only to recoup material costs. I will not however, suffer others to make money from my art, or to pass it off as their own.

As for Skinwalker, we’re unapologetic about our “throwback sound” all right, and we craft what easily falls into the second-wave “black metal” candy-bin, with all of the necessary crust, fuzz and barnacles. But at least all of us know our history! Skinwalker was the first to play this music in our home area, and we’re still the only band playing this kind of music in over a hundred mile radius, so I think we feel a strong kinship to the isolation and d.i.y attitudes of the early “black metal” scene. For us, the scene never sold out, because it never even started. Skinwalker is Skull Island, complete with prehistoric mega-fauna – a snapshot into the past!

Question 2:

Which bands or artists influenced you? Listening to Skinwalker i got the
feeling that you have a thing for the classical Norwegian scene.

I began learning piano at age six, and I mostly listened to art music (classical) and acoustic music when I was younger. I knew the major works of composers like Brahms, Tchaikovsky, Mozart and Beethoven before I knew any rock music (!).  I’m sure all this art music influenced my music sensibilities, at least subconsciously.

Pink Floyd might just be the most important band to me. They were the first rock band I liked. That started an interest in my dad’s old rock cassettes. I also got into electronic music, which I still enjoy. The first cd I bought was a electronic music compilation called “Together as One”, in 1999.

The early Norwegian/second-wave scene is important to me because it was really the first time I found a genre of metal I actually liked and connected with. I would still say I don’t really enjoy nine-tenths of the metal that’s out there. Most metal is rather simplistic, uninteresting, and stupid. I felt a power, conviction and honesty in the early second-wave scene that I couldn’t receive from other genres of metal too much. It’s the most effective magic I’ve ever heard in music. The milieu that surrounded the music only made it more real, more honest and more powerful. Here as nowhere else, were artists with conviction.

Question 3:

Nowadays there are so many metal genres. What do you think makes black
metal special?

I don’t entirely know why the second-wave sound works for me, but I do enjoy the eerie melodies, the atmosphere, and the (sometimes) though-provoking, intelligent, escapist lyrics. The whole experience has a mystical quality to it, and hits like a blast of (refreshing) cold air in a metaphorical stifling heat. I’ve also had very personal, transcendent, consciousness-raising experiences while listening to “black metal”. I found it to be a great catalyst for higher thought and action. Many people do not. I would probably like another genre of music had I experienced the same reactions elsewhere.

Worldwide? I couldn’t tell you. I think “black metal” has become a malignant circus sideshow, and a vehicle to “corner the market” on anger and depression for white teens. Black metal is (now) to Europe what rap is to the United States.

I can also add that I simply don’t understand playing live. I’ve always experienced music by myself, as my retreat, Metal no exception. Skinwalker plays live to be sure, and I oblige, but I can count on one hand the bands I was ever impressed with that have shared the stage. I remind that I cannot speak for all of Skinwalker. But really, I can’t understand wanting to see a band play live at all. Not unless the stage show was so good that it removed me from the experience of being surrounded by drunken invalids. Something like what Dead (Pelle) talked about with chains, mist, severed appendages, uprooted trees, etc. Live is only good for me when the focus isn’t on the band (!). Isolation until death!

For people like me who’ve had personal, isolated responses to the music, it is indispensable. When it works, it works.

Question 4:

What do you think about Cascadian black metal? Any bands you like?

It’s interesting at least. It’s hard to define “Cascadian black metal”. Is it a sound? An ideology? Merely a function of geography? Only by band self-identification? It’s so new it has yet to be completely commodified, and that in itself is a very good thing.

I feel the artist’s self-identification is the paramount factor in whether the music is, or is not, “Cascadian black metal”. Only the artist knows what their music truly is.
That said, it seems to have some usual defining characteristics: long, trance inducing songs, often with strummed acoustic interludes; a constant wall of tremolo-picked guitars, as opposed to riffing; and repetitive drumming. Not too far off from most generic “black metal” actually, but it seems somehow more ethereal and trance-like (when it works).
The lyrics/concepts seem to focus on some combination of nature, atavism, anti-modernism, anti-government, and transcendentalism, but also with doom influences too.

I suppose I fall in with a few of these ideals, at least partly. I’m sure that whatever raises consciousness about the truly horrible condition of the human and non-human world is necessary, as one would presume that once equipped with this knowledge, the onus would be to find ways to live more sustainably. Unfortunately, the people that need this wake-up call the most wouldn’t listen to this music if their lives depended on it (!). Musically, the whole thing often bores me, and I need to be in the right frame of mind for a listen. It’s seems to be music that one “hears” more than “listens to”, though it’s quite nice where it belongs, in the forest.
I really enjoyed the Skagos side of the split with Panopticon, and I like some stuff by Wolves in the Throne Room and Agalloch even. Harrow’s “Wanderer” is fine, as is some stuff by Echtra/Fauna (though it begins to bore me). I like some Petrychor too, though I prefer Tad’s acoustic stuff.

Question 5:

What's your thesis on black metal and politics?

Oh dear, here we go.

Well, I feel the aesthetic and lifestyle of black metal is dead and gone all right, though the genre of music continues on. Black metal doesn’t mean anything anymore as a way of life, if it ever did, but the genre perseveres. In many ways, black metal died in 1993 - certainly with the death of Euronymous, and possibly with the Kerrang! (kerrap!) article.

What is “black metal”? I think the word is completely devoid of meaning. At least it means nothing to me. The more definitions a phrase has, the less meaning it gives and the less relevant it becomes. I suppose what most people think when they hear “black metal” sounds, more or less, like what came out of Scandinavia in the late 80s and early 90s. But even these “progenitors” had differing opinions on the phrase. Was it metal with Satanic lyrics/imagery? Was it the overall “sound” of music? Could it be anything as long as it was “anti trendy-death-metal”? Again, I defer to the artist’s self-identification. If they say it is, then it is.
Very, very few bands move beyond this sound now, labeling it “orthodox”. At best, they are a continuation of this now identifiable sound and at worst, they are a low-brow parody. As it has become a definable genre, it’s become a label, a badge, and can now be successfully commodified and “contained”. It has become safe. It is the rare band that does something different, but even that can be sequestered into its own sub-sub-sub-sub genre nowadays anyway. In nowhere but metal has genre-classification run so rampant.

And for me? Well, I’m sure Skinwalker and perhaps Wende are prone to being labeled in this sense as well, but I feel otherwise, for two reasons. For us, we don’t ever intend to capitalize on what has become a trend, we’re simply content playing the music we like to listen to. And also for us, the scene never even started, in our own microcosm, we are the first.

Ultimately though, I feel that if it’s good music, it’s good music. Call a spade what it is. If it works for you, it works. Life is too short to worry about a true vs. trendy dichotomy anyway, just listen. I would only prefer if more people experienced it alone and remotely though, instead of the giant party it has become.

As for politics, well, perhaps I’ll leave this one alone for this interview. I’ve been meaning to draft a document outlining Wende’s alignments and non-alignments for some time now anyway, though perhaps I need a list of entirely political interview questions to catalyze my answers properly. I can say that Wende was, is and never will be overtly political. That said, I do hope to act in certain ways, upon certain people, through my music…

Question 6:

Wanna tell us a few things about an anarchist movement that you can feel
close to your ideas, if there is one?

Well, I suppose the most simple definition of “anarchy” would be the translation of the word, which means ‘without a leader’ or ‘leaderless’ in English. That much I certainly agree with. I remember a story of a Viking raid, possible at Cadiz (?), where the townsfolk, wishing to negotiate their deliverance asked of the ship “who is your leader”? The Vikings scoffed, and replied “we are all our own leaders”. That much I can agree with. There is no one who is better suited to guide your life than yourself.

As a modern ‘movement’, anarchists generally identify with being anti-authority, anti-greed, anti-exploitation and generally for the dissemination and transparency of knowledge, especially knowledge deemed ‘unfit’ for the public.

As a way of structuring a society though, I feel anarchy is utterly worthless, as it  would essentially be a society without a government, without leadership. I would never advocate a society that wasn’t built on leadership, as it seems anarchism advocates; (remember that leadership need not necessitate a ‘leader’!!!)

I suppose I would describe myself as a “localist republican”. Republican NOT in the sense of the annoying-at-best Judeo-Christian greed-mongers of my home country, but in the sense that I advocate a Republic as a form of government. A Republic differs from a Democracy in that it allows the vote to only a few, not everyone (indeed, there are no true Democracies on the planet anyway).
Which few then? Well, I advocate for the individuals who have the greatest interest in the success of the ‘state’, those people who have an investment and stake in making the correct decisions. Too often, Democracies, and anything resembling a Democracy, very quickly devolve into Ochlocracies, that is mob-rule. That familiar all-too-relevant, contemptible society of idiots who neither care, nor are properly informed to make good decisions for the state, and who are cynically manipulated through the media, money and law by the oligarchs into performing their will anyway. This dystopia, (realized most noticeably in modern America) is a symptom of Democracy (mob-rule), unintelligence and large, overextended states, instead of local, accountable consensus. ANYONE should able to become a voter, an exalted position, but only those who could prove their merit and intelligence, only those who would stand to lose the most in the event of failure, that is, only those who are accountable.

I also can’t stress enough the importance of living locally. This ties closely with my advocacy of bioregionalism. Attempting to continue most anything on a global scale is unsustainable, except perhaps the trade of ideas. There are interesting and emerging texts on bioregionalism one could find, but essentially it is the idea that settlement and culture are most sustainable, and for lack of a better word, healthy, when plotted around the local selection and availability of resources, instead of the import of ‘essentials’ and the export of ‘undesirables’. This isn’t a ‘back to nature’, atavist, mud-hut concept; it is very knowledge-intensive and requires careful stewardship. It is a synthesis of old and new. Be certain of this though: small, semi-isolated states are inevitable, whether we like it or not. Size, and more importantly endless growth, are unsustainable. The biggest “bubble” of all is the human population “bubble”.

I do not believe in authorities, nor do I see any excusable reason to follow authority, other than the interest of self-preservation if under immediate threat from an authority. I do believe in experts. There is a difference. Experts are knowledgeable in their field or area of intelligence. They are not authorities. That is, beyond question, and demanding of followers. A physicist is not an authority of physics, but an expert. Both the expert and any self-proclaimed ‘authority’ of any field are to be questioned, to be sure, but it is the expert that is validated by other experts as speaking words of merit, while the authority seeks to dominate and withhold information for their own gain, and are often incorrect anyway.
I don’t follow authorities, if I can reasonably help it. I do “follow” and accept experts. I am not an expert in physics, evolutionary biology, the Japanese language or Greco-Roman wrestling. But I am happy to defer to an expert’s knowledge in instances when my knowledge is inadequate. To proclaim otherwise is arrogance in the highest degree, and if there’s one thing I hate more than lack of knowledge, it’s the illusion of knowledge, feigned intelligence.

There, you got me to wax political anyway.

Question 7:

And last but not least what are we gonna see from you in the future. Any
plans for any release?

Wende was originally (and still is) planned to encompass a four-album canon, the albums representing loss/conflict, reflection/introspection, change/kinetics and synthesis/creation, respectively. This canon is meant to illustrate a turn, and a change. The first album represents something that went wrong, the second album represents the conscious thought necessary to creating a solution, the third album represents the inherently violent state of change and transition, and the fourth album represents the new condition, the synthesis, the solution. That’s Wende in a nutshell.
The first album, The Third and the Noble (a rerecord of the demo, still to be considered the first album), deals with the subject of loss, conflict, decay and decrepitude and thus sounds primarily morose, woeful and closed. The second album, Vorspiel einter Philosophie der Zukunft, deals with the subject of reflection, introspection, retreat and examination and thus sounds primarily spacious, trancelike, hopeful, full of yearning and open. The next two as yet unnamed albums will continue with my basic concept. There will only ever be four albums, and anything I may release after that would be epilogues.
I have absolutely no date set for the third and fourth albums, but don’t hold your breath, I’m very busy, and I can’t seem to find the same inspiration as often, but someday. Someday.

Skinwalker is almost finished recording our second full-length, which probably will be called Ancestral Genocide. Our first full-length, The Darkest Magic is floating around and can easily be downloaded. I do recommend my remastered version of that album, if you can find it. You’ll know the remastered version by the first track, Earth’s Shadow on the Moon. In the remastered version, the sample is at the end, instead of the beginning.

I maintain presence in a few other side-projects, but I can’t really speak about those at all.

Thanks for the interview, AVE GREECE!!!

Sunday, May 6, 2012

Third Album Whisperings

Well, well, well. All finished with the rerecord of the first album, and it's posted on Of coursec the second album has been around since early last year, and it's everywhere. I've recently been working around some new riffs and ordering the structure to some older ones. With any luck, I should have the third album written by this fall (2012) and set to record over winter/spring (2013). The third Wende album will be a very challenging listen, but rewarding. This is in all likelihood the last "metal" album I will make with the name Wende, so I'm "going for broke". The sound will be entirely new, for me and for the listening public. Everything about it's concept, design, writing and playing is designed to be unlike anything else out there. I've made my extension on the music I like, now it's time to make the music I want. And it's unlike anything I've ever heard.

Thursday, April 12, 2012

Pasts, Paths and Futures.

I've been neglecting this page. I assure you, all of you, that it is still active. I'm waiting on the guitarist of Skinwalker to upload the rerecord of my first album, when he does, it will be made available to all of you, both on and also on this blog, The Big Brother american failed government has been trying to limit internet use, amongst other thing. Be careful with music out there.

Know that now, everyone who wants to has my full permission to acquire my music off both of the aforementioned blogspot pages. Any other blogspot, I'd rather you didn't post my music, but ultimately, I can't really stop you. I certainly am not in music for the money.

I'm making the music I want to hear. I may never physically release it, though I've been thinking about getting a couple tangible copies of it on cd. My biggest motivation for releasing a physical copy is the inclusion of lyrics and artwork. I like to take photographs of the places I hike to and have ethereal and aesthetic experiences at. I also put a lot of time into my lyrics, which is why they appear on this page in full. Please read them, you cannot get the full message of Wende without them.

The rerecord sounds much better than the demo, though I didn't change much about the music.

I've been working on the second Skinwalker album, Ancestral Genocide, which is done now, and may be posted soon, also on the aforementioned blogspot pages. I've started a heathen/folk rock group, Runelore. This isn't spastic "folk metal" or that fake "viking metal" stuff. This is honest, real folk music using Northern European folk music sensibilities and tonality, albeit with electric guitars. We'll try to get something done this summer.

The third and fourth Wende albums are still in formation, but should be done next year, 2013 by the Gregorian calendar. They will be released in tandem, and after that, Wende will be essentially over. I will have said everything that needed to be said by then, though I may release more stuff in the far future.

To remind, this page is still active, as is Wende. I've been very busy as of late, and don't seem to have enough time for the darker, majestic and thought-provoking escapes as I'd like.

Thursday, June 9, 2011

Second Wende interview - with S. Stormhammer of Valkynaz

Zamiel of "Wende" Interview (by Stormhammer)



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!


You’re very welcome.

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

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.

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?

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.

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?


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

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.

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?


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.

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?


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.

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?


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.

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).


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.

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!


-S. Stormhammer, Transylvanian Forest E-Zine

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