| TERATISM
is not for the squeamish. Their albums Invocatum Furae Diabolis,
The Blessing Of Death, Pure Unadulterated Hate and Via
Negativa have probably earned them a throne amongst the demons
of hell and has surely won them Satan's approval. This is the
Devil's music and TERATISM are proud to portray that. If
you're lucky enough to witness them live, you may experience otherworldly
things that you cannot begin to fathom. In my second interview
with the band we shall uncover some menacing secrets about their
new EP La Bas as well as what's transpiring for a malefic
full length album. Also unraveled is some intriguing insight about
their live rituals, and when I say rituals, I really mean it!
TERATISM is one of the most Satanic bands that USBM has
spewed out of its loins, as well as one of most potent, eloquent
and established. Outspoken and unapologetic this is TERATISM
in their own detrimentally striking words.
Sioux:
Greetings! 2012 was quite busy year, with two vinyl splits and
two tours. Let's start by talking about the vinyl singles. You
did a split with Kult ov Azazel in which you both covered Venom’s
classic In League With Satan. What made you decide to cover
that song in particular; and to also have Kult ov Azazel do the
same song on the other side? Also noticed, is that TERATISM has
done quite a few cover songs on past releases. It's very cool
to note that you rearrange each song a bit and put your own spin
on it.
Desekrator: I don't really remember how the project originated
because it was close to five years ago when it was first discussed,
but we have performed with KOA many times over the years and have
tossed the idea of releasing something together and this project
seemed ideal. We are all huge Venom fans and In League With
Satan is a classic. Plus, since KOA and TERATISM sound
nothing alike we could get away with doing the same song and not
having to worry about it sounding too similar. As far as doing
covers, in our past I've always felt that if a band is going to
cover a song it seems pointless to make a carbon copy. Why not
make it sound like us? I know some listeners won't accept that
it sounds like a TERATISM song and that we're defiling
the original but I'm fine with that. Hopefully others will appreciate
what we've done.
Sioux:
Will there be any cover songs on the new releases coming up?
V. Wrath: We did a rendition of Black Widow's Come To The
Sabbat that was recorded in 2006 and pulled from the archives
for the La Bas MLP. Continuing with the ethos Desekrator
mentioned in his previous response, our version doesn't aspire
to replicate the Satanic progressive rock they innovated in the
early 70's, but aims to present the song ripe in black metal context
and TERATISM personality some four decades later. Upon
hearing our version, Clive Jones of Black Widow wrote us to mention
that he appreciated our approach and simply stated that "they
loved it", which was not only flattering, but an honor for
us to read. Other than the aforementioned, we have no covers currently
on our plate, but it's always possible we'll take interest in
a project along the way as we did with the Venom cover for the
split 7" with Kult ov Azazel.
Sioux:
You also released a split entitled Spilling The Blood Of The
Righteous with Morbus666. On this split however the absence
of original guitarist Murder is observed. Why did this come about
and do you feel that it effected the way the song turned out in
the end?
Murder: I suffered an injury to my fretting hand that left
me unable to play guitar and perform other tasks for several months.
Unfortunately, that happened to coincide with our recording of
that particular track. Desekrator reprised his original role on
guitar and essentially recorded what would have been my parts.
While I wasn't present on the recording, I was still there. I
think we've always done our best work under pressure and this
track is a testament to that. It happens to be a personal favorite
of mine and I think how my absence effects the song is irrelevant
upon listening to it. It's TERATISM and I am as much a
part of it as it is me, which is to say, we are one. We are legion
for we are many.
Sioux:
There are some future anticipated TERATISM releases coming up.
Tell us what is going on with La Bas.
Desekrator: La Bas is a four song vinyl only
EP. It was recorded a couple of years ago and is finally seeing
the light of day. We've been playing one track from it in our
live shows for a couple of years now so some of you will be familiar
with it. Hopefully it will be available through Negativity Records
by the time this interview is released.
Sioux:
What other releases do you have coming our way and when do you
suspect they will be available?
Desekrator: We're getting close to finishing our next full-length
The Second Death. It continues down the path that
our previous releases have traveled. It's darker, more discordant
and has more of a hypnotizing quality that has been surfacing
in our music. Hopefully it will be available later 2013.
Sioux:
No doubt there is something special about vinyl records. Recently,
you’ve done some vinyl only releases. Do you prefer to release
your material on vinyl now, rather than in any other format? What
are your thoughts on vinyl, you have an extensive record collection,
is that correct?
Desekrator: I agree that vinyl is special. It seems more like
a piece of art in conjunction with material recorded on it. As
far as having a preference for vinyl, I think that it gives the
release more legitimacy and it is not merely data, the way that
some people view it. I personally don't have that much vinyl but
I plan on changing that.
Sioux:
TERATISM did two tours in 2012, one in the spring and one in the
summer. Let’s talk about those two tours. How did the first
one go? You took along the Satanic band Ptahil for the ride.
Desekrator: This first tour was about a week long. Like every
tour it had its ups and downs. Overall, it was successful. Ptahil
were cool and good to travel with. I think they did four dates
with us. I especially remember the last date in New Orleans. It
had a great turnout and all the bands we played with were good.
The overall vibe was great.
Sioux:
The summer tour was rather longer and featured a trek with Hellgoat.
How was that? Did anything extremely crazy or unexplainable happen
while on the road?
Desekrator: The summer tour was close to three weeks. We did
5 west-coast dates with Hellgoat, I think. Jason from Graveless
Slumber Records was managing Hellgoat and we know him well and
got along great. I didn't interact too much with the Hellgoat
guys except for their singer/bassist, he seemed cool. We play
different styles of black metal so it was a nice contrast. They
would get everyone frenzied with their high speed assault then
we would suck all the energy from the crowd with our insidious
aural poison. As far as crazy experiences... in L.A. within a
matter of minutes of completing our ritual, some people were smoking
out front of the club and they said some guy was walking by and
when he arrived at the front of the venue he just collapsed and
was hauled off in and ambulance. Our last show in Minneapolis,
which went great, we were hanging out and someone posted video
from the show. It was just a couple of minutes long during an
intro half way into our set and the whole screen was filled with
glowing orbs moving about like a snow globe. We can't account
for this as nothing was visible at the time and we haven't contacted
the guy who filmed it to get his impressions. I know more weirdness
transpired but it's escaping me at the moment.
Sioux:
Part of the tour also involved headlining the Cathedral Of The
Black Goat Fest II. What was that like?
Murder: I think we all would agree it was one of the highlights
of the tour. My personal involvement in the C.O.B.G. notwithstanding,
on its own merits the festival is incredibly important to the
American Black Metal underground and the practicing Traditional
Satanist. The line-up for the festival is always incredible and
features rare performances that you will witness nowhere else.
Sioux:
Some of the gigs you played on tour were in rather small venues.
So small that a few were house shows in a basement. How does this
compare to a show that is played in your average dive bar. When
I witnessed TERATISM in a basement it was a very personal, intense,
spellbinding, and a surreal experience. I would say it was a much
different experience also when I saw TERATISM headline at the
COBG fest, which was extremely evil, aggressive and powerful due
to the energy and bloodletting from the audience.
Desekrator: There are many elements that make a TERATISM
ritual what it is. The venue itself will have its own energy.
The mood we are in will influence this. The attendees and their
attitudes may effect this and many other variables will shape
a particular ritual. Playing in a small venue tends to be more
personal and raw with the aspect that we may be in an environment
where everyone is milling about in a house which makes us more
approachable, where performing in a bigger, more "legitimate"
venue literally puts us on a pedestal so people experience us
differently, maybe in a less human way. They each have their pros
and cons.
Sioux:
During your live rituals magic is felt and supernatural manifestations
have been witnessed and even caught on film. Most bands couldn’t
make this happen even if they tried. Is this something to be expected
at every live TERATISM ritual?
Murder: This is an interesting question. In the sense that
some of these experiences are dependant upon the supplicant's
sensitivity to said phenomenon so I couldn't rightfully say what
is to be expected other than, that nothing is sacred and everything
is permitted. I will say there seems to be a tangible energy that
follows and encompasses us, but it's secrets are ours alone. How
it reveals itself is by a design unknown to but a few.
Sioux:
V. Wrath, when on tour, does it take a toll on your vocal chords?
Do you have some tricks to pace yourself? Is it difficult to get
your vocals to sound as close to the way they sound on an actual
TERATISM record.
V. Wrath: Well, excessive alcohol consumption and illness
such as the common cold or flu can make touring even more miserable
than it already is, and yes, such things have found me in a place
where I didn't even want to speak after a ritual to say the least,
but it's the nature of the beast and an aspect of touring that
isn't always escapable. I try not to over imbibe and make a conscious
effort to rest as much as I can, though the later is a luxury
at best and seldom affordable to a band of our current stature.
Retaining health other than that tends to be more of a matter
of good fortune I'm afraid. When I'm engaged in TERATISM
ritual, be it a studio recording or a live setting, my primary
objective is to become a medium to the demonic energies we cultivate
in our magical practice and lyrical thematic. Whether or not there
are obvious tonal differences between the performances is of little
consequence to me, because I choose to submerge myself in this
artistic expression and attempt to drown an ordinary sense of
musical aptitude amongst other things. Of course, there are harmonies
on the records I have done that I can't reproduce during the live
ritual and certain frequencies within my vocals will hold variance
due to a difference in equipment and location, but the ambition
behind it all remains unchanged, and to me it's that display of
prowess that is important.
Sioux:
What do you think of bands that call themselves Satanic black
metal but then do not have the material to back up that title?
Gilles de Rais: People have been using Satan to get what they
want since the invention of the diabolic pact. I was drawing pentagrams
on my pee chee folders in school before I had the remotest clue
of the depth of the universe of magick, Satanism and demonology.
As sincere as I was and am, Satanism also attracts selfishness
and insincerity. This is a paradox of the Left Hand Path: the
Devil does not require that his children believe in him because
you can’t sin against a god whose only commandment is “Do
What Thou Wilt”. If a black metal band’s music carries
baneful occult energy and engenders a legitimate sense of fear
and horror of the reality behind the content of the music, whatever
their private beliefs or practices, then they must be doing something
right. Kurt Vonnegut said it best: “Be careful who you pretend
to be, because in the end, you are who you pretend to be.”
Besides, you won’t be able to escape the karmic retribution
due you for your use of the Devil to propel your band to stardom
by claiming you didn’t believe in any of it. If your music
is a potent channel of that energy, you will have to pay in full
when the time comes so there is no point in deceiving yourself
by pretending it’s just a game.
Sioux:
Is it difficult to write and record music with some members of
TERATISM in Texas and some in Minnesota?
Murder: Simply, yes. However, we are offered some luxuries
that some bands without would find unbearable in the situation.
Mainly our access to Noise Farm, the compound in Texas run by
our bass player, Gilles de Rais. It's still difficult mind you,
but having the studio access alleviates a good amount of the pressure
that most would have.
Sioux:
It's no secret that you've had artist Mark Riddick do some TERATISM
album covers. How did you come to find him? He's working on new
cover art for your next album, is that correct?
V. Wrath: I've admired Mark's artwork since bearing witness
to his unholy illustrations within the underground metal scene
of the early 90's. Connecting with him wasn't really any sort
of issue in this day and age; it was really just a matter of looking
him up on the internet and sending him an inquiry about his possible
involvement in creating artwork for TERATISM. I believe
the first time we worked with him may have been in 2008. Since
then, Mark has done several pieces for us and all of them brilliant.
We've also seen several of our album covers carved into others
flesh for the remainder of their mortality. I think that in itself,
showcases the caliber of his craft. Having said this, I do need
to acknowledge that we're not anymore exclusive to him, than he
is to us. It's very probable that we will continue working with
each other in the future, but as with everything in this world-
there's no promise for tomorrow. I do have only the highest remarks
in regards to Mark as a person and artist though. Not only is
he professional, dependable and devilishly talented, but he's
a die-hard metal enthusiast who's been an absolute pleasure for
us to work with. Concerning cover artwork for the next full-length
- The Second Death, we haven't collectively designated
a specific artist as of yet, but I can tell you that there is
a number of people were looking at and that it has been conceptualized,
if anything else.
Sioux:
What’s in the cards for TERATISM in 2013?
Desekrator: Ideally our next full length The Second Death
will be out. We are thinking about going on the road again, maybe
overseas. Via Negativa will finally be released on vinyl. We have
other recordings in the works but no definitive release dates.
Sioux:
Thanks so much for your time. I shall leave you with the last
words.
V. Wrath: As this is the second interview you've conducted
with us amidst a handful of gracious album reviews now, I would
just like to leave you with my sincere gratitude for your adamant
support of TERATISM over the years.
HAIL
SATAN! |
