sacri confini intorno a me; sempre più esigua è la
di coloro che salgono con me su montagne sempre più alte: io
un massiccio unendo montagne sempre più sacre…”
(Friedrich W. Nietzsche)
MM: I think it leads
one significant step closer towards our goal, yes.
OC: In 1995 you moved from Denver (Colorado) to Portland (Oregon). United States’ north-western lands (Washington, Montana, Oregon, Wyoming, Idaho) have been described as "the Last Bastion" for people of european ancestors...
MM: In some ways this is true, but in many other senses the Northwest is as lost and hopeless any other area. The one important thing about this part of the country is that there is still space: it is not nearly so populated as the eastern half of the USA. So there is much more contact with nature here. I think this area might therefore be the last bastion of sanity, in some way...
OC: It seems that the New Age cancer is trying to clean the conscience of the flock from the materialist culture oppressing the western world. Lots of nice words about "peace", "love" and "spirituality" just to feed the need for protection, which our society is ultimately going to lose. Some people, in criticizing all this, claimed that Adolf Hitler himself was a new-ager, while - on the other hand - one of I.T.P.’s targets is fighting against New Age. All this seems to be very chaothic; however, what is your opinion about the New Age ? Do you think New Age followers can be described as "hippies of capitalism"?
MM: Your comparison is good. I think the New Age is hardly a positive response to the degeneracy of the modern age, but rather just a symptom of it. It is the worst example of materialism that has yet manifested: where even spirituality is something that can be bought and sold, like any other product.
OC: Don’t you fear that the consumistic New Age can try and prey on/misinterpret faiths as Asatru (as they already did with several oriental religions and philosophies) or different european pagan veins in general?
MM: They are already doing this, so it is not a fear: but rather a fact.
OC: In 1996 Boyd Rice produced "Death’s Gladsome Wedding". You talked about a similar project in 1995. Are you still determined to carry this work?
MM: The project that I was talking about was eventually released by Kadmon as a double 7" presentation. Actually I was the one who originally gave the tapes of the Iron Guard music to both Kadmon and to Boyd, around the same time in 1989. I obtained a cassette copy of the music from an obscure distributor who specialized in military music from Europe of the 1930's and 1940's. In any case, I am happy that both editions are available. I do think that Kadmon's version is much more true to the real spirit of the original Iron Guard.
OC: In the United States roleplaying is widely practiced; here, in Italy, during last five years, it became increasingly popular, even if before it was cornered as an underground phenomenon. Finally, last year the media (exploiting a couple of suicides as casus belli) pointed their guns against the world of gamers. You dealed with roleplaying several times (both in "Lord of Chaos" and in Momentum, while you were laughing at some neo-nazi); what do you think about it? Did you ever play, do you enjoy some particular game-system? Can we consider you as a role-player?
MM: I am not a role player, and I've never become involved in these "fantasy games." The real world is a much more fantastic and bizarre place to inhabit!
OC: Which is the last artist/album (not necessarily in our scene) that hit you positively?
MM: At the time I am answering these questions (the 9th of January, 1999), the last impressive record that I heard was something my sister gave as gift to Annabel for Yule last month. It was a new recording of the songs of Hildegard von Bingen by Jocelyn Montgomery and David Lynch (the film director), and I think these are the probably the best modern renditions of this music anyone has yet achieved.
OC: Why "Life" by Viereck? Can you tell me more about him and this particular poem?
MM: George Sylvester Viereck was a German-American writer in the earlier half of this century. He was a curious person, involved in many different things, from art and culture to politics. Some of his gloomy, romantic poetry is quite excellent (for example the short poem "Life" which we used!). During both World Wars he published pro-German magazines, and during the First World War Aleister Crowley lived for a time in New York and was a contributor to Viereck's paper. So most people, if they have ever heard of him at all, remember Viereck as "propagandist," but personally I think his poetry alone makes him worthy of investigation.
OC: How is going the work with "Ultimacy"; have you got problems or something other?
MM: We are slowly working on the next studio album "Ultimacy," but like most aspects of Blood Axis, we do this in an unusual way! We do not feel "rushed" to complete another record in a specific amount of time, since we do not play music in order to "make a living" or support ourselves. I think it is more pure that way, and less likely to be compromised. We prefer to let things develop "organically," and finally appear when the time is right.
Also we do not define ourselves only as "musicians" because we do many other things as well: for example I spent a year writing a book, and I am often working on other writing projects, or publishing, releasing other people's music, and so on. I do not ever want to be defined (or rather confined) by one form of expression.
Another factor which has very much delayed the course of recording the next album was our decision to play a long tour in Europe. However, we were glad we made this choice as the journey to our "ancestral homelands" has provided much inspiration and it was very invigorating to meet the people in the audience who consider our music important. Later this year we hope to have "Ultimacy" finished, and at that time we will reveal the details of how it will be released and distributed. We hope our listeners will consider it "worth the wait," as we say in English...
OC: After a so "bombastic live action" through nearly all the european lands, are you afraid by the possibility to see a "bootleg proliferation" (in the vein of Death in June: one concert-one bootleg...)?
MM: I'm not "afraid" of the possibility, although I hope it doesn't happen. I would have no problem with a show being released if we had total control over the presentation and if the quality was good enough. However, with most bootlegs they are presented in a poor fashion and the recordings themselves are not very good and don't reflect the power of the original show. They are simply released by people who hope to quickly profit off the name of a band. If people do have good recordings on audio or video from any of our concerts then I would urge them to send us copies, and if we decide there is a proper way to release some of the material, we will of course credit and thank those who helped record it, send them copies of the finished release, and so forth. This seems to me a much more honorable and "comradely" way to collaborate!
OC: Pityfully, at present, Europa cannot be considered "The Gates of Heaven"… What do you find most upsetting (generally or specifically) here in Europe?
MM: That most Europeans have lost any sense of themselves, and seem to want to be everything but Europeans. When one surrenders their identity and traditions, they enter the void... and most never return. But maybe this is simply our destiny. Hopefully we shall live to see a "springtime" after this winter of decay.
© OCCIDENTAL CONGRESS / MICHAEL MOYNIHAN