Death In June represents, from the year 1985 (when the project became a "one-man band"), the artistic-musical epos of Douglas P., personage of heroic fibre in the tragic Wolf Age. The interview invests various themes for then concentrating on the principal ossession of Douglas who, as maybe few others, has not forgotten his own European origin. And they're his own words to give us, good Europeists and Eurocentrists, a bit of hope. For the last act of the tragedy Europa is going to begin. Maybe it has just started!
It's been some years
I regurarly visited Italy but, it's still one of the most spiritually
and invigorating countries I know. In comparison to many other European
countries it is still relatively pure and aware of its sense of being
heritage. That, I find very comforting and inspiring.
2.I know that in the past you travelled a lot. Are you involved in travelling around the world also now or have you reached a "condition of stability"? What does represent for you "the Journey" and what did you gain, in positive or negative, from your "roaming"?
I certainly haven't
any degree of "stability" through my travels. They still continue and
are a necessary addiction. The continuation of a variety of eternal
are a definitive link connecting all my journies.
3.You live in Australia. Can you explain to me what are the positive or negative sides to live there?
Don't you feel a bit denaturalized to live so far from Europa?
I suppose the only
about Australia is the distance from other places. However, that can
be a bonus. My antennae spread far and wide here and that is extremely
important to me. I was being stifled to death in England by its
and its present stock problems. England appears to have a surfeit of
individuals who seem intent on letting you know about their pathetic
I became exhausted with dealing with them. Outside of the natural flora
and fauna my existence in Australia is an extremely european one. Our
4.You toured in USA in november 1997. How was that experience? How did the people react to Death In June performances? Did they understand something? And, in general, how have you found the "Great Beast"? It was your first time in USA?
It certainly wasn't
first time for me in America as I had visited the place on and off
1977. Unfortunately, there were too many "behind the scenes" problems
with the U.S. tour that tainted it for everybody involved. As I have
in all the other places I have visited in the world there are always
who equate to Death In June. In fact, there were more than I ever
there would be in America. Meeting those people was a definite bonus on
that tour. It opened my eyes to aspects of the "Great Beast" I hadn't
before. It was very reassuring but, also sad at the same time. A lot of
people of european descent seem very lost out there.
5.In the past Death In June exibitions were almost rare. I have noticed that in the last few years you have intensified your live activity. What has changed? And why in the past you were not so enthusiastic to play live?
In many ways I had
sick of the studio experience and I also felt - and still do - that
is running out. Death In June had/has a duty to go out into the public
arena and declare its intent. Whilst we deemed it not necessary at the
beginning in 1981 in 1999 I certainly feel that Death In June needs to
be rammed down some people's throats. What better way than a public
It is the end of the millennium and we are very much here!
6.Death In June experience has always been linked to a certain kind of elitarism: after all these years how do you judge Death In June relation with "the Other"?
You're right, the
In June experience has always been an elitist one. It is not for
I wouldn't want it to be. That extends even into the membership
You either get it, or you don't. At this stage in the game it cannot be
explained in terms the "others" will comprehend. Because it cannot be
base the relationship I have with the "other", or the mass, or whatever
you wish to call it will always be antagonistic. It can't be anything
7.For your project with Richard Leviathan you have chosen the suggestive name of "Kapo!". There is any particular reason for this name? Maybe is that you, in a way or another, feel like a "kapo-in-life"?
Whilst it didn't
out as an exploration of my experiences and thoughts about the war in
and the Balkans, in general, it quickly became evident to both Richard
and myself that was the atmosphere of the writing and recordings. New
are all "kapos". We are the prisoners who look after other prisoners.
are all trapped by our past, our ethics, our morals, our cultural
and expectations. We still haven't broke out into the freedom of a new
dawn. We are still "kapos".
8.In your new album I can feel a certain "return of the tension". After the two fantastic albums "But, What Ends When The Symbols Shatter?" and "Rose Clouds Of Holocaust", with their serene approach to music, in this new masterpiece I can hear a different atmosphere, in some aspects linked to what you have done in the past with albums like "The World That Summer" and "Brown Book". What do you think about your new direction? And can you spend some words about the abandonment of your usual collaborators for working with Albin Julius?
As most people
now know both Albin and myself admired each others work for many years
before meeting at a Death In June performence in Munich in the winter
'96. Albin then went onto organising a concert for DIJ, Strength
Joy and NON in Vienna during the following spring and we became closer
and closer friends. When he was holidaying in Australia in 1998 it only
seemed natural to book some time in the studio to see what would
I had already started recording "Take Care And Control" and all our
writing and recording naturally pointed in this direction, which was
fresh but also, as you say, familiar. It can't be dictated. It dictates
itself. However, I knew it would be different from both "But, What Ends
When The Symbols Shatter?" and "Rose Clouds Of Holocaust" because they,
in turn, had declared their end. I really felt that during the remixing
sessions for "Leopard Flowers". The life force wanted to move on. "The
Black Whole Of Love" is all the more beautiful for it!
9.How do you judge what is happening in Kosovo? Don't you think that Europa seems to be unarmed, unable to re-act against the non-culture of USA and the incivility of the former Sovietic Union? From 1945 Europa is dead… Can we hope again?
In some ways this
back to question 7. However I would tread carefully about criticising
U.S.A. As its name suggests there are many different aspects and
to the United States and the one we must never forget is the european
We turn our back to that at our peril. Europe definitely has friends
We both need each other because of the Anti-Europeans that are working
constantly to destroy us. They are as dismayed as us at the decline in
the original spirit that built the most powerful New Nation in recent
As regards the apparent lack of initiative and activity from Europa to
the barbarism that as been abroad within Europe again then surely that
is a combination of hidden agendas - particularly those of the British
and French Governments, and the genuine fear of plunging Europa into
another 20th century bloodbath - at least the fear eminating from the
individuals that normally make up most modern european "democratic"
institutions. Europa isn't dead. It's waiting in the wings. The sets
props are being arranged on the world stage as we speak. One of the
acts is about to begin. Who knows, it may well have already started!
10.What are the future plans for Death In June and for your other projects?
11.The interview ends
Thanx for your attention and your patience in answering my questions:
do you want to add something?
10./11. There is a
on the horizon for Death In June. The first thing that will see the
of the day will be the new recordings Albin and I have done recently.
again these have been done in Australia as the recent tour actually
up here. The working title is "Operation Hummingbird" and I would like
to think that it will be out by november, 1999. There are also cd
due of "The World That Summer" and "Brown Book" which will include some
extra songs from the same period in the late 1980's. The series of
discs will also continue with the release of "The Wall Of Sacrifice".
again the artwork will be by the italian artist Enrico Chiarparin who
works for Calvin Klein in New York. Many of the designs for women have
been by Enrico over the past few years. I'm very lucky to have such
people willing to work with me. And, help me! Videos and books are also
long overdue for release. The next year I hope to rectify that. Then,
course, there is live work. Who knows where that will take Death In