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Architect is my baby. I can do what ever I want to do. So it’s my favorite as well. And it gets more and more heavier. I play at a lot of noise festivals and it’s a pleasure for me, to see people screaming at me, because of this shit. Architect is so much slower that most of the noise stuff out there, but the people love it, I just had that experience the last weekend.
"Flammende Welt" deals with the American role after WWII, especially mentioning the influence on the German and European self-confidence. Consequently, there are also some songs giving rise to hope and expressing strength and optimism. The CD shall invoke a proud feeling for our cultural and historical heritage regardless of any anti-German propaganda. People shall choose a conservative way of living - striving forward into the light but retaining old values and preserving tradition.
hat’s a CRUEL question, but it’s also intelligent, fair and possibly even essential. Well, you know what they say about sociopaths. The only pain they feel is their own. Should the author of ‘Bad Day Anyway’ be allowed to cry? Or do I surrender that right?
I think the first goal I more or less consciously wanted to reach was to establish an atmosphere, around in temporal themes about the European spirit in its manifold aspects, maybe to maintain in life a certain ideal of what our civilization should be. Music can stir emotions to the listener, and maybe feel in his turn the same vision.
The Moon lay hidden was especially in the beginning, and only 'cause I wanted to go a bit to that direction concerning the atmospheres the band created. Concerning In Slaughter Natives: I'm already for more than 10 years totally impressed by his music.
Some people who were prime movers at W.D. chose my side such as Boyd Rice and Ian Read of Fire + Ice, some people chose their side and actively worked against me behind the scenes such as David Tibet and Geff Rushton and others preferred, in a rather cowardly way, to sit on the fence and see what happened. They know who they are and are probably reading this interview right now.
I'm very happy about that because I see Death In June as part of a European cultural revival. I'm pleased that the Old Gods are being resurrected, for want of a better word. Old symbols. I feel very pleased that I am a part of that process and that I have had influence. At this stage in the game, so to speak, it's not false modesty to say that I am content with my influence.
You know the driving force behind Decadence is need, we play music becasue we need to do so, not for getting some extra money some day or become recognisable figures in our fatherland. By the way, have you ever seen any band photographs , even one? No, ...but I’ll probably change my mind since little by little I understand that out there exist some individuals that really like what we do.
Yeah! What to say about this? It's not like I am trying to send a specific message to people by this combination imagery. I believe it is more triggered by the fact that the religion, no matter which, have a dark side, which they too often seem to be ashamed of or trying to hide it. The only fascination I have when it comes to religion is the iconography and their statues, as they have a high artistic value as far as I see it. By combining this with dark themes I do also find it easier to evoke feelings in the beholder.