It really is extraordinary how the works of some artists are so far above those of the rest. Especially nowadays it is almost frightening to notice how few artists actually manage to create anything of that far above the rest quality, yet from time to time one is able to be amazed by the sheer brilliance of the works of those who truly have been granted the gift. Arcturus' second album
"La Masquerade Infernale" has been one of those creations which has managed to truly rock my cages with its feverish and chaotic magnificence. It also should be said it actually is one of the few albums ever having matched the ideology of Epiloq Magazine! Thus I felt it to be my duty to see if Garm had anything to say about my little inquiries...
First and foremost, could you sum up a bit of what has happened with Arcturus since the release of your second album "La Masquerade Infernale"? How has the response been?
- Since "La Masquerade Infernale" the band has had a long breather, whilst Valle and the undersigned have been sporadically busy compiling tracks for a remixed version of the album. It'll be entitled "Disguised Masters" and will be released on the 1st of February '99 ev. on our own label, Jester. This release will also include a new song, a pure string version of "Ad Astra" and a re-recording of "Du Nordavind", an old song that was never brought to fruition. The response on "La Masquerade Infernale" has been 90% hovering over the top. Add 10% old crabs. All in all, quite successful.
If we may begin from some slightly more general areas... What is Arcturus, when speaking about the musical formation? Most of the active members in Arcturus are involved in at least one other project as well, and often that particular other project could be stated as the 'main band'. Which part of the members' artistic beings does Arcturus serve?
- Arcturus is sort of an eclectic freakshow that channels creative urges which go beyond our more fixed commitments. For instance, Ulver has 'till now been heavily conceptualized around the dark, sinister 'spirituality' of Scandinavian culture. Mayhem is all machine guns and tanks. Arcturus is very convenient when I need to be giving the playful child in me free rein. With this said I've never felt the need to put one above the other, so it's a proper band.
The debut "Aspera Hiems Symfonia" caused a sort of a new wave in Black & Dark Metal, resulting in many other bands releasing more professional and consciously artistic material. Even if "La Masquerade Infernale" hasn't proven to be as influential yet, Arcturus seems to be a bit of a pioneer in the Black & Dark Metal scene. Have you given this any thought and is such an avantgarde crown heavy to bear?
- I am aware of it of course, and what makes such a status is simply the fact that we frequently go against the grain, we stand alone in our creative universe, and we firmly believe in the necessity of change. Then you have the phenomenon where those who haven't the initial craziness to do something original discover that it didn't really go at the expense of anything but the better, turn post-wise and start doing the same. Such typical swineherd traits. I know some decent people from the Black Metal 'scene', but most of the lot don't seem to understand why their endeavours seem so poor compared to their betters, and goes whining on the usual bullshit about being too deep and all that to gain recognition you know. To compensate further for their loss of personal achievement they engage their envious poison tongues. The result is a musical environment which is reduced to the most decadent hen party I've ever witnessed. I'm thoroughly fed up having to endure all the chatterboxes. Unfortunately I'm often associated with this environment and/or with the people in it. In truth I feel no particular belonging to it, neither do I address it much. But it's unlikely they'll ever get it. Thus they go on, Garm bla, bla this... Garm bla, bla that... That's your real crown of burdens.
Is the perpetual connection (pursued by other people) with the Black & Dark Metal genre a negative aspect for Arcturus? It nowadays seems as if there's only one person in a group of fifty people who really takes the time to absorb and comprehend the profound meanings of the music. Thus don't the pearls seem to be cast before swine? After all, Arcturus does release their material, so up to some extent the music has been meant for the listeners?
- I guess I elaborated enough on that in the previous question, so let's not get carried away, for if we did... Regarding the pearl-casting, yes, I often feel that they're wasted on the pink fatsoes. But there are, as you say, some who make an effort to separate the diamonds from the dross. As long as those few are out there, I'm happy to ignore the herd.
As a whole, "La Masquerade Infernale" is arrogant pomp and twisted buffoonery taken to extremes. It seems as if you've combined quite archaic themes of music and poetry together with somewhat modern ways of expressing them. Is there any truth to my interpretation?
- I'd say that's pretty accurate. As I explained earlier, Arcturus revels in eclecticism. This includes letting both the Marquis de Sade and the last Prodigy album get to you, you dig?
How long a period of work and dedication was the "La Masquerade Infernale" album? Apparently, the material on "Aspera Hiems Symfonia" was quite old (some of the material could be found already on the "Constellation" MCD), so when had this quite a drastic change of style or preferably evolution taken place?
- It took us approximately six months to manufacture "La Masquerade Infernale", and it is a product of ideas that sprung up when we were about to close on "Aspera Hiems Symfonia". It's like that. You do see a different horizon when you walk out on your regular path, and start stumbling on a new one. "Constellation" was by the way nothing more than a promo CD pressed and distributed in 500 copies only.
The lyrics on "La Masquerade Infernale" blaze with similar rebellious fire as did the works of Charles Baudelaire and many of his contemporaries. Does this vigour of emotions reflect the Faustian spirit to which the whole album has been dedicated? Could your lyrics in Arcturus be seen as an homage to the poetry that blossomed centuries ago or is it rather the awakening of a similar profoundly sentimental expression of lyric?
- Thank you. No small-talk exactly. I'd like to stress that I write rock-lyrics and not poetry. However, it doesn't take much to give the shit a deeper impact than your average contemporary rock-lyric. The lyrics I write for Arcturus are separate works, and often ambiguous in intent. You read me bad if you only perceive them as sentimental. They've got too many cynical and ironic qualities to be dismissed as that. But of course it depends on what you mean by it. I'd say it's fair to define them faustian though, in the sense that they often represent contempt before contentment, and that they hint towards a greater, unattainable joy. The Faust-myth is very tragic and should serve as a crux for anyone who is about to take to similar ways of thinking. It's a cul de sac path. You see the dangers ahead but can't keep from walking towards them. It embodies a quite unique destiny, and I'm pretty fascinated with it, yes.
Speaking of the Faustian themes, would you, Garm be eager to sell your soul in order to gain spiritual completion? If so, who might Mephisto represent in your case?
- If there was such a thing maybe. I don't believe in notions of absolute truth. We live in a damned universe full of contradictions and you have to enjoy lifes' eternal twilight zone if it is to be worth anything. On the other hand I'm willing to proceed upon perilous paths to advance. I'll leave the soul-selling to the occultnicks.
Many of your lyrics (e.g. "The Master of Disguise") portray the devil as a mysteriously tempting and romantic entity, again in a similar manner as the decadent-romantics described Lucifer centuries ago. Is Arcturus' aim to once again introduce the elegant, jestering and aristocrat fin de si'cle devil to the people, instead of the stenching and obnoxious goat shrieking with blasphemy whom people have learnt to despise and whom it is easy to hate?
- I haven't thought about it quite like that before. The kind of social infernalism described in the lyrics is ultimately a method for me to convey certain principles I adore. The Devil is a strong archetype, and as a more aesthetical and dignifying approach to such a force feels more right to me. As I see it the Devil would be a chap who lives by his own morality, having lots of fun while he's at it. The perfect ideal of an exultant, self-fulfilling lifestyle. The character I write about could just as well be seen as an extension of myself.
Are you able to relate to Edgar Allan Poe's poem "Alone" and was it chosen for the album because of that? I must admit that I had become familiar and enamoured by that particular poem only months before the release of "La Masquerade Infernale", so it was a bit of a surprise when I found it on the album... Even though the poem has been written in quite a dramatic and sombre manner, I was able to draw similarities to my own life and experiences from that poem.
- That's quite obvious I think.
What is the story behind the poem "Tragediens trone" by J�rn Henrik Sv�ren? It isn't exactly the first time that you've sung about the 'throne of tragedy', for on Ulver's "Vargnatt" tape is a track by the same name. Are we dealing with the same poem here? The moods and themes of the poem seem to be quite similar to the general moods of "La Masquerade Infernale", so was that the reason for the poem to be featured on the album?
- You do your homework, I'll give you that... It is correct that we used this poem also on Ulver's "Vargnatt" demo (although in Norwegian at the time). I chose to ignore it, seeing that the tape in question reached such a limited amount of people.
In truth there are internal reasons for this poem to keep haunting us, but I certainly won't gainsay your assertion that the poem is at its right place. We might publish a collection of the author's poems on Jester Publications when he's ripe.
I did as suggested and sought for the 'secret audio information' and even managed to locate it! I shan't reveal the location here in order to save the pleasure of discovery to other people as well! Could you enlighten a bit of what that particular part is about and what is the meaning of it on the album? I haven't managed to completely get a hold of the lyrics, but at least the number 144 000 is being mentioned a few times; that particular number seems to have a strong biblical meaning as well. In The Book of Revelations 144,000 is the amount of the chosen, thus the number of the totality of the sacred. How do these themes relate to Arcturus or do they relate at all?
- Sorry, it gives me such a kick not to answer this one.
Now to move further into the musical expressions... Have you ever been faced with a situation in the composing of Arcturus' material, where some part of the material has been too 'strange' or 'daring' to be used in Arcturus? What I mean is that, even though the music would have been great, it would have been just too weird to be used in Arcturus? If this has not happened, would such a situation ever be possible?
- Things might be inappropriate, but nothing is too daring.
There has been talk of "La Masquerade Infernale" being a 'swansong' for Arcturus. What exactly is the present situation with the band?
- We don't know what will (or will not) happen ourselves. We've been talking about doing some new things, but we're certainly not in a hurry. It will be quite a task for us to exceed "La Masquerade Infernale", and that ought to be a fundamental criterion to continue. I feel pretty confident that Arcturus won't cease shining yet though.
Alas, that's the end of this interview. I'd like to take this opportunity to thank you, Garm for taking the time to answer my interview. You're free to state any closing comments and please include a short piece of poetry that you think would be suitable...
- Thank you, the pleasure's all mine. I'd like to add that we have just taken control over things through Jester, and the plan is to release some fantastic records in the near future. So be sure to check us out. As for the quote, I'll have to translate this from Norwegian, so keep that in mind:
"The monument is a monument of its own oblivion. And is given a meaning only when there exists none to give it meaning. It is the rock you hold in your hand. That you never get inside. Only the mirror shows the exact time. When the rock reflects in it, it is not out of vanity. The mirror reveals all, the rock nothing. As rock and mirror are the things you want to know." (Tor Ulven 1953-95)
Interview by Jukka Mattila for Epiloq Magazine #2