Drunemeton (Rus) [22.02.16]

WinterHeim: Greetings, Grannus!

I don't feel an urge to bother you with questions which relate to the history of the band, yet this is necessary to clarify the current situation. Briefly tell us about the history of the band from the beginning and up to its current state. Why did you decide to change the name and concept of an already existing project rather than creating a completely new one, and did you see a substantial difference in the outcome of the band if you made a different choice? Why did you choose the name «Drunemeton» and what is the meaning of this name to you, personally? Are you satisfied with the way the band was transforming and the results of all the efforts over these past 7 years? And also, were there any mistakes that you wish to fix or that you wish to not had allowed at all?

Grannus: Greetings! The thing is, Heresiarch Seminary for a while was a band which contained several members, where each one of them influenced the creative process. Since other members were much more straightforward and had more restricted and extreme interests, I didn't have nearly as much space or opportunity for creative development. After the second release, when the formation began to separate with the contents of the music, so we decided to separate, and the following two releases of Heresiarch Seminary enact demo releases of Drunemeton. Even though the album «Whirlwind Of Wild Hunt» was recorded under the old band name, in reality it was a demo record for the new project. One song from this demo, together with the best pieces from Heresiarch Seminary, were assembled in the debut album «Fullmoon Asbath». The very best songs that were recorded earliest, in the days of the foundation of Heresiarch Seminary, were included in the split with Dizziness. At this point in the music, I was no longer being restricted by old bounds, and now I can freely use the strings, choirs, pipe organs, different type of vocals, as well as paying more attention to the actual sound, etcetera. Drunemeton is now an entirely my project, and no one else's.

At time of downfall of the original members of Heresiarch Seminary I began studying old European religions, until I came across the Celtic religion, beliefs of which are closely related to the common European pagan cult of Horned God, which the celts call Cernunnos. I selected this particular God and this particular religion for the following reasons.

This is the god of primeval nature, incomprehensible and hostile to the humans. Of darksome, impassable forests, guarded from avid and ravenous humans by dark spirits of nature. The word «Drunemeton» means «sacred grove». The whole creation of Drunemeton is based on this concept. This is exactly why I placed the image of Cernunnos in the logotype, to visually define the musical and spiritual message of my project to its listeners.

I would be prevaricating, if I wouldn't admit that this had a much more literal moment. My interest in celtic religion arose almost simultaneously with my interest to creations of a band Graveland. «Drunemeton» was their second demo. When I was thinking, how would I name the band, everything combined, and I realized that this is exactly perfect.

Is Drunemeton definitely a one-man band, or are you planning to gather new members (for a totally complete line-up or exceptionally for concerts)? What were the reasons for your separation with the old members?

At this moment, Drunemeton is definitely a one-man band project. Many associates, whom I asked to assist me with the percussions, declined the offer based on different reasons. Conclusively, I got bored looking for a line-up, because all these sinuosities affect the creative process. Electronic drums can be modified to sound quite decently - I mean, look at Summoning, Ancient Rites, Limbonic Art. From Eastern Europe I can named Reusmarkt, and of course Graveland. I am in decent relationships with members of the last line-up of Drunemeton, so if they don't feel an urge to be a part of this project, I don't need to force them to do anything, we are adults for a ling time now, and everything’s fine. Everything’s fine with the drummer from the initial line-up - we regularly communicate. I would prefer not to discuss others, let’s let it all stay behind the scenes.

Let’s start discussing Drunemeton’s releases from the split «In the Woods of Heathen Heretic Conspiracy», which was created in cooperation with the Greeks Dizziness. How do you currently evaluate this work? Was the split conceptual, or was it merely about making a first attempt of something new and a fortunate opportunity to produce the outcome? How do you evaluate the material which was contributed by Dizziness and what are your thoughts about how your material combines with theirs?

Today, I evaluate this work terrifically, because I could finally turn all my old ideas from Heresiarch Seminary legacy into life, without pressure from other members. Just like all other work of Drunemeton, the songs (which Dizziness included in the split) also have mutual ideas with the main concept of the project, which I specified in the first question, even if they don't reference it face to face. The theme of the songs was also diluted by lyrics, inspired by Lovecraft’s creation “The Rats in the Walls”. I will write lyrics inspired by his work later on, too. In the currently pending album, I am already planning to use his poems for one particular song. I evaluate Dizziness’s material well, and they combine absolutely fine. Obviously, our work is not alike as two drops of water, but that is not necessary. The only thing which I regret a little is that I released the split by my own means and in a small amount. Unfortunately, I don't have sufficient means to provide it a proper production. However, it's currently visible that half of the production is already sold out and exchange by different labels, and the split is still being demanded.

«Fullmoon Asbath» is the first full album for Drunemeton, but not for you. Tell us about how it was being recorded (disclose everything that you find important). What were your goals when the album was being recorded and were they fully achieved? Did your experience in the studio help you to come closest to what you wanted to achieve? Was the album recorded with the old line-up, or was it just you who worked on it? Are you satisfied with the outcome?

I am satisfied with the results. The album was being recorded by me and Veteris, the drummer who took care of the sound in the Heresiarch Seminary’s albums, and keeps doing so up to the present times, only now, after the «Fullmoon Asbath» session, he doesn't record rounds anymore. The recording of drums and guitars was happening in one day at one studio in Moscow, everything else was written and mixed at home. The goal was not to end up in oblivion with the very best and the most honorable material, aside from what was already achieved, quite nicely, on the split that I recorded for Heresiarch Seminary. Moreover, the process of recording a song which structurally excelled my work in its complexity, was interesting. I am talking about the cover on Enslaved, «Fenris». In my old band this would be impossible. Judging by the overall palette of shades and used instruments, the album really surpasses all creations of HS. I am not against the fact that the old members were amateurs of an extremer and more straightforward style, but my heart lies with something else. Though, take even Satanic Warmaster, which in its time influenced me in the way of writing riffs, which I with pleasure listen to over and over again.

The cover on Graveland is a bonus track, because initially it was supposed to be included in some tribute, but the label, which was dealing with it, went out of business.

The experience with the studio definitely helped. I recorded guitar parts for all songs in three hours, helping myself, considerably saving some cash.

«Fullmoon Asbath» combines a lot of elements of Finnish and Polish black metal schools and it is quite qualitative in its tribute of respect to both branches. Why did your creative vector fall on these particular paths of development? Do you assume the possibility of Drunemeton changing its course to a completely different area in the future, or is the musical concept going to be preserved?

I would also note the Ukranian school, which will have a much heavier influence on the future release. Accordingly, the Norwegian school, too. Concerning the creative vector - everything is simple. I opened extreme music with Satanic Warmaster, Graveland, Satyricon and Nokturnal Mortum. Everything else came later (Negura Bunget, Enslaved, Primordial, etc.), so their influence is what’s heard in the music. When I think of Polish bands of the 90s, the first thing that comes to mind is the atmosphere and the pagan otherworldly spirit of their work, of Ukranians - their folklore and heritage. Aside from the bands, listed above, I would also emphasize for myself and the readers the following: Astrofaes, Drudkh, Reusmarkt, Kroda, good old Lucifugum, Khors, Темнозорь, Veles, Infernum, Falkenbach, Bathory (their later phases), Kampfar, Isengard, etcetera.

I wouldn't call my music Black Metal. It has more diverse elements, and it is not at extreme. Let's call it Dark Pagan Metal or Dark Celtic Metal. The style will definitely change and develop over time, and you will surely hear it the next album. I constantly search for new ways of developing the conception and music of Drunemeton, I am not intending to stop progressing.

Tell us about the lyrical concept of «Fullmoon Asbath», and Drunemeton overall. Which topics do you concern in the lyrics? How important are the lyrics for you? Do the lyrics carry a special and unique meaning, or is it just the “music notes” for the vocals?

The lyrical concept in «Fullmoon Asbath» is peculiar, because the album is basically divided into two parts. The first part ends as a cover on Enslaved and references northern mythology, distinctive to the creations of my previous band. The second part of the album begins with an allusion of certain Lovecraft’s tales - “The Strange High House in the Mist” and “The White Ship” - in “Far Tower Beacon”. The next composition - cognominal central theme of the whole album, narrates about a Pagan celebration of Full Moon’s Asbath, the gathering of witches of this old religion, which our predecessors honored before Christianity perverted it and declared it diabolical. Gods of the old religions become the Devils of the new ones, and we should remember about the authentic religious dawn of the pre-Christian Europe and about our genuine, elemental deities.

What can you share about the source of your inspiration? What is the inspiration itself, in your eyes?

The main source of inspiration is the nature. No art may truly communicate this beauty. Music and literature, as any other art - are only crutches for conveying its magic and sorcery. Dedication to spirits of nature, who lurk in forests and lakes under the oppression of industrialization, that was formed by the monstrous Abrahamic doctrines, which were born among sand and deserts, with contempt toward nature and with benefits for avid human beings. Our ancestors were born and lived among fields, forests and lakes. The surrounding beauty left a mark on their arts and crafts, and today we must be the continuation of their ways of life. In all of this lies the true inspiration.

How are things going with the visual part of the releases and to what extent would you define the importance of this part of your creations? For the cover of «Fullmoon Asbath» you used a part of the picture that was drawn back in 2006, called «Cernunnos and a princess» - a creation of a Czech painter Miroslav Zapletal. What attracted you in Miroslav’s style, and were there other variants for this cover?

There was another variant, but unfortunately, for an understandable reason, the artist couldn't finish the artwork by the deadline, so by these circumstances I was forced to make the design of the cover myself. I chose this particular artwork because it visually resembled the designated concept of the release. I also modified the artwork for it to fit the desired outlook better. The visual part matters, I always try to make the outlook at a decent level, as much as that’s possible. I use the help of designers, or, as in the last case, do everything myself. I should mention that another painter, with whom I made arrangements concerning the future release, also seems to completely miss the deadline. By the looks of it, I am going to do everything myself once again.

Tell us about your ideology. How do you personally understand the conception of “paganism”? Do you consider yourself a pagan, a Slavic neo-pagan, etcetera, or do prefer not to give your views any definition, in order to avoid boundaries? How do you understand the term «natural philosophy» - is it applicable to you? What can you say about «satanism», «nihilism», and «misanthropy» - are any of these terms relevant to you?

Paganism - is yet a Christian term, so I find its usage quite arbitrary. Similar terms always serve to separate what’s currently actual and what was actual back then. So, if you look into the actuality of the past, you will see that is doesn’t have much in common with the ways of the mass of ”pagans” nowadays.

Most of the so-called “authentic believers” from different “communities”, happen to really be the same dogmatic confessional cultists, more brain-washing than any Christians.

For them, paganism serves as form of extrusion of different complexities, and opportunity to find mutual understanding and communion with the same people with different types of rats in the attic. Once again, obscurantism and sectarianism there are more brain-washing than any orthodox christianity and eurasianism.

Another branch consists of somewhat like “reconstructors”, who wear Slavic shirts, organize some kind of rituals, but overall, keep in touch with reality, which is much better than the first sub-group. That’s how things stand in Russia. Judging by the interview with Яромысл from Zgard, which he gave for my web-zine (House Of The Whipcord Zine), in the Carpathian region things are looking more optimistic. There's all this is a sensible and natural way for the development.

I do not consider myself to any religious or subcultural groups, whether it is there «Rodnover» or « metalhead-paganist » and stuff like that. In a recent video interview Varggoth (Nokturnal Mortum) said one right thing with which I fully agree. In pre-Christian, the old times, religion was something deep and personal, without seeking the benefits and influence on the masses. There was a natural by nature that feeds the man of the deep roots of the land itself, bypassing marasmic nonsense and dogmatic postulates, which constitute the basis of the daily existence of many people in the world today. And so it should try to live. Being one with nature, with all the living world. Feel the spirits of nature as one. I myself quite recently come to this, during the creation of Drunemeton, but better late than never.

The concept of natural philosophy, I will not disclose here not to shoot down the idea. Those who are interested will be able to relate my words to this term alone.

About Satanism. Someone defines Satanism as a confrontation between god and the monotheistic worldview, and someone sees in Satan a mark of European pagan prototype. In any way, I will not to speculate on this topic. Which gods I honor and what worldview I have - I have listed above. As you can see, I'm also not a nihilist.

And finally, about misanthropy. Naturally, the limited materialistic thinking of others is mainly irritation and the desire to be on the seething masses of people away. On the other hand, my close people are not the same, and in communion with them I found an outlet for myself. Therefore, I can`t say I'm a misanthrope, although I think that most people are fucking scum.

Heresiarch Seminary \ Drunemeton actively performed live at one time. Tell us about the feelings that you experienced on stage. Were there any memorable moments during this or that concert? Are you planning to go back to the concert activity in the future (in Drunemeton or perhaps, in another form)?

Pleasant sensations were from concerts in St. Petersburg, which were organized by our friends. One of the organizers - Njal - also helped with bass guitar at gigs during 2013 and recorded vocals for a split with Dizziness. In St. Petersburg, I always felt the support of the people felt that they had come to listen to music, and don`t drink vodka and look for someone to pick up at night.

In St. Petersburg, we shared the stage with bands such as Крада and Navjarmaahr, which in itself is very good. As part of the same series fests, but without our participation, in St. Petersburg were Navjarmaahr and Небокрай, as well as the two best bands from the Ural region – Вихрь and Всполох. For all this I must say to our friends - thank you very much.

Partly liked it both times in Tver, where were a normal clubs and sound, plus we even received a payment for a second time.

In the rest of the performances took place according to the following scenario. We drove to the devil horns at our own expense to play 40 minutes for fans of «thrash and mosh». In Orel there was absolutely unconscionable case. The day before the concert, the Director of the restaurant (!), in which gig was supposed to take place, was killed by Chechens and the concert was moved to the other end of town to the basement of a café. We know about this immediately after the arrival. Taking into account the fact that at the same gig played Navjarmaahr too, you can imagine the level of organization of this event. And something similar was a lot where we visited, though not in such a blatant manner.

You know, within Drunemeton I wouldn't repeat this. Concerts are, firstly, not resumed before I will release all available material. And secondly, if they would, it's not like before when you had to tune in to whip up, bad sound, and play for a little sane audience.

Is Drunemeton currently your only and top-priority project? Are you planning to create some new project, possibly, in a completely new style? Will there be enough time for realization of all your creative ambitions?

Currently I have enough time only for Drunemeton, even though I used to play in different bands and projects before. Time keeps going by, the approach to things changes, and I don't feel a need to pulverize myself on so many things anymore. It is better to sacrifice some creative ambitions for the sake of results, by releasing only the best. I do have a desire to try some new projects, but there is no time for that right now, and I will not put the main project at disadvantage by spending time on other things. Maybe, sometime later.

What are your thoughts about Russian Black Metal scene and how do you evaluate it at the present moment? With whom in Black Metal scene of CIS (Commonwealth of Independent States) do you maintain friendly relationships? Do you maintain a contact with bands from other countries? Do you believe in alliance of comradely bands, united in spirit and mutually helpful and supporting (as a brotherhood), or is everyone on their own?

I can say this more about the scene that is more closely defined as Pagan, yet I stay in touch with M.D. from Accursed Christ, as much as possible. As for myself as a listener, I enjoy such bands as Темнозорь, Небокрай, Navjarmaahr. Djur, Old Wainds, Вихрь, Всполох, Zorn’s new project – Garm… I think that’s pretty much it. Aside from that I’d like to say hi to my friends from Saint Petersburg - the band ЯрСваор and their company that always gives us a warm welcome in their town and organizes different events. I hope that they have a nice future.

I can say one thing concerning the scene. The best Moscow band Темнозорь is officially prohibited from performing in our country - so they perform in Finland. Велимор is also banned, and there was something else, too… But on the other hand, Ashen Light and Изморозь perform every weekend, and that’s the whole scene. Brotherly relations may only be with friends, whom you know for a long time and you are a 100% sure about them. It is irrelevant whether or not they play in a band. Actually, this aspect does not mean a whole lot by itself - having a band, that is.

Today you are a friend and a brother - the next day you aren't. This is why I prefer to trust people, whom I know for a long time, and whose views about the world resemble mine.

There isn't enough time for numerous contacts with different bands, like from aboard. Nevertheless, because of the current uncommon pressurized situation in our country, it is much easier to communicate with Poles, Czechs, Ukranians. However, I am always glad to meet any adequate people, no matter from what country.

The foreign and domestic policies of our government which were taking place over the past two years, and their effect on human subconscious, did not result in a colossal urge to perform. You may consider this as my political position. I am hoping that later there will be changes in a better direction.

Share your plans about the future. I heard, you are working on recording new material, is that a valid fact? How soon will we hear the new creation of Drunemeton?

The record is complete by about 80 percent, I still have to finish the appearance, and soon I will be looking for a label. I think, if everything goes okay, then in spring you will hear the new album. I am also planning to take part in an unofficial tribute Nokturnal Mortum of Azermedoth Records, which Varggoth accepted as an addendum to the main release.

Thanks for your answers. Any last words?

Thank you very much for the interview! Over the past several years around Drunemeton and Heresiarch Seminary accumulated lots of different rumors and hints, so for me an opportunity to share my thoughts is always considerably worthy. And thank you very much for the interest that you showed in Drunemeton, hopefully, not for the last time! As a conclusion I can only say - keep to your roots, live and behave by your own conscience.