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Oneiric Imperium Interview; There is No Room for You
Friday, August 01 2008 @ 01:00 AM PDT
Contributed by: Andreas Faust

Heathen Harvest: Describe your aims and methods when making music, what you hope to achieve with it, and what feelings you wish to evoke in your audience...

Bood Samel:
I have now over the past few years cultivated an over all approach to music that I learned through trial and error. I am not a musician. Not every song is made in the same way, nor is every song intended to express quite the same thing. But there is an over all vibe that the majority of it shoots for. Most of my thinking is based on the interplay of polar elements (Apollonian vs Dionysian, Shiva vs Shakti, Eros vs. Thanatos, silly vs. serious, fire vs. ice, etc.) and I live my life in the simultaneous expression of either end at all times, so whatever style song I end up making tends to reflect whatever strain is more dominate  then the other at any given moment. Oneiric Imperium leans towards both dark ambient and power electronics, but very introverted takes on either. Most of my more ambient songs deal with intuitive, occult and irrational matters, dream content in particular. The more harsher and closer to power electronics songs tend to be more straight forward and and deal with literal, exoteric topics, with a bit of new right meta-political themes, and big picture issues. I like to blur the personal, local and the immediate level with the vast, archetypical, and historical scale of life.  Certain reoccurring ideas are constant obsessions of mine- dreams, gender/race/class issues, urban decay, DIY direct action, cultural decline, Philadelphia, Ancient Astronauts, UFO lore, and Jihad.

I've spent my whole life getting by and doing what I do through meager and hands on means, by any means. That carries over into my music, and its one of the main things I aim to communicate with my art and music. An almost desperate sense of a personal struggle towards value and meaning fought against a dead and meaningless culture. But also not without a sense of wonder and a sense of play.

You recently played with Luftwaffe, Awen and Cult of Youth in New York City. How did the event go? Was it a magical performance?

Our friend Kenny busted his ass to get us all there, but sadly the traffic Gods were not in our favor that day. We got stuck in both Philadelphia and NYC traffic. We ended up there a bit late and quickly set up our gear on a stage crammed in around the other projects gear. But we went at it. We screwed a few things up, but our set  went well over all. I had some adorable Ladies playing with me that day so hopefully they distracted everyone from any mistakes we made. Justin Ordnung from Genocide Lolita showed up and added some vocals as well.

All the Luftwaffe, Awen and Cult of Youth people were are good folks who did a great job that evening. I also got to meet a bunch of people in person that I've been talking to over the computer for a while now. However it was a just a fun and unique show for me, and not a magical experience per say. Given that it was in a bar in NYC along a strip of bars there were a lot of regular bar hopping people that were there randomly, not because they understood the context of what was at hand. I think the context of the venue took away from the experience.

However the next day at Germ Books here in Philly  (An occult book store owned by David E. Williams) Changes played, and at the after party at David's house Michael Moynihan led a Child naming ritual for Robert N. Taylor's son Ash. That day was amazing. It was an event in an intimate environment where only people who understood the full extent of what they were partaking in were present. It felt genuinely Volkish and had a sincere spirit of community. Robert N. Taylor is one of the most inspiring people I was ever lucky to meet. The amazing success of that event is exactly why I strongly feel that post-industrial culture must go into an explicitly DIY direction. You couldn't have that same spirit at a bar or nightclub.

You are actively involved with street art (real art, that is, as opposed to mindless graffiti). How did you become interested, and what if anything do you hope to achieve with it?

BS: I've been doing graffiti and street art sense I was 12 years old. I'm almost 30. Around the late 80's/early 90's I first started to notice graffiti around the Philly area and it filled me with a sense of wonder and awe that stirred something deep with in me. People like CAEM, CREDIT, KAIR, RAKAN, ENEM, XEROX, TERROR, BUSKI, SO BAD, and OZ to name a few. When you realize that you can interact with your environment on a hands on, direct and creative way you never stop. Between graffiti/street art, skateboarding, and my time squatting it taught me the true extent of what can be done on the immediate level of right here, right now and with whatever is at hand. The urban wasteland, while a war zone prison for some, is my playground. It exists for me to express my will through. The process of field recording to me is just another extension of going out and working artistically with environment around me. Also I have a very big streak of the romantic and a deep sense of the "eruption of the marvelous", which these actions lend toward facilitating. This end of what I do falls more on the Eros side of things. Think of that William S. Burroughs track Apocalypse, or read the T.A.Z..

I switched from graffiti to street art mainly because I was getting older at the time and was sick of looking over my shoulder and dodging cops. Putting up stickers and wheat pasting fliers are not illegal here so I can just walk down the street and casually do it. Though I still do graffiti here and there, just in out of the way abandoned places that no one cares about or on freight trains. I bring paint with me when my friends and I go on field recording missions, which are often in crazy abandoned commercial buildings. If we can scream and bang on rusty old metal debree in a place without provoking any ire we can paint too. Mainly I do these things simply because I like to. I'm the most calm, clear headed and content when I'm out walking around the city alone putting up art. Through doing these things I reach a state pure action.

I've had a lot of extremely varied reactions to my art over the years, from those who adore every bit of it, to those who hate me for it. I have a good understanding of what demographics of people pick up on it and how it effects them. Water seeks its level, and some instantly get it 100%. One kid who became a good friend of mine, Nick Carbuto, moved to Philly from Long Island NY before I ever knew him just to be around what I do and to get involved himself. Which he did. It is my job to keep that same sense of awe going in others that I first felt as a child at the sight of clandestine art. It's a powerful means of disrupting the pervasive quality of alienation and nihilism that permeates the pointless emptiness of American anti-culture. Chasing the eruption of awe leads to a sense of the primordial, which in turns points to the sphere of Tradition. Besides the Eros driven aspect of it there is also an Evolian element. For me this type of art is also an expression of Jihad.

A great deal of my street art is also the material basis of my practice of various chaos magick techniques.

HH: The 'Antifa' or their American equivalent recently slapped some disapproving statements on some of your artwork. You were also assaulted by communists while filming them at a Mumia rally. What do you make of these attacks, and have you encountered any other hostile reactions?

BS: I've had a few run ins with these types of people around town over the years and at times I've started it myself. I know who a lot of them are personally from my squatter days. Here and there I've stirred up that hornets nest because they always do and say exactly what I expect them to do because 9 out of 10 of them only operate on a very basic, materialistic, reactionary  either/or level. They never let me down in the regard. So I occasionally agitate them and get them to look bad by opening their mouths. They cut their own wrists for me. For instance my first full length CD service the target started off with a curse track called "HEXHEXHEX" that was designed to turn the local anarcho-punk community in on itself. The week service the target came out a riot broke out at an annual punk festival they were having for a few years in a row and they have not had one sense.

The filming of the Mumia rally was a complete success in my eyes. I went there hoping to get footage of these lefty shit bags acting ridiculous, which they did for me almost on cue, I didn't seriously get hurt and I didn't get arrested.

Lately certain anarchists have been concerned because I've been hanging out with a few guys from a group called Keystone State Skinheads and I've been bringing people with various types of Eurocentric interest together to discuss mutual concerns amongst ourselves.  They are freaked out by the idea of Post-Industrial types, Black Metalers, Skins, Aasatru practitioners, etc. coming together under a shared sense of mutual identity. The far left in America is completely unprepared for what is coming and for even what is already here. We will simply take their best ideas, out do them in terms of results generated from application of these ideas, and leave them behind in the cultural trash heap.

HH: Your native city of Philadelphia seems to play a big part in your life...you seem strongly to identify as a native of 'Philly'. Has it influenced your art or worldview in tangible ways?

BS: Oh yea.

I hate America, but I love Philadelphia. It's ground zero for the death of the west. It's one of the places America started first and its one of the places it failed first. It is a huge rotten city with vast decaying, abandoned neighborhoods, and a pervasive dark, bizarre and often violent atmosphere. My whole sense of working with the immediate environment on a hands on practical level comes from growing up around such shear abundance of wasted space. I feel very inspired and moved by certain parts of the city, from the old world beauty of the area on the shores the Schuylkill river along Kelly drive, to our huge Masonic buildings, vast over grown slums, crumbling train trestles and to the yawning skeletons of dead factories. Hoards of inbred and forgotten derilicts bred to be a scapegoat underclass with their gross day to day lives of crime, Baby Mommas and jail. The proliferation of Black extremist cults such as Black Hebrew Israelites, Nuwabians,  Black Moors and the Five Percenters. The huge class inconsistencies from block to block and it's many layers of history that show themselves through out the cityscape.  I love it here because I can exist here and get away with living how I want to live.  I'm reminded of an Evola quote-

“However, in contrast to your opinion, I see nothing but a world of ruins, where a kind of front line is possible only in the catacombs."

You are engaged in clearing up an old vacant lot near your house, previously used by junkies. You plan to create a garden there, and decorate it with runes, sunwheels etc. I sincerely admire this effort at urban renewal. Can you tell us a bit more about the project, and do you know of any other similar projects about the place?

BS: Philly has a ton of vacant lot gardens because it has a ton of abandoned property. So the idea of doing so is an idea I've been familiar with for a long time. Years ago I used to help out my friend Broken with his gardens around west philly. I live right where the neighborhood of Fishtown ends and the neighborhood of Kensington begins. Kensington is a place notorious for crime, drugs and prostitution. Next door to where I live with some of my friends is this lot that the city owns. It was covered in trash and frequently whores would use it to ply their trade and get high. So we started running them out, and cleaning the lot up. Bit by bit we got the lot clear and bit by bit we've been transforming the space into something more respectable. No one cared when the lot was a shithole and so now no one cares that its a weird garden with outdoor noise shows. I live on York street and hence the name of the garden being the Yorkshire. My house is "The keep on the Borderlands".

You have to take things in your own hands.

HH: You claim you are interested in politics “only when they default into alchemical territories for the individual.” Could you please explain further what you mean by this? Do you see your community activities (street art, transformation of the vacant lot etc.) as political in any way, or merely personal? Or is the distinction between personal and political a blurred one, and part of the very alchemy that you speak of?

BS: I don't like to make political statements, though I will concede to being at the moment inspired by the ideas of National Anarchism. Some of the people that I do various projects with and I have decided to operate with in the context of National Anarchism for the time being.
I don't like the Left Anarchist notion that "everything is political", and I'm merely some guy acting on my own to do what I feel I should be doing. I feel like what I do contributes more to a particular spirit rather then a particular type of political model.

What I meant by that comment about politics and alchemy is that political extremism when taken far swings back around to its opposing end and thats the point, and the only point, that politics interest me. The far left or far right breaks through to the other at a point and in that union of opposites a non-dualistic state emerges. I love that gray area of terra incognita.

HH: You say that you spoke to a black man at your recent concert in New York, and he had no problem with your opposition to multiculturalism. Only white people from well-off backgrounds seem to be offended by it. Do you think there is an inherent trait of hyper-objectivity (bordering on masochism) in people of European descent, which may be a residue left over from Christianity?

BS: Political Correctness is a white on white crime. It is a cultural Marxist appropriation of Judeo-Christian guilt control devices given secular trappings. Look at the efforts of Frankfurt school. Original sin has been replaced with "whiteness". It's based on the idea that a sense of European derived identity is purely a economic construct designed to exploit non-Europeans and uphold a history of conquest. Which falls apart when you look at the sheer number of poor white people in the world, something the left takes great aims to ignore. This is just a personal theory, but given that a great deal of Zionist Neo-Cons are ex-Communists from the 1960's these people understand how Political Correctness works and I think must be interested in humoring it, even if they don't buy into it themselves, because it serves as a useful cultural weapon. Capitalism would love the world reduced to a culture -less, ahistorical, androgynous, mulatto, formless, meaningless mass. Multiculturalism is biological nihilism.

Look at who runs whats left of the Western world. We have this incestuous blue blood moneyed corporate culture of Masonic derived W.A.S.P. cults like Skull & Bones on one end, and Zionists on the other. It does not appear that the Bush's and Co. have any sort of genuine ethnocentric interest at all, let alone a ethnocentric agenda. That end just seems solely concerned with money and power. For all this lefty whining about a "white supremist system we live under" I have never seen anyone oppressed in the name of Odin. Whiteness is defined by a Pagan quality and not economics, pure and simple. Now as for the Zionist end, well I'm doubtful that anyone in power really cares about anything but power, however this element operates openly with a ethnocentric agenda. So if the West serves any ethnocentric interest, its a Jewish interest.

If there were more parallel ethnocentric counter-cultural movements, such as say for example, if black kids started making weird Yoruba based music and built a community for themselves around it, I would completely get behind it. I wish all groups of people to divide and preserve their unique heritage. We may not get along, but Capitalism is the real enemy. Respect for peoples differences is leaving them alone! Free Tibet, Free Azatlan, Free Palestine and certainly Free Vinland!

HH: Do you see so-called 'vigilantism' as something that will become increasingly necessary in urban environments over the next few decades?

BS: Yes.  But more then anything people should also learn to adapt survivalist tactics to the urban environment.

HH: You recently posted an article entitled “Science shows bad guys get more girls.” If this is indeed true, and arseholes are breeding more prolifically than civilised men, it would really explain a lot about the state of the world. What do you think can be done to combat this? Is there any way to encourage civilised men to be less wimpy (and thus more attractive to women), without actually crossing over the 'arsehole' threshold themselves?

BS: It's time to assert a healthy masculinity by promoting and acting upon traditionally Masculine oriented virtures like honor, loyalty and disipline. Reject and confront androgyny and effeminate behavior in Heterosexual males and those who seek to exploit these trends for economic and socio-political control. I don't think it's by accident that white males are rarely portrayed has tough, macho, or virile in media, T.V. or advertising while on the other end we're constantly bombarded with images of non-white hyper-masculinity.

 We also need to establish more of a Pagan critique of Judeo-Christian sexual and gender values raher then letting the left monopolize that whole field. Women, Gays and Trans people have their place, and historically had a place in indigenous Pagan European culture.  An organically structured community would have a place for everyone and everyone in their place. In this regard I adore the book Androphilia by Jack Malebranche as a much needed step in the right direction.

Women and Gays have had their own movements to address the damage the Judeo-Christian tradition has done to their gender and sexuality. It's time for a similar effort amongst straight Men.

HH: One of your recent musical pieces was entitled 'There is no room for you'. The lyrics read as follows: “We are all rats on a sinking ship/and there is no land in sight. There is no room for you on my life boat. I see your little hands trying to capsize my boat. Millions of hands are illegal (Carrying Capacity) Millions of hands are suicidal (Carrying Capacity)" Is this a reference specifically to immigration, or to overpopulation per se? Are you familiar with the ideas of the late Professor Garrett Hardin? Do you think there is anything that can realistically be done to combat overpopulation, or do you think nature itself will take action, via plagues, natural disasters etc? Or alternatively, will our beautiful planet Earth just become a blackened wasteland?

It is a reference to immigration and specific circumstances here in America with the Mexican border, which is also leading to population issues and cultural conflicts. I'm familiar with Professor Garrett Hardin and the notion of life boat ethics, of which I agree. As for the environment, well one can hope the planet will cleanse itself. I'd rather deal with Mad Max, or Brave New World then Soylent Green.

Thank you for the interview mate. Any final statements to the world at large? Have you thought of an epitaph for your tombstone yet?

Yes, first thanks for the interview!

I'd like to thank my cohorts, and everyone who supports not only Oneiric Imperium, but supports this area of culture by taking an active role in it. I encourage everyone who likes noise, dark ambient, power electronics, neo-folk, martial, etc. and the body of cultural ideas that inform and inspire these genres to take some sort of active role with in it so that this odd little back end of culture can really stand in defiance to the courrupt and decadant era we live in. The only option is die fighting!

I don't want to buried, throw my body in the Schuylkill river when I die.


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  • Changes
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