I think it is the best to start with Venezia. Can you describe one or another of those magical mystery tours which have inspired your last work?

I visited Venezia various times in my youth. I used to sleep there in my sleeping bag before continuing some travels to South Italy and Sicily. I always loved its union of sea and land, of reality and surrealism. The last time I was there was last winter - I spent some days with the couple of NOVY SVET which were great. We then had the idea to release a CD uniting songs by ALLERSEELEN and NOVY SVET.

Juergen already told me that "Venezia" was planned as a collaboration between ALLERSEELEN and NOVY SVET, but later this project was cancelled. Do you wish to say something on the case?

The idea was to release a CD with ALLERSEELEN and NOVY SVET songs inspired by each other. But then I had too many ideas and decided to release a full-time ALLERSEELEN CD. We then thought about a double CD - but as my visual conceptions are quite different from the artwork of NOVY SVET, I decided to release it completely independent from NOVY SVET. They also have an album with the same title, I have heard some of its tracks and I liked the more rhythmical songs, but I was told that they won't release that.

Juergen seems to be a little bit hurt by you�

Juergen feels hurt - because his deities are music, limited editions and WKN. But: I am used to work on my own and to decide on my own. As I had to pay for the "Wo Die Wilden Kerle Wohnen" release I also decided to make a second edition. I dislike the idea of democratic decisions concerning art. "Wilden Kerle" was a very essential experience for me, and I learned from that quite a lot for the future. Therefore I am glad that I released it.

Back to Venezia. Have you seen their famous carnival?

No. And I do not intend to do so. I prefer the cold, empty Venezia in autumn and winter.

"Venezia" CD is rather unexpected work, for me at least. I mean not only the sound has been changed, but comparing it with your previous works also the album's theme became more "earthy", more "human" if it is possible to say so. Even "geographically" it became more "hot" - Italy.. How would you comment such the evolution?

"Neuschwabenland" had to be cold and icy due to the Antarctic nature of this former German colony. For "Venezia" I of course wanted to have much more warm tunes, thus I decided to use some guitar sounds to create Mediterranean atmospheres. ALLERSEELEN does not have a specific style - it is the content demanding a specific form, a specific expression. It is not an evolution - it is a synthesis of the artwork and the artist. I have a conception, and this conception needs a specific realization.

Starting this or that song, have you strict idea how it will sound? I mean that problem which Oswald Schpengler regarded as "imperfection of ANY realization of an idea".

For "Venezia", I wrote down all the ideas I had, I did some research, I looked through my books and dream-diaries - soon I had various ideas for songs. Then I searched in my musical archive for melodies, rhythms, sounds that were suitable for the release. For one of the songs, "Riflessioni", I used various sounds of water and mirrors. Sometimes I also have a rhythm I love very much and then I am working the other way round: I look through some notes and sketches until I find some lines of text which might accompany this rhythm. It is always a very alchemical process, an alchemical adventure, a sacred marriage of music and writing - and often the result is very different from my original intentions.

One of the new songs, "Musa", reminds me a lot those DEATH IN JUNE ballads of early 90ies. Is this resemblance intentional?

No. I was never influenced by DEATH IN JUNE. I grew up with THROBBING GRISTLE with their electronic and the throbbing bass guitar of Cosey Fanny Tutti, and I grew up with SPK which in the back ground of their industrial noise also sometimes used a bass guitar. I still do not listen to much folk or neo-folk music. I love too much the synthesis of music and noise.
The theme of the muse and the poet demanded a much more lyrical approach. Thus I used guitars and flutes and some other sounds - the song became quite melancholic and melodic. The text is by Ezra Pound who lived and died in Venezia. I sent a copy of the CD to his daughter Mary de Rachewiltz. She wrote a great book about her father: "Discretions". She still lives on a castle in South Tyrol. Some days I received from her a friendly letter - she, 76 years old, was impressed by the release. She wrote that she already was accustomed to this kind of music due to her close contact to students interested in Ezra Pound as well as music. She especially liked the song "Horusknaben" and sent a poem she had written about Isis and Horus. Maybe one day I might make music for some of her poems.

Some words about "Neuschwabenland" album. Using this name for Antarctic continent you obviously refer to that mysterious story of pre-WWII German expeditions, secret base allegedly destroyed by Americans, etc... Having read not too much about this, I'm wonder is not it one of modern myths rather than the reality?

Yes, it is a modern but eternal myth, an Utopia which, due to its immaterial quality, cannot be conquered or destroyed. It is an allegory. It is very close to the old myths of a sleeping king hidden in a mountain. Also many sightings of saucers might also be considered as technosophic visions of the ancient German wild hunt. My intention was to create songs for this cold, crystalline world. I did some research on that subject. There was also made a film about this Neuschwabenland colony which was still in 1938 shown to the American explorer Admiral Byrd.

Does "Panzergarten" song concern famous Vienna armored vehicles museum?

Yes. A friend of mine told me about the Panzergarten. I was then in love with a girl and immediately start to write and record this song. But I have never visited this Panzergarten - it is still an imaginary garden for me. I intend to visit it one day. I will another version of this "Panzergarten" song for a forthcoming CD.

What about this lovely "Wo Die Wilden Kerlne Wohnen" compilation? Whose idea it was and what important information we, who never read the book itself, should know about it?

It was my idea. I think it was first published in the United States - "Where the Wild Ones Live". It is a book for children with great illustrations by Maurice Sandoz - a young boy who cannot sleep because he always sees crazy monsters in front of his eyes - but then he is able to overcome his fear, he faces the monsters and becomes their king.. I like the book very much. I have various ideas for a whole ALLERSEELEN CD with the same title.

What is the fate of your Aorta/WKN sub-label Rauhnacht? Will there be more new releases on it?

I do not know anything about Rauhnacht - Rauhnacht was never me nor WKN. Rauhnacht does not have a specific person behind it. It was another idea by me but realized by somebody else. There might be releases in the future by other people who have not yet been Rauhnacht...

To continue the compilations theme, many time ago there was Aorta issue on Corneliu Codreanu and also you have produced a 7" with songs by Iron guard. But, I have not found ALLERSEELEN in line-up for Romanian Codreanu-tribute announced recently. Does it mean you have disengaged yourself from such kind of activities?

No. I was invited for this compilation only some months ago. I decided not to contribute as I did not like the style of the invitation. I also thought that the person invited too many projects who have nothing in common with the Iron Guard. There are not 40 music groups all over the world inspired by this movement. There are maybe 5 or less. He also used my Corneliu Codreanu text without ever having asked for my permission.

You were in Romania, you had met people there, and I can suggest you were contacted by some people after publishing Aorta issue IX. Do you think the Iron Guard exists still? I always thought that this movement lived only around charismatic and powerful figure of Codreanu. But even he could not manage to keep it developing in the right way�

The Iron Guard exists, of course. I very much liked a quotation of Ovidiu Gules who was or still is responsible for a lot of publications concerning the Iron Guard: "The movement is still lead by Corneliu Codreanu - the movement is lead by a dead man. Corneliu Codreanu is a martyr and a myth, as valid, as strong as the myth of Che Guevara. No one is able to hurt, to destroy an idea. That is the power of an invisible order. Its members know that they are members. Those who are not members are aware that they do not participate".

Also one of old Aorta issues was dedicated to BM-scene. Do you keep an eye on it still?

No.

And have no contacts with Varg Vikernes since then?

No.

What was the biggest disillusionment for you since your first steps in art's sphere?

I never had any disillusionment in this sphere.

Have you really stopped Aorta/Ahnstern publications?

Yes - I decided to concentrate for some years on my music. I have so many ideas for songs and CD conceptions that I want to dedicate very much of my time solely to my music.

Well, I would like if our interview turned out to be one of rare occasions to get you talking more about yourself, your origin, roots, life, passions, etc. What a man you were before entering the musical and publishing activities? Which effect do you think all this produced on your character, habits and fate? Are you satisfied with it at 100%?

I was a child before I started to write and make music. It is an adventure that of course influenced and changed my whole life - the people I know and love, the books I read, the music I listen to... I am glad as I got to know via my art so many great people all over the world. I am glad to be on stage with ALLERSEELEN but I like even more spending the hours before and after the concerts with friends. I am satisfied as almost all the releases turn out as beautiful and strong as I want them - due to my collaboration with Stefan Alt of Ant-Zen all the CD and 7" releases become really impressive.

By the way, how do you like Ant-Zen production generally? I think Stefan goes too far sometimes, producing more and more that "rhythmic-power-noise" stuff, which nearly always sounds quite the same�

I am aware of his releases. But very often I like very much more the visual presentation than the music. It is too often too noisy for my taste.

How much time you have left to live outside everything connected with Kadmon, Aorta, ALLERSEELEN? Which way you prefer to pass it? And, if to remember, that our magazine is musical, which CDs you listen most often now?

I spend the rainy days in the house, reading, recording, writing. The sunny days I spend in the hills and mountains.. I do not like too much music these days, also the music in our field. I very much like the song Passion by SCIVIAS with its beautiful darkness and sadness. I like the songs by the Catalan groups CIRCE and DAKSHINESWAR.

Please describe a bit these Catalan groups. What is their music like to? I hear these names for the first time�

They are unique. Their style is between ALLERSEELEN "Traumlied" and DAF "Der R�uber und der Prinz". But everything has a very melancholic, melodic Catalan touch. Listen to their music.

I also know absolutely nothing about contributors to ALLERSEELEN releases, about Sabine and others. Could you introduce all these folks in public?

I am the heart of ALLERSEELEN. Usually I am only collaborating with other people on stage - some of my drummers have been Erik of LES JOYAUX DE LA PRINCESSE, Rose and Willi of ERNTE, Markus Wolf of BLOOD AXIS and WALDTEUFEL. I am now collaborating with a very good bassist from Wien who will take part in forthcoming concerts. Sabinita is no longer a member of ALLERSEELEN - she works at the moment in Spain. I am currently recording two songs with the singer Rosa Sol� from Barcelona who has her own project CIRCE - this 7" will come out in summer or autumn.

Do you believe in fate?

Yes. And I have learned to say thanks whenever I am making positive experiences.

Which are the most exact words to describe your current life?

Chaos. Discipline. Military Pop. Mountain Bikes. Surrealism.

I find surrealism a little bit conflicting. "The simplest surrealist gesture consists in going out into the street, gun in hand, and taking pot shots at the crowd!" - this was the slogan of 1920ies surrealists, revived in 1968 in Paris. From another hand most of famous European surrealists - Dali, Breton, Ernst, Masson, Tanguy (whose phantasmal paintings I feel drawn to)� - had preferred better to wait through WW II staying in America� Have you done any special researches around surrealists?

I always liked surrealism but despised its left-wing orthodox direction - I was always much more fascinated by Antonin Artaud�s theatre of cruelty and his revolutionary writings.

As this year is 10th since USSR disintegration we ask every interviewed person what do he/she thinks about the date and the event itself. It's your turn to share your views of this...

It is a chaotic state. And I see as necessity a return to a much more disciplined, authoritarian way of life.

Two years ago, in the time of Yugoslavia "humanitarian bombings", you have characterized NATO as he-goats. Returning back to this point, what do you think about their recent attempts to make a single person - namely Milosevic - a scapegoat responsible for nearly everything what happened in Balkans?

In 1941 the German Generaloberst Alexander L�hr was responsible for the air attacks on Yugoslavia. Six years later he was shot after a public process in Belgrad. In 1999 the North Atlantic Treaty Organization (NATO) started a similar attack on Yugoslavia. Thus it may be possible that at the same place in 2005 might take place the public execution of responsible NATO officers and other politicians involved in this war.
I hope that the same thing will happen to those responsible for these bombardments. Executions or assassinations. Especially for the one politician in Germany who grew up with Molotov cocktails. I saw a photo of Slobodan Milosevic visiting several years ago Serbian monks, looking like lions with their long hair, and I was impressed. Due to the Slavic blood in my veins, my position is clear. And Wien is Balkan.

It seems I will forward this question to every person from Austria, but I cannot refuse to the temptation. Well, what do you think about dr. Heider success?

His party believes in EU and NATO. They even use the same colour - blue. He is definitely a powerful politician. But he still is a part of the problem, not a part of the solution.

As you have used lines from Ezra Pound's poems in your last CD, I am curious how much attention you give to his economical researches and theories? Is the economics of your interest at all? Which is your verdict for the globalization?

I read a little bit about his economic visions but I do know too little about it. I only know that he was influenced by the Austrian economist Silvio Gesell. With the worldwide distribution of ALLERSEELEN, with my computer I have also become a part of the problem, not a part of the solution - and my verdict for the globalization thus is also a verdict for myself.

This, the ALLERSEELEN wold-wide distribution, is not the worst kind of globalization I think. And also Internet seems to be a good invention of humankind. Maybe, it's the only mass-media where no monopoly on truth is imposed still. How do you like it?

It is very close to my process of creativity.

Traveling over Europe, meeting different people, what do you think about it today and possible future? Are you an optimist as regard this?

Yes. I am glad to know - and you know plenty of them too - very many valuable artists and friends who are now twenty or twenty-five or thirty years old: They are the seed of the future.

Which will be forthcoming projects of ALLERSEELEN?

I am already working on the CD "Abenteuerliches Herz" which is influenced by Ernst Juenger's surrealistic book "Adventurous Heart". The CD will also feature one of the rare cover versions of ALLERSEELEN: Iggy Pop's almost neo-folk song "Shoeshine Girl" of his 1995 album "Naughtie Little Doggie" was re-recorded, it has another text and is now called "Nest".
I am preparing a 7" with the Catalan singer Rosa Sol� - the artwork for this release will be contributed by Leni Riefenstahl who is now 99 years old. We are currently discussing the details of this collaboration. I once dedicated a blue vinyl 7" to her which I had sent to her - and she liked very much this dedication. I may publish in this or next year on Ajna (United States) a 7" with illustrations from a painter from your country: Nicholas Roerich. We are planning some concerts in the United States in autumn.

Have you ever been in USA? What do you think about this country and what do you expect to see there?

I will love it as my close friends there will show to me the most beautiful and powerful places there. I grew up with American underground - the works of Kenneth Anger, William Burroughs, Jack Kerouac and many other American ikons have always been very familiar to me.

And some words on your choice to finish the conversation.

I do not believe in economics or politics. I believe in the power of art. The art is a field of force. The art is the seed.