An Interview with Wave Gotik Treffen

Cornelius Bach I first met back in 2012, at my first Wave-Gotik-Treffen. I was picking up my press pass from him on a Friday afternoon. The spokesperson of WGT, we had short encounters and mutual greetings at the performances over the years. 

We all have our experiences of this spectacular event, and I have interviewed many artists, hearing their thoughts. However I have never asked the management questions . 

Hidden behind the mysterious realms of the AGRA, in a lightly spiced up baby bat café, Cornelius and I sat down to discuss the concept, history and perspectives of this special place.

Intravenous Magazine: How did you become part of WGT?

Cornelius Bach: I have been living in Leipzig for 20 years. I began as only a patron, but then I got to know one of the bosses for WGT in my private circle. I started helping with picking up program books from the printing house for example, it then happened that the former spokesman Peter Maska couldn't do the position anymore due to other work commitments. So, I was approached as I had studied journalism, also being fit with communication I was very happy to take the role. I have been the spokesperson now for 13 years.

IVM: When WGT began, as an operation, what was it like compared to now?

CB: The difference is not so big from today, the concept hasn't changed at all. The first years of course, it started out much smaller with one venue at the beginning, with a few hundred attendees. However, it grew fast in the first years which was an unattended result. The founders had not planned to make such a big event which it became; they only wanted to create something different from a normal festival; more of a gathering, hence the name Treffen. a gathering of like-minded people from different parts of Germany and maybe from neighbouring countries. Though it turned out to be a good concept. The stress not on the bands, but also on the communication between like-minded people who enjoyed the gothic theme.

When I attended my first WGT in 1998 it had almost the same size as now, and it really didn't change so much in atmosphere, though we have some more venues all over Leipzig. In addition, the cultural program which developed further. WGT got more accepted as a vehicle of enrichment for the culture of Leipzig. Obviously in the first years there were a lot of prejudices from the inhabitants, the city government didn't really know what to think of these strange people visiting. After a few years they realised we're all friendly & kind, and this is something special that no other city in the world has on such a scale, which they are now proud to have. Therefore over the years we had the ability to have new locations, such as churches, and start big collaborations with museums and the opera house of Leipzig.

The basic concept of WGT and how it is run has never changed. It seems around 20,000 people is the core of international gothic scene which attends, and for us is a comfortable number. As organisers, we are not always wanting to create something new and looking to make it larger. We want to preserve this special atmosphere, which so far it seems we have succeeded in doing.

IVM: How does The City of Leipzig help WGT? You already mentioned they contribute venues, though are there other benefits to allow WGT to operate?

CB: Indirectly they help us, as you mentioned with the venues, additionally with the transportation for example. However, we don't receive any direct support, in the context of finance. This is funded all by us, they give us the permits to support the venues and cooperation with the opera for example and other institutions in the city. It's a good cooperation so far; however financially we are independent and are happy to stay that way.

IVM: Not to dive into the finance, though is WGT self-sustaining? Back in 2000, there was obviously difficulty, with the collapse of the millennium festival. From where it was then to now, is it eliminated from these problems?

CB: The reason why there were problems back in 2000, was that the people who started WGT, they were just two young guys in their 20s, that had no experience at all in handling big events. It was never their plan to create such a big festival which it turned into. Up to a certain size they were able to keep it under control. Finally, they just couldn't handle running it in such an unprofessional way and size, it was impossible to handle this without the expertise. The costs rocketed and not enough communication in organizing created the recipe.

When it started again in the following year, the main segment of the organizing staff changed and then we had no future problems, as a team was formed which had the skills required. Since then, there has been no problems.

IVM: When I began coming to WGT, you could see that particular genres were picked for each year. For example, 2018 sees Wave making a come back. 

Is it a situation that management considers what’s going on in the scene, and book the artists, or are the requests filtered through?

CB: It’s a combination of both. We get hundreds of requests each year for bands which want to play. The booking staff listen really to each request and they decide if it fits from the style. As you can see we give a lot of chances to unknown bands as this was always part of the concept, as well as booking the big bands which you see on every Festival. 

On the other side, there is also research done by our booking staff on certain genres which would be interesting. So then we try to invite them. We always try to achieve a good mixture up to the edges such as Neofolk, which you hardly find on other festivals, if at all. Sometimes there is a post-punk and wave revival. We obviously take this into the consideration, as there are currently a lot of great new bands in these genres. We always try to have a good mixture.

IVM: What does WGT management think of Gothic Pogo, did they think of it as a breakaway from WGT due to dissatisfaction? Or do they see it as a complimentary event?

CB: The latter is more the case; it's seen as a complimentary event. It's a small festival with a limited number of bands, and a more limited range of styles. We see no danger that people are not going to WGT, instead to Gothic Pogo. It is more the situation, they are either going to both, or some prefer this one style and wouldn't be in Leipzig anyway for WGT.

IVM: What are your favourite aspects of WGT?

CB: My favourite aspect for every year, is that you meet a lot of interesting people from all over the world. For example we are sitting here, it is very nice to meet people from the UK, Japan to Mexico City! A lot of the time you can only meet these people again next year. The world is coming to Leipzig and this is something special for me.

The second would be the wide variety of events. Which other festival do we know of can offer such a range? Where you can attend a classical concert, opera, theatre; to then a music stage or a night club. This combination of bringing people who may only know about the music, the ability to go on a guided museum tour that walks through gothic culture is an amazing offering. So, it is much more than music. 

Thirdly discovering new bands. I must admit I don't know every band which is booked by my colleagues. There are always new names for me. Thus it is enjoyable to sit down before the festival; listen to some amazing tracks, and then have the ability to see them live. It's obviously great to see your hero bands maybe for the umpteenth time; however for me, it is great to have such an opportunity to be exposed to new discoveries every year.

IVM: Is there anything this year you are very interested to see?

CB: Yes! Wardruna, which is a Norwegian band many people have told me about. I've never seen them so far, though they have a very impressive live show. RosaCrux, a French artist which are performing in the Schauspielhaus. Again, they are known for having an impressive show, with a big drum works and self-made construction for a large bell. It's also a rare opportunity to see them, as they do not perform often. 

Finally Blixa, from Einstürzende Neubauten. Before, for some reason it never worked to have him perform, so it will be a great first appearance and Monday finale this year in the beautiful Volkspalast. 

IVM: Would you like to say anything or do you have any questions?

CB: I want to point out, it is really a pleasure for me as a spokesman in this function for so many years that they're people like you still coming, still euphoric. You sometimes see people lose this after the second attendance, and by the fourth do not come anymore. I am very happy to see that there are people coming from all over the world every year that are so happy to be here again. it also confirms that we at WGT are still creating something special. 

It's obviously a pleasure to see Intravenous Magazine reach out, and see the press take interest in us, as well as the artists performing here.

IVM: Thank you & finally, is there any venue you hold close to your heart?

CB: It's definitely Volkspalast. I like this venue, as it is so different to other venues we have at WGT. Because it is quite big and is built after the pantheon, with the stone columns and I was very impressed when we made our first concerts here.

One memory from the early years when we had booked the venue, was from the Monday. After we had all finished our work, I saw Lady Genesis P-Orridge playing Psychic TV. It was something new and special to me. It was a very crazy show, with a very attentive crowd. I will never forget this special atmosphere.

Interviewed by: Dominic Lynch aka DJ LX-E

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Interview: Angelspit

Dead man talking...

“I get the feeling we are moving through a period of despair. Perhaps this is due to the state of the environment, politics, or dealing with being "social" in the electronic age. We are so frustrated, so exhausted...we don't have the energy or money to plan for the future.I wanted to write lyrics that people can related to, and music that would energize that to forge ahead.”

With an already impressive discography to their name, 2017 saw Angelspit crank it up to eleven on their latest and most uncompromising album yet in the form of 'Black Dog Bite'. Ultra-brutal beats, machine-gun sampled guitars, massive dirty synths and scathing vocals combine for an all out assault that doesn't take any prisoners. 

We caught up with Angelspit mastermind Zoog von Rock to talk about cyberpunk, black dogs, equipment and evolving with the music industry.

Intravenous Magazine: Angelspit, Your latest album 'Black Dog Bite' has been out for a little while now. How has the reaction been so far?

Angelspit: It has been great! This is one of the best reaction to an album I've received.

There is now a huge demand for a remix album, so I have recruited the meanest bands around to sonically mash every track on the album. This remix release is called 'Puncture Marks' (http://www.angelspit.net/discography/puncture-marks/). This will ROCK!   

IVM: There is a strong 90s cyberpunk sound at work on the album – how did you arrive at that sound and how do you feel it holds up to the rest of your back catalogue?

AS: Bowie inspired me to make each album sound different. Normally, when I write an album I imagine it with a certain line-up. Eg: my 2014 album 'The Product' was a drummer, guitarist and one synth player and one sample player.

'Black Dog Bite' was a little different, as I chose to set it during a specific time - 1988 to 1992 - the golden age of Cyberpunk. I hunted down samplers from that era and scouted all over the web for sounds specifically from that time. I adopted the process of writing electric music during that time...which was very laborious, but great fun!

Once the tracks were recorded, I produced them with a modern aesthetic - as they need to hold their ground if they're played in a club.

'Black Dog Bite' sounds very different to ANGELSPIT's other material - but it still has that aggressive driving sound.

IVM: Thematically what were your primary inspirations in writing the album? 

AS: I wanted to make the lyrics more personal in this album. I wanted the bass lines and melodies to be simple and memorable, with threatening "storm cloud" synths and vocal harmonies behind it all creating unease. 

IVM: The title is very evocative of the old Churchill quote about depression being a “Black Dog” as well as old legends of demonic “Black Dogs”. How did you settle on that tittle and how does it sum the album up for you?

AS: Well spotted! Churchill's black dog is the reason for the title. Lyrically, this album deals with depression and isolation. I get the feeling we are moving through a period of despair. Perhaps this is due to the state of the environment, politics, or dealing with being "social" in the electronic age. We are so frustrated, so exhausted...we don't have the energy or money to plan for the future.

I wanted to write lyrics that people can related to, and music that would energize that to forge ahead.

Today will be awesome because we will make it awesome!

IVM: The album will also be the first Angelspit album on vinyl – what led to this decision?

AS: I've always wanted to press vinyl! I was lucky enough to work with Ruined Vibes - they helped me with putting it together.

They also encouraged me to get inventive with the design of the record. It's printed on 150g black&white splattered vinyl. It comes with a poster, 16 page zine, and each copy has a numbered Japanese style "Obi". It looks awesome!

More about the vinyl here:

https://www.etsy.com/listing/549580627/black-dog-bite-lp-mp3-album 

IVM: Will we see a remix companion for this album as well?

AS: I'm kick starting the remix album now! Check it out here:

https://www.kickstarter.com/projects/1680729658/puncture-marks-angelspits-new-remix-album

More details here:

http://www.angelspit.net/discography/puncture-marks/

Every track on 'Black Dog Bite' is being remixed by the most bad-ass bands around!

I asked the bands to push the sound as much as possible - to create a new track.

Bands include:

Mr.Kitty, Abney Park, Go Fight, The Gothsicles, Inertia, En Esch, The Mercy Cage, Stoneburner, PlanetDamage, Adoration Destroyed, Erektor, Rodney Anonymous, Adventu Impar, addambombb, The Dead Room, Alter De Ruine, Curse Of Cassandra, Shadowcell Theory...and more TBA!

IVM: How does the recording process of this album differ from your previous works?

AS: Most of the sound design was done on old samplers - mainly EMAX I, Emulator II and Emulator III,  Emulator IV and K-2000, plus Mini Moog and Doepfer Modular.

The songs were build using all hardware synths - no soft synths.

The effects were all old effects units that were manipulated realtime via MIDI. This is what Front 242 did on 'Head Hunter'. When you tweak old digital effects machines live, they produce a grainy, glitchy "gear-change" sound - it's awesome!

The tracks were recorded with the effects. This was key to the big, dirty sound.

This means that I was forced to work with a dirty sound - there was no turning back!

Once the hardware was recorded it was produced on the computer.

Normally I record the hardware to the computer much earlier in the process, and use the effects on the computer - which are much cleaner.  'Black Dog Bite' was an experiment in old skool lo-fi cyberpunk...it was awesome fun!

IVM: Your website and now patreon has a lot of studio tips, gear reviews and other goodies. How important is it to you to have those conversations with your fans and share that knowledge?

AS: Very important! It's not just about me inspiring and educating Angelspit supporters - it's also about them inspiring and educating me. I learn so much from my supporters. They always inspire the lyrics and give direction to the music.

The Patreon is great because it's a way to communicate with people who want to be involved. 

Much of the content on the Patreon is free for everyone. People can get involved for as little as $1.20 per month.

ANGELSPIT's Patreon is here: https://www.patreon.com/angelspit

IVM: Speaking of your studio – what is your setup currently like and what are your most indispensable bits of gear?

AS: I am re-designing for the next album - hopefully due this year!

This album is experimenting with synthwave - I call it Cyber Wave. I am focusing on the technology and process of 1978 to 1982.

I am using mainly analog synths (Jupiter 8 and Prophet 5), Doepfer Modular, Mini Moog and Emulator I - all these existed in that time period. I am also using more analog sequencing, but the big change is that I am playing most parts, so it has a real, organic feel to it.

My indispensable piece of gear is the Doepfer modular synth. Many sound originate on it, and most sounds are processed through it. I am also using it more for drums. I love what Doepfer builds!

IVM: You've recently released lyric videos for the tracks 'Satanic Aesthetic', 'Ugly Deeds' and 'Sexy Tragic Muse' – can we expect to see any full music videos in the future in support of the album?

I've done lyric videos for all tracks. You can watch them here:

https://www.youtube.com/playlist?list=PLGzrwFdSUxChF1x6u_U1_oxFfjZTXSR9w

Chris Davis (HumanTwelve) has done an awesome animated video for Scorpio Machine - we are hyped to release that that soon.  Watch the trailer here: https://youtu.be/ShQ3ztI3R5k

Keith Jensen (BrainWomb) is also signed on for a video. More details about that one soon. 

Chris and Keith have done several videos for ANGELSPIT before - I love their work!  

IVM: What are your tour plans in the near future?

AS: I am hoping to tour the USA again later this year. I am hoping to also do some UK/European dates. Details coming!

IVM: In addition to writing and recording for Angelspit, you're also a prolific remixer. How important do you feel this practice is for an artist such as yourself?

AS: Remixing is a great way for bands to work together, build relationships and swap ideas. 'Puncture Marks' is an exercise in pushing each track. It's awesome to hear a band completely re-interpret the song. The Gothsicles data mashed it, The Mercy Cage gave it a soul, Mr. Kitty made it synthwave, Go Fight made it sexy, StoneBurner made it tribal, Abney Park made it steam punk.

Remixing is way for a band to introduce another band to their audience. It is so important that we keep this cross pollination alive.

IVM: Do you have a particular favourite track you've remixed, and have you ever received a remix of one of your own tracks that has blown you away?

AS: I remixed 'Clockwork Man' by SNOG a few years ago. I was very proud of that one.

Ministry asked me to remix 'Stigmata'...how the hell can you improve that track?! I butchered it. They loved it. I was so honoured.

There are 3 bands who's remixes always blow me away:

The Mercy Cage - from New Zealand. Josh is a brilliant composer and producer. 

Erector is the project of Robert Wear from Los Angeles. He write movie soundtracks for a living. He is remarkable.

Adventu Impar from Florida. Katie and Danny are working on her their first album. I am so impressed with the quality of their work.  

IVM: There have been rapid changes in the music industry since the first Angelspit album was released. How have these affected you as an artist and where do you see the future taking bands like Angelspit? 

AS: The changes have been hard, but definitely add excitement! It's hard because my professional contacts are constantly changing/retiring, so I am constantly trying to make new contacts. The high turn over of magazines, blogs and DJs makes it especially hard, as these are crucial to getting the word out.

It's hard for Record labels to keeping upward bands are moving into platforms like Patreon and Kickstarter.

Bands need have more of a "collective" approach. They need to freely and openly help each other out with contacts, remixes and advice. ...but the problem with that model is that some bands work MUCH harder than others, and end up pulling all the weight... and get disillusioned when they get little or nothing back from the other members.

IVM: Finally is there anything else you'd like to add?

AS: Remember to check out ANGELSPIT's new remix album 'Puncture Marks". Not only do you get a bunch of awesome remixes, but you also get an introduction to some very cool bands. Check the Kickstarter:

https://www.kickstarter.com/projects/1680729658/puncture-marks-angelspits-new-remix-album

More details from the website: http://www.angelspit.net/discography/puncture-marks/

Last word:

AS: Keep making your art and music! More than ever, our society needs freedom of speech and creative expression. Someone, somewhere will love what you do - so keep doing it!

ROCK!

KARL.

'Black Dog Bite' is available now through Black Pill Red Pill. You can keep up-to-date with the latest news from Angelspit, including live dates and releases, via their official website. 

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Interview: Ludovico Technique

Back in therapy... 

"The visual embodiment of the band has always been the idea of negative, toxic emotions that are deep within the being permeating up through the pores of the skin to warp the body. Essentially, we look like beings driven to the brink by those things inside that have overtaken us." 

Ludovico recently returned with a new single in the form of 'Absence' a darker and more sensual affair that builds on their debut album 'Some Things Are Beyond Therapy' and it's companion EP 'We Came To Wreck Everything'. With their unique take on aggressive electronic music and a visceral live show as well, they have quickly built a strong reputation as an up and coming act.

With this first single heralding a new album, the band look to consolidate their gains and establish themselves as a force to be reckoned with. We caught up with vocalist Ben V to talk about the new single and what we can expect from album number two.

Intravenous Magazine: You've just released a new single in the form of 'Absence', how has the reaction to it been so far?

Ludovico Technique: The reaction has been beyond words. For the first week of its release it was the #1 Goth release on Amazon and I couldn't be happier. People have really embraced the direction I went on this one.


IVM: What is the concept behind 'Absence' in particular?

LT: To put into words what depression can feel like. Also, I wanted to give life to some of the most personal lyrics I've written.


IVM: How far is the sound of the single indicative of the style of the forthcoming album?

LT: I'm taking my cue more from the idea that each and every song is a release unto itself. One song may sound like this, another song may sound like that. But that's the enjoyment of the journey, allowing different emotions to speak freely without expectation.


IVM: The single sees the track joined by some great remixes, how important is maintaining that relationship with other bands and which reworking of the track hit you the most?

LT: That's a tough question. They're all so great.


IVM: What themes and inspirations have gone into the writing of the new single and album?

LT: Freedom of expression in the face of a judgemental world.


IVM: How has the writing and recording process changed for you since the last album?

LT: Well, we had released an album a few years ago and then decided to tour nonstop until now. It definitely means that things have changed a little since our last album. I'd actually say things have gotten more intense and more refined. I'm able to write things more from the soul more easily these days.

IVM: There have been teasers for a music video to accompany the 'Absence' single, what can we expect from that and is there a release date yet?

LT: This past year I discovered a passion for cinematography. It has become a major part of my artistic expression, and I look forward to showing that to the world. The "Absence" music video will be my debut in that area. Hang tight, it's almost ready to go! Ha


IVM: The visual presentation of the band has always been very striking. How important is that element to you and how do you feel it has evolved with this new release?

LT: The visual embodiment of the band has always been the idea of negative, toxic emotions that are deep within the being permeating up through the pores of the skin to warp the body. Essentially, we look like beings driven to the brink by those things inside that have overtaken us. As far as the evolution, I'd say you'll have to catch the Absence music video for that!


IVM: Can you reveal any details regarding the title and release date of the next album yet?

LT: I'm currently looking at an early spring release date.


IVM: You've had quite a prolific touring schedule over the past few years, and have recently played Terminus Festival. Have there been any highlights so far?

LT: Touring is always great, the connection made with the fans when live and direct elevates the experience to one of a kind levels.


IVM: What is the most memorable thing that has happened out on the road for you?

LT: Sharing such passionate experiences with the other bands that we have toured with.


IVM: What are your current touring plans?

LT: At the moment all focus is on writing and releasing new material; however, I'm sure at some point soon another tour will come.


IVM: Are we likely to see Ludovico Technique in the UK any time in the near future?

LT: We definitely hope so. I've heard that the UK loves music, so let's do it!


IVM: Finally is there anything you'd like to add?

LT: I'd like to take a moment to thank everyone who supports us: long time fans as well as new fans. In this experience of life and loss, the experiences shared through music are some of the deepest known to humans. We are honoured to be a part of that connection.

Thanks for having us Intravenous, see you soon.

Watch video!

'Absence' is available to buy now through Metropolis Records. For more information on the band including release and tour dates, please visit their official website.  

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Interview: TONTTU

Anti-Gnome Manifesto...

"Anti-Gnomemartialindustrialneofolkmetal is the means to an end, I would not describe it as much of a musical genre than the lifestyle that is optimal for our species! We offer it for everyone and they’d do good accepting it!" 

The Anti-Gnome project known as TONTTU are one of the most intriguing acts around at the moment. Utilising a stylistic blend of genres dubbed "anti-gnomenmartialindustrialneofolkmetal" to protect us all from an otherwise unseen menace, namely Gnomes. This mastery of martial beats, industrial electronics, metal savagery, and neofolk atmospheres has so far held the hordes of the Gnomic terror at bay. This may all seem a bit crazy but TONTTU have on the back of their crusade released a range of impressive and diverse albums in quick succession.

Roderigo Esquer spent months tracking down the anti-gnome forces to find out more about them, their ideology and what we can do to curb the gnome menace at home. This is what he managed to smuggle back from their headquarters.

Roderigo Esquer: Hello, for months I’ve been tracking the enigmatic freedom fighters called TONTTU and at last I’ve found you! So, how did TONTTU come to be?

Tottufingergeneral Hanz-Baal: Congratulations are in order, I believe. Well hello there!
Perilous road to find the truth, aye? There is no freedom higher than the one reached by Gnome-Eradication!

Okay, it was a dark and stormy night in the middle of the shady 90’s and gnomes were running rampant, or at least there were many to be seen at that time…. Anyways, me and few of my friends were meeting (there may have been some beverages to keep our minds sharp) and thinking of how to make our lives more safe and gnomen-frei (that term was invented later on, but seemed appropriate to use it in here). That historically important place was Two Witches’ and Shade Factory’s boot camp in Tampere / Finland (I believe those were the undeniable facts...). Must say we had no plans to create anything this vital for the survival of our species (what can one do when making history knocks on the door) but to accept the destiny and look cool while at it!

Where was I… Oh yes, to best of my recollection there were 3 people present: Me, Großinquisitor Rudolf Von Deer and mystical character Lord Winterdanger or Winthanaz as he is also being called in the darkest of rites.

Suddenly this weird entity came to us and asked whether we would like to accept the spirit of Anti-Gnomen and thus save our very species from extinction, what were we to say? Guys started playing a tune (that later on became our neverred classic “Saunatonttu”) and I started to sing those beautiful words that later on enlightened the nation! It was all about those scheming abominations, better known as gnomes, and their monstrous habits and the will to kill us all.

Needless to say all this discombobulated us and we did not talk about it for a long time, some say that Lord Winterdanger became mad and lived as a hermit for the rest of his life as he found out that we are being constantly researched by gnomes…. That kind of knowledge drives men to madness, I tell you.

As for my dear comrade Rudolf we left this subject be for the moment just to get back to it cometh the new millennia.
Could this have been the year 1995…. Hmmm, let us say so as the details must stay blurry to distract gnomes.

Time went on and I had almost forgotten this weird event until the entity approached me once more as I was talking to my friend Petja (1996?) and he saw the insignificance of that moment in the past and suggested that we really need to do something about those darn redcappers scheming and plotting! Wise man indeed!
Uh, this is gonna take long, is it now? Let us hasten up - things to do, gnomes to eradicate…

This all lead to the moment we went to the Con-Troll studio and recorded our first cdr-ep “Kabouter Dämmerung” including 3 songs (Saunatonttu and Peikosta Tontuksi being a bit folk metallish and Tonttujen Tihutyöt being noisyish experimentalism, but all of them extremely Anti-Gnomen). Our friend Toby joined Petja and me volunteering to take part and he delivered some proper guitarismo for The Cause! This session took place 1997, I believe.

Where to go from there? Naturally it was time to do remix-album! There was no way around it: “Gnomedrome” was released 1997-1998 as cdr-ep and it included remixes from our original neverreds and one new song called “Taisteluni.” Taisteluni (My struggle / My battle) was our very first martial-influenced piece and it caused some eyebrows to be lifted in the most disapproving manner. So we could call it as The Epic Success!

...And then gnomes kidnapped Petja to stop this movement for once and for all… We do not negotiate with gnomes and thus Petja became the first martyr for our sacred cause, I bet he was more than willing to do so and I congratulate myself for not showing those cretins any signs of weakness! And that was that.

Cometh the end of 2012 or so… All those years in the darkest of corners avoiding gnomes and all the insanity they cause and suddenly the ray of light appeared: I came to the conclusion, that re-releasing those old masterpieces as one cd could be the best idea the mankind had ever seen! No doubt it was just that and I tried to find ways to do it and suddenly I heard Petja’s voice in my head saying in a very hauntingly shivering manner:”Better make the third ep and then release it with the oldies!” The voice inspired me in so many ways, but sad to say it faded away leaving me alone, pondering these grave issues, and without my dear comrade providing The Anti-Gnome Muzik for my deep and meaningful lyrics.

As these things so rarely go it was yet another dark and gnomish night outside when I unexpectedly stumbled on to my dearest of old comrades, Rudolf! He instantly saw what had to be done and joined the crusade and we went on to release the third ep “Der Zwergenhammer” recorded at VonDerLabs and combined it with the old ones for the cd called “Nekrognomekon.”
Release happened in the summer of 2013 and was published  by myself. Must say Marko Latva-Nikkola provided some killer art for that album!

Summa summarum: Got smashed in Finnish reviews but got some pretty good ones from abroad, the most important thing being getting acquainted with P. Emerson Williams when he reviewed it for the Intravenous Magazine. Emerson is now our historian providing chilling illustrations of what gnomes are really like and helping us in so many ways!

Babbling babbling… 2014 we released our next album Anti-Gnomen Divisionen 4 (Mastering the fine art of Gnome-Eradication). Had to do it as we do not go down when someone suggests, thanks Finnish media for all those minimum points: That made us stronger.
AGD4 introduced our newest member, High Commander Hephzibah, doing some composing. This was also the first album we proudly released through Panicmachine.

Could say we then reached our current form. After that we have been helped by many artists providing remixes and remakes but TONTTU as an entity had its modern roots planted with me, Rudolf and Hephzibah.I think this covers the history quite well: The ingredients are now there.






RE: Who are you? Can you disclose names? I hope I’m not compromising anything

H-B: My name is Tonttufindergeneral Hanz-Baal, the propagandist of Anti-Gnome Organization also known as TONTTU which is more known for its role to raise awareness by Muzik known as Anti-Gnomemartialindustrialneofolkmetal.

Some say I am eternal like The Phantom, but nothing like him… Some say I just live in shadows with this disguise to avoid gnomes’ revenge… But who am I to talk about what or whom I might be, let us just say that all you need to know is that I am behind of rescuing our species from gnome-menace.
Quite the glorious task, some might say, me included.


RE: Gnomes are said to be everywhere, I even heard that they have formed conspiracies within big corporations, especially technology oriented (or must I say, techgnomlogy?), is that true? What does this mean to mankind? 

H-B: They sure are, one of the reasons our name is TONTTU (gnome in English)… Keep your enemies close and make the threat visible and easy to remember!

And do not get me wrong, we are not talking about those horrible, ungodly statues but living and breathing monsters that haunt our species! Talking about “garden gnomes”: Most of them are alive and just waiting their moment to eat our beloved flesh and destroy our minds… Those not alive are there to distract us and used as the tool for propaganda. The best thing one can do is to destroy (we like to say eradicate) everyone and anything that even vaguely reminds of gnomes!
The Golden Rule: If there’s the slightest of suspicion - Eradicate!

This all means destruction and doom, TEOTWAWKI! Gnome-Tech soon reaches its goal and we will live as slaves to gnomes!

We have this song called “Gnostradamus” that covers this issue with humans blindly doing the gnomes’ bidding and on the other hand doing nothing to enhance us as a species while gnomes advance in so many areas and soon we are nothing but cattle for gnomes. GNWO is real and those helping gnomes (Gnome-Sympathizers and even Human-Gnome Hybrids, not to mention those turning the blind eye) are in high positions in corporations and in politics making the rules…. And believe me, odds aren’t that good for the rest of us!

Gnome-Tech is seen as the way to spend time and to make our lives easier and increase our ability to handle the information but in fact it just makes us ignorant and lazy and leaves us in the mercy of redwashed propaganda making our lives harder still.

Gnomes have really studied our species and they seem to know how to play us, let us leave it to that. Keep your panem et circenses and do something productive, you mothergnomers, or die as gnomes’ slaves willingly giving your spleens for their sodas!


RE: What are your thoughts about this urban legend, the allegedly underground cosmic horror series from the 90’s which were only released as VHS tapes, and some say there are hidden alternate endings with clues and keys in the struggle against gnomes?

H-B: I think it is time to make some martyrs for the cause again, cleansing if you will…
Loose lips and all that but the truth shall set as free...right... RIGHT?
Shit...well,more martyrs for the cause!
Who was it that once again revealed our plans, was it Bill again? Tiina?
Damn Anti-Gnome Laboratories, always spilling those rotten beans… Sigh, but now as you seem to know already…

Okay, our great plan WAS to study the future by letting some badgers urinate on certain series and movies on VHS-tapes. Some say that it will reveal alternate endings hidden to those relics but we know it does! Seen so many weird things after those sessions, and even someone mentioning this peculiar fact in the internet, so it can be nothing but true!

I just hope they only told you the method, not all the intel we got out from this experiment so far. Well, it was a good decade for Anti-Gnomen studying these magical beasts and tapes being pissed on… Sorry thing is that we just found the best combination for the cassettes and the amount of urine used, it could have shown us the location of the most secret doorway to THOTEOG (The Halls Of The Eye Of Gnomishness) situated under the pyramids, Gnome-Tech Laboratories have been said to dwell there with the secretive research of Human-Gnome Hybrids….

But nooooooooo….Silence is golden no more. We shall disregard all of the evidence now and leave those badgers without their beloved cassettes, stranded and homeless and vulnerable for gnomes’ aggression… happy now? Science does not get the appreciation it deserves nowadays as we are the beacon of wisdom for the humankind and you lot treat us like this? Damn liberal media blindsided us once again… Oh well, this proves my point once again…. And I usually like to be right but under more productive and appreciative circumstances.

RE: It seems like the war against gnomes is very though, what are your weapons of choice in this struggle? 

H-B: Did you know that according to some very scientific studies as much as 97.8% of all the human beings have been infected and/or possessed by gnomes or in a danger zone… DID YOU?  The fact that more and more people are getting redcapped is unbearable as they are our adversaries in the future! So, our fight against gnomes is more important than ever!
The gnome-struggle is damn real and we must submit ourselves to the sweet release of Anti-Gnomen! To do so we must make sure that we, the normal people, do not get tainted by gnomishness. We must make sure, that we will have enough living space so that we could flourish and have the best chances possible to see the future without any gnomes!

Anti-Gnomemartialindustrialneofolkmetal is our best weapon to fight this horrible phenomenon, controlling the information is the best way to control the power! Must say I love flamethrowers too… Well, I love anything that can be used to harm gnomes, so I am very liberal in that way. Hell, every single human being should have at least a good few guns and bombs for making their lives safer, that should be mandatory in fact! I would give every gnomefree man nuclear weapons just to stay on the safe side: We cannot underestimate the danger that gnomes represent.

But the weapon of my choice is our music that is extremely superior in so many ways. Maybe I will open this answer up a bit, so that the slowest of you might just see a glimpse of our brilliance and ingenuity and maybe, just maybe, learn from it! There is no grey in this game, no neutral zone so to speak: Either you are Anti-Gnomen or you are against our Sacred Cause!
By trying to be in the middle you just show that you are gutless piece of gnomesian excrement and thus eligible for a bit of eradication!

There is only two kinds of music in the world:
Anti-Gnome Muzik: Strong Anti-Gnome attitude included, gnomes cannot stand sheer power of this sublime art form and thus run for their petty little lives leaving us victorious! In the worst case they just leave the premises and the one playing this glorious music is safe for the moment at hand.
Pro-Gnome Muzak: Repels normal human beings with its vile and atrocious soul munching features. Those already leaning on gnomishness and those sorry little excuses for a lifeform enjoy it immensely and thus show their unworthiness to live their lives without being dealt with… You know what I mean!

Even though Anti-Gnome Muzik is the most competitive genre, TONTTU sure reigns it supreme! Well, I must admit that we are in a way forefathers of it, but who cares: We are that damn good and we never let pressure from the outside affect to the outcome of our brilliant and groundbreaking releases… I believe that it is the fact why people admire us so much and feel like they should kneel down when seeing us… If they knew who we were, that is…. But they would!

By the way: We welcome those numerous up-and-coming Anti-Gnomeists with open arms. To highlight one I must mention TerrorroT (our beloved collaborators) and their highly uneasylistening Industrimetalfolkgoredroneantignome-Muzik!

We need more of this kind of commitment, but the youth of today are so often spoiled and spineless and know nothing of the struggle we, the older and the wiser, know so well. If only people were more like me…

I must also applaud our comrades Fahl for making that splendid “All The darkness In The World”-ep found from the split (2016) with TONTTU, Fahl and P. Emerson Williams. The album is called  “The Decline And Fall Of The Gnomen Empire.” Chilling stuff and truly shows the true nature of those pesky and creepy little critters!

And why do we use Finnish as our official lingo? Well, obviously it is harder for gnomes to decrypt our message and counter our plans! We always have our propaganda translated in English, but that takes some effort to find it from our digital releases. Using PDF:s is the ultimate High-Tech and quite impossible for gnomes to hack: Our Anti-Gnome Researchers spent many years optimizing our technique so I would imagine for gnomes it should take more than that! They do have their highly advanced group (GNSA or Gnomes’ Net Service Agency) for cyber attacks and I am sure they are trying to solve this problem as we speak!

Did you know that as the part of the GNSA there is division of “trolls”, that name misleads though, as they are in fact nerdier gnomes spreading false propaganda and putrid Pro-Gnome Agenda trying to influence the public opinion! Cursed are those weak-minded mongrels that believe any of that malevolent propaganda cause ours is the ultimate truth!

But to sum this up: Anti-Gnomemartialindustrialneofolkmetal is the means to an end, I would not describe it as much of a musical genre than the lifestyle that is optimal for our species! We offer it for everyone and they’d do good accepting it! They’d better…

Thinking further we need to separate people from their money, what on earth would they do with it anyways? Those poor souls would benefit of us controlling the money so they could concentrate on dedicating their lives to Anti-Gnomen… Of course we would help those in need (if they are worth it), but on the other hand they should be grateful for us creating them the better world and gnomen-frei environment. They could work for The Cause as many hours a day as they humanely can: Inhumanely would sound even better, but  let us get to that later on as we have our administration established!

If we just get rid of gnomes our peace loving and highly intellectual species would finally reach nirvana and utopia at the same time with TONTTU as the benevolent and undisputed leader! Sounds great to me and if someone hesitates or questions this great vision it makes me wonder…
We could establish camps where we could put those non-believers so that they could think things over and I am pretty sure they would change their wrong opinions and views. I am sure they would appreciate this chance offered to them and embrace Anti-Gnomen!
And after all if we are the ones who liberate this planet from gnomes’ reign of terror we should get some perks and some say on how things should be run overall, right? It is not easy being a hero when there is ingrates all around!

Make Anti-Gnomen and our species great again!

You lot just want us to deal with this grave situation and then take over, you son of gnomes! But we know better and we shall sort you out, oh yes we will… And all will be handled with special finesse and that solution shall be final, no complaints accepted! Viva Anti-Gnomen!
(…heavy breathing…)
…
...Now that I think about it I see everything clearly: You all have been deliberately undermining and sabotaging our valiant crusade! No wonder we cannot get enough of good intel and our best laid plans so often fail!

Just you wait… You have just made it to The Red Book!


RE: Do you use live propaganda to propagate the truth? What can one expect in a TONTTU anti-gnomish propaganda show?
H-B: Live shows? You try to get us killed? Taking gnomes’ side, are we now? Damn… Of course we do not do live shows, anonymity is essential in this line of business and letting gnomes find out our identity would compromise the whole operation!

Even though I find all kinds of hoods, cloaks and other disguises more than pleasant and useful, we will absolutely never do live shows and give them the slightest of chance to recognize us!
One could say we are performing live when you see gnomes at stakes and/or delightfully one or more of them burning outside your house lighting up your backyard. Remember us when you see those glorious mushroom clouds evaporating gnomes’ nests and flamethrowers sweeping through buildings!

Sniff… Getting almost emotional here…

“I’d rather stay alive than go live.” As one great thinker once said… That was me by the way, quite impressive quote even though I have to say it to you myself. But what can I say, I am helpful and gracious like that, everyone could learn from me!


RE: I know there’s a book you’re going to publish, can you tell us about it?

H-B: I would have even if you tried to stop me! But thank you for the opportunity, it makes this easier in so many ways. Behind the foily curtains of Anti-Gnomen loads of wunderbar things are taking place at the very moment! Thomas Jude Barclay Morrison is giving finalizing touches to our epic modern Gnodysseia – The Book that will make every other book obsolete and worthy of burning! And when he will be done P. Emerson Williams shall perfectify it with his overtly realistic illustrations!  The Book shall be published by the beloved Panicmachine.
We shall show the world whom are to blame and why, the final truth will send shock waves throughout our entire planet!
“Gnomeus Gnomeficarum, or: How to Blame It on Gnomes” will leave you speechless as you shall finally know more than others do! Except of us, naturally… We know everything.


RE: What can we, normal people, do in the struggle against gnomes?

H-B: According to some very respectable scientists (whose names we cannot reveal, but they are the best there is) we need to do two things immediately to improve our odds against gnomes:

1) Get more plastic to our oceans and lakes, hell, even to rivers! Gnomes ransacked some amazing underwater technology when they occupied Atlantis way back then, that is why we cannot trust normal water to stop them or slow them down! PS: And you guys still wonder what happened to that continent, pretty obvious, ain’t it just? Ignorance triumphs in so many levels and I do not like single one of them!

2) Raise the temperature of our planet any means necessary, that will make gnomes’ lives harder as they are known to enjoy the cold areas… Drink oil if needed to reach our goal and let them be like foreigners at sauna in Finland!

On the other hand there is only one thing we must decide right now, what is the acceptable percentage of collaterals when trying to get rid of gnomenkind?How much are we willing to sacrifice?

Well, I see things like this: If we give all the power to gnomes we are dead anyways so everyone is replaceable, more like expendable… Maybe some nice little birdie, rat or lizard will then live Gnomen-Frei life and give even one single warm thought for our kind! I know cockroaches will!
Takes loads of effort to reach these goals, but I have the uttermost belief that our species is more than capable of completing this humongous and selfless task at hand! Gnumbaya-h, let us join hands!

RE: And last, but not least, anything you like to add? Thank you for this illuminating piece of anti-gnomen wisdom!

H-B: The wheels of destruction and mayhem are turning and we are preparing ourselves for the release of our glorious and Anti-Gnomelicious 8:th chapter for our saga! Must not reveal too much but I can tell you this, it will be TONTTU-only album so no remakes this time from our beloved comrades! You may also witness couple of additional members joining our rock solid crew, one being Marcel P. from Miel Noir, he has earlier provided us with a great remix for Gnouroboros. It is kinda obvious that he will be joining in, as like everyone knows, gnomes hate bees and want to kill them all and infect their honey, outrageous! MN is known for their bee-sympathies like we are known for hating gnomes, so our goal is common!

There will be other (no doubt pleasant) surprises too, as we are always thinking outside the accursed box that limits our lives in so many ways. Our Anti-Gnome Scientists have come to the conclusion that all the boxes are in fact possessed by gnomes and their only purpose is to make people to stick to their old habits thus slowing down the evolution and technology, no four-armed people with extra-light-ultra-flamethrowers, no sir! We must burn all the boxes and shut down all the factories manufacturing them so that our valiant species could once again reign supreme!

Be as it may, there is only one thing everyone should remember and hold dear… If everyone forgot their minor little quarrels, wars and abandoned their current adversaries and remembered this, everything would go smoothly:

“If everyone hated exclusively gnomes, this world would be better place within minutes!”

Think about it.

TFG Over & Out: Pleasure and thank you, keep it Anti-Gnomen!
PS: The highest regards of Anti-Gnome HQ to DJ Vrhovny and Lupo Von Volpe!



To find out more about TONTTU visit their Facebook page here. Their latest releases can be found on Panic Machine here. 

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Interview: Bornless Fire

Out of the ashes...

“Every move is a lesson in the music business, good and bad. However, all I can say is keep thick skin and always watch your back. There are too many leeches trying to drain your blood.”

Bornless Fire is the new industrial project from Kristof Bathory, better know as the driving force behind industrial-black metal outfit Dawn Of Ashes. Featuring members of Dawn of Ashes, Bile, and Carved Souls the project is a return to Bathory's early industrial sounds that characterised the initial years of DOA. This time however, Bathory returns to that style a battle-hardened veteran of the scene with a renewed vision and fire within him.
The band's debut album is scheduled for release in early 2018 via Metropolis Records, so we caught up with Bathory to talk about his motivations in revisiting a purer industrial sound and his inspirations behind the new project.

Intravenous Magazine: First of all how did the idea to create Bornless Fire as a band come about?

Kristof Bathory: For many years, I have had high demands that I do Industrial music again. After, the last Dawn of Ashes tour, the idea just happened while randomly listening to Hocico in the van. I started to think about the fans asking me when I would or if ever I would do this style of music again. Then, I came to terms that I am going to bring back an era of Industrial that has been buried and modernize it with my current skills.

IVM: The band features yourself along with members of Bile and Carved Souls as well, how did you go about recruiting them and are their contributions purely in a live capacity or are they actively writing?

KB: Its actually myself and Angel from Dawn of Ashes and members from Bile and Carved Souls. The recruiting happened by a tight friendship from me and Krz from Carved Souls. During the last DOA tour Brendin from Bile actually approached me in NYC and we bounced back thoughts about this idea. It just came into place perfectly.


IVM: The band's moniker has a strong sense of the Luciferian about it with allusions to the Bornless Ritual and The Black Flame. How did you come to settle on that name and how do you evoke it sonically?

KB: I wouldn't strictly classify it under "Luciferian", even though the symbol does have the sigil of Lucifer in it as a symbol of light. However, I would say it would be classified under various sects of the Left Hand Path. The name itself is derived from the "Bornless Ritual" that is from Greaco/Egyptian origins which the term "Bornless" actually means without a beginning. I then tied it in with the "Black Flame" to represent the divine spark that is within the evolution of human beings.

IVM: The band's Facebook page describes the genre as industrial/dark electro. With Dawn of Ashes evolving into a primarily black metal based sound over the years, how important is it for you to keep writing electronic music and will there be any similarities between the two projects?

KB: I think I made the decision to separate the two in order for DOA to move forward in the direction that it has been going and to give the fans that miss that old era of DOA something familiar but new. So to answer the question, I will always make Industrial music.


IVM:You're currently working on your debut album under the new moniker, what can listeners expect to hear on the album?

KB: An era of Industrial that has been dead and now it's time to dig up it's bones.


IVM: Names such as Suicide Commando, Grendel, and Tactical Sekt have been mentioned as remixers for the album, how important is it for you to maintain this practice with other artists?

KB: I felt that if I am going to make a come back with this, might as well have my old EBM pals back me up on it *Grin*.


IVM: How has the songwriting and recording process differed for Bornless Fire?

KB: Well, I am DIY-ing everything myself so I am in a portal messing with various alchemy ingredients and honestly loving it. No more pain in the ass / arrogant / self-entitled band members to tap on my shoulder every second which is a goddamn blessing.


IVM: Musically and thematically what have been your primary influences when recording the new album?

KB: Musically: Late 80s to early 2000 Industrial music. Thematically: My wisdom from the Left Hand Path and the crisis within the downfall of humanity.  

IVM: When can we expect the debut album to be released?

KB: The debut album will be released 1st quarter of 2018. Unfortunately, I can not reveal any further details until closer to that date.

IVM: Is there a title for the album (working or otherwise) that you can share with us yet?

KB: This info won't be revealed until sometime towards the end of this year.

IVM: The album is scheduled to be released through Metropolis records who also released the last few DOA albums. Did you entertain any other labels for Bornless Fire or was the plan always to stick with Metropolis?

KB: Metropolis Records immediately jumped on this once I told them about it. They are one of the largest Industrial labels so I felt that the album would be handled properly. Also, since there has been a high demand that I do Industrial again, I think the label knew it was something to invest into.

IVM: Can we expect to see Bornless Fire on the road anytime soon, and if so have you made any plans as far as the live presentation of the band?

KB: Probably looking around the same time when the album gets released. Bornless Fire features members of Dawn of Ashes, Bile, and Carved Souls so we have an amazing live lineup.

IVM: You've been involved in the music scene for a while now, what have been the hardest lessons you've had to learn and what advice would you give to new artists?

KB: Every move is a lesson in the music business, good and bad. However, all I can say is keep thick skin and always watch your back. There are too many leeches trying to drain your blood.

IVM: Finally is there anything you'd like to add?

KB: I'm very excited to jump into this again and I am looking forward to seeing all of the reactions.

Bornless Fire's as yet untitled album is slated for release via Metropolis Records in early 2018. To keep up-to-date with the band, including release dates and tour news, follow their official Facebook Page.  

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