Lo Down Magazine - Metal Spirit Resurrection
Transcription
Lo Down Magazine - Metal Spirit Resurrection
UNTIL THE LIGHT TAKES US. in the glare of burning churches Chronicling the history and ideology of Norwegian Black Metal, a subculture which is reflected in a unique musical and visual aesthetic, the long awaited documentary “Until The Light Takes Us” explores every aspect of this controversial movement, featuring interviews with the originators and including rare unseen footage from the so called “Black Circle’s” earliest days, when suicide, church arson and murder caused Norwegian Black Metal to rise to international prominence. “Norwegian” has become a byword for true black metal, a term much attributed to the bands Mayhem, Burzum and Darkthrone. A dark and erosive atmosphere as well as the basic recording quality of the early movement re-defined the very soul of what one perceived as black metal and ignited the genre incarnate. Their use of misdirection and metaphor was sophisticated and a certain naivety in some parts led to some spectacular results as well. Apparently, there is really no other art, music or ideological movement like it and the fact that Norway has a natural environment reflective of darkness, helped to create the impetus for the scenes violent image elsewhere. The stark beauty of Norway’s landscapes and timeless visage has become synonymous with Black Metal. With Mayhem being a significant force, paving the way and igniting a whole movement, the suicide of vocalist Per “Dead” Ohlin on April 8th 1991 was nothing compared to the forthcoming wave of hysteria generated by the media worldwide, when Burzum´s Varg Vikernes put Mayhem’s guitarist and mastermind Oystein “Euronymous” Aarseth to death, stabbing him 23 times in a dispute on August 10th 1993. Thus, the movement was truly born. Aarseth can be seen as the godfather of Norwegian Black Metal, his very name evokes the acute reality of the scenes early ascension, and Mayhem surmounts the impressive list of bands that make up the scene, as true cult. Vikernes in contrast, shortly created a legend by killing the visionary Euronymous. Burzum’s initial releases mark and define a genre for the member that ravaged Mayhem, making him become one of the most important acts in the 68 BARD ”FAUST” EITHUN Black Metal genre and this was followed by no lesser minimalistic albums until his incarceration for murder and for the burning of three stave churches in Norway in 1994. Currently, Vikernes is serving a 21 year sentence for murder and is seeking parole in April 2008, which first has been denied in 2006. The cover art for Burzum’s “Aske” EP, which was originally released on Euronymous´ DSP-label, shows a photo of the burnt Fantoft stave church that Varg once ignited. Altogether, the “Inner Circle” claimed responsibility for inspiring probably over 50 arsons directed on churches in Norway from 1992 to 1996; mostly buildings widely regarded as important historical landmarks. Often quoted in combination with the bloody history of Norwegian Black Metal, is Emperor’s former drummer Bard “Faust” Eithun, who was convicted of murdering a homosexual man in Lillehammer on the 21st of August, 1992. Eithun was released in 2003 after serving 9 years and 4 months of an original 14 year sentence. To put all these events into perspective, none of the criminal acts were designed for public scrutiny and no premeditated media hype was constructed. The young teenagers responsible for the hysteria were indebted to a personal agenda that eventually became swallowed up in the media attention that ultimately followed. The way the media treated them and portrayed what happened as well as the way things are interpreted and re-interpreted as they’re filtered through different lenses by artists, music journalists and the news media marks the focus of “Until The Light Takes Us”, the first film about this movement. The feature-length documentary directed and produced by the Brooklyn art couple Audrey Ewell and Aaron Aites is by no means just some kind of metal history lesson, it’s a personal and exciting insight into a subculture that carried a rebellion against mainstream society, the people behind it, what happened to them and their creation, and what’s still happening now. Audrey, you already made your directing debut by co-producing the movie “A Sign from God”, could you tell me a bit about that? Hmm, that was a romantic comedy. I was basically forced into an acting role in that as well, plus I was the production manager. That production got off to a rocky start. I remember the first day of shooting, I got up at some ungodly hour, and before I’d even had coffee I got a call from the assistant director. I was expecting an update but I wasn’t prepared for the update to be that the entire principle cast: the director, two sound guys and the D.P. had been in a car crash and were in an ambulance on the way to the emergency room. Everyone was fine (well one of the sound guys had actually wandered off with a concussion and when I arrived at the scene the police were talking to the craft services guy, who was somehow the most responsible person still there), but that’s just budget filmmaking. I’m amazed we finished that one. But I think with film you’re always amazed, they are so hard to make. How have you been introduced to Norwegian Black Metal; how did you develop the idea for the movie? We were introduced to Black Metal by a friend, Andee Conners, who owns Aquarius Records in San Francisco and who, despite our objections, knew that it was something we were going to be into. And we did really get into it. It really captivated both of us and we both really care about music. So, basically, we wanted to see a good film on the subject, that’s really how it started. We were looking for a good documentary on the subject and couldn’t find one. There was this great mythos surrounding it, surrounding a movement made extreme not by copious amounts of drug use or “bad” behaviour, but by really doing the previously unthinkable and yet simultaneously enacting a sort of evil parody. How did these things fit together? It was obvious from their music, lyrics and aesthetic that there were intelligent people involved, humorous and even subtle in many ways. A scene is comprised of individuals after all, and after researching everything we could get our hands on, it was apparent that no other treatment really dealt with that. There’s really no other movement like it. There may have been similarities in the late 70’s Throbbing Gristle and satellite scene of Britain, or the “terrorist chic” of Baader Meinhof, or even the countercultural music and ideology elements of the American hippie music and nonviolence movement. But then, the differences are obvious, so the film deals with that, but it’s equally about people and ideas. I think the film and the characters are going to surprise a lot of people. You absolutely will get the history of Norwegian Black Metal from the mouths of the people that created it, but there’s a lot more to it than that. We aren’t journalists, and journalism doesn’t interest either of us. VARG ”COUNT GRISHNACKH” VIKERNES Is it true that you spent several months just living there, becoming good friends with everyone, before you actually started working on the movie? That’s true. Getting the vibe of Norway, getting to know the people, it was important that we get to know the people we were documenting before we started filming. We didn’t want to get a superficial snapshot, that didn’t interest us. And besides, one of the things that appealed to us about the project was Norway itself. Getting a chance to experience what it was like to live in Norway wasn’t only necessary for the film; it was a fringe benefit for us. We wanted to live in Europe for a while; we also shot in Stockholm and Milan. It was very isolating at times, but it was also nice to have a singular purpose and not to have day jobs to contend with. So, we became friends with most of them on some level: Gylve (“Fenriz” of Darkthrone) for example, we clicked with him immediately; Aaron can talk music ‘til the sun comes up. We’re friends with a lot of the other musicians as well: Infernus from Gorgoroth, Garm from Ulver and Hellhammer from Mayhem in particular. We have a pretty good relationship with everyone in the scene for the most part. PER ”DEAD” OHLIN & OYSTEIN ”EURONYMOUS” AARSETH UNTIL THE LIGHT TAKES US - 69 But how did you get in contact with Vikernes? I can imagine it was very hard to get him to agree to it... Yes, it was incredibly difficult. We spent eight months corresponding with him in which time he must have said no 10 or 12 times. Finally he agreed to meet with Aaron, and from there we were able to get his participation. Do you think he is aware of himself still being a role model, and what do you personally think about him turning to apparently extreme political and religious ideologies? I’m not sure if he really is. But to the extent that he is, I don’t think that he wants to be. I mean, he no longer releases music, he doesn’t give interviews at all anymore; he doesn’t release statements or court any kind of public attention at all that I’m aware of. I think he just wants to fade from public view and live his life when he’s released. I’d be shocked if he did otherwise. So, what’s really important is that the film is told from the perspective of the musicians themselves, there’s no narration and there are no experts. And while the notion of objectivity is a perverse fallacy, we abstain from commenting on the subjects of the film. We’re not overly political in our personal lives, we do think the world is broken in many ways and we choose to engage the world in conversation with media, rather than attend rallies or try to enact change through activism or politics. Objectivity though, it’s a false idea. There’s no such thing. Perhaps a robot could be objective, but even in our science fiction you see again and again that as robots become more human, they lose their capacity for objectivity. So, that was never of any particular concern to us. What was important was that we get the right people to tell the story. And that obviously means the originators. But of course our ideas are still present. They’re there in the juxtapositions, in the people we chose, in the stories they tell. We weave a few timelines and stories; the overlap is generally where the thematic elements are explored. Were you friends with Harmony Korine before? How come he´s involved in the project? Well, he’s been into black metal for many years; he also used Burzum in the Gummo soundtrack and has put up many Black Metal-related exhibitions in several galleries. Basically, we just went about it the same way that we did with everyone else in the movie: called him up and told him what we were doing, asked if he wanted to be involved. We’re just very honest in what we’re doing and what we want. The Authors Audrey Ewell & Aaron Aites Finally, can you name some special happenings during the time of production? Umm, well, didn’t the Norwegian women’s curling team win some kind of medal? UNTIL THE LIGHT TAKES US: DOCUMENTARY: USA 2008: DIRECTED BY AUDREY EWELL & AARON AITES WWW.MYSPACE.COM/BLACKMETALMOVIE WORDS: CHRISTOPH RAMBOW STILLS FROM ”UNTIL THE LIGHT TAKES US” 70 - UNTIL THE LIGHT TAKES US