Occult Black Metal Zine
Death Metal Uncdergorund
We got to know Emir Togrul through the reviews that were made, for the albums of his bandsViranesir and Blliigghhtted. Now, we had the chance of talking with him, about his bands, about the elimination of the Viranesir page, from bandcamp, and about his record company, that signs underground bands from all over the world.
Rock Overdose: Hi Emir and welcome to Rock Overdose. First of all I would like to ask you to say a few words, for our readers, about your bands, Yayla, Viranersir and the newest one, Blligghhtted. What was the inspiration for these names?
Emir Toğrul: Hello Minos, Yayla means high plateau. It is quite a romantic name as it comes directly from a natural landscape. The inspiration comes from the fact that it is the very essence of duality (a plateau on steep heights). It means spiritual place of refuge for me, which this band is. Hard to get to, but once you get there its utter bliss. Viranesir means viran(ruined) esir(slave) but it comes from Viranşehir which the place where the musician ends up in the end of my film Drink From The Fountain Of Uncertaintywhich is Viran(ruined) şehir(city). Very personal place where my parents used to visit my grandparents and multiple layers of my origin would collapse. It is a very personal project, solipsistic and crazy like my subconscious, you never know what to expect.Blliigghhtted is the interlacing of blighted and light it is again a dual form of expression in regards to the light of god and Lucifer. Duality and extremity. History and theology, the darkness stemming from light and vice versa. Ruahanathanas is the leader of this project and she named it.
Rock Overdose: Only in 2015 Viranersir have released 4 albums and a split, and Blligghhtted have released 2 albums, and the third is about to be released. Where do you find the energy and the inspiration in composing so many albums in such a short period?
Emir Toğrul: Art is occult for me; it gives through practice and discipline. Inspiration is always there; I don’t look for it at all. You told me how many albums I made and in a number sense it seems like “wow” but really, I do not feel any burden or struggle, it just came naturally. It is quite like eating food for me, so pleasurable and necessary to do everyday. It didn’t always used to be like this, I learnt it through religiously making art since I was very young. I still continuously live in art; I am fully inspired all the time. I do not do much else than to make art and make hand-made merchandise for artists alike (which is my ritual). All different kinds of art that I am involved in inspire each other and it’s a chain reaction. I am an art factory and I do not have any plans of slowing down. I wake up everyday and make art until I go to sleep. And my sleep is an audiovisual art too.
Rock Overdose: What about Yayla? The last album, “Nihaihayat”, was released in 2013. Do you have any plans for a new Yayla album?
Emir Toğrul: Yayla is my most important project; the one that I am most proud with, the most sentimental one, my first project and the one that sells the most merchandise J. January 2016 will be the release date of the new Yayla album; I am working on it currently. It is going really well, I hope the people who have been religiously supporting this project go on liking the new one as well. This album is going very different from the previous ones and I am using compositions that I have been making since I released“Ruhizolasyon” so it will show a great range of my life. Very dynamic, ambient will be mixed with metal once again, but in a highly experimental yet orchestral style. I call this album a sort of black metal orchestra of dungeons deep.
Rock Overdose: Let’s talk a bit about Viranesir. I guess many people could find the titles of Viranesir’s songs and albums provocative. What is your intention? What message you want to pass to people, by using such titles?
Emir Toğrul: People saying shit about Turkish people or Armenian people, or Satan or metal or bisexuals or experimental filmmakers or whatever the fuck you can associate me with do not offend me. I expect the same from people when I insult something they might identify themselves with and I think this is a “human right” if there are really any. I find that it is ones own responsibility not to get offended or come to terms with those feelings of being hurt for what someone says. People seem to be drifting away from the idea of subjectivism day by day as they claim values over words and forms of expressions. Soon they will censor horror films for promoting crime haha. Fuck their jewish asses… Viranesir songs are mocking them as well as being satirical commentaries on fucked up stuff. A laughter in the face of those disassociating themselves from all the suffering in the world. We are all part of the suffering of the world, way more than we think.
Rock Overdose: Recently, Viranesir’s page was removed from Bandcamp. Would you like to tell us what happened?
Emir Toğrul: One day I woke up and it was all gone. I think they removed it because of the song titles, and they did not even answer my mails regarding the issue like I was supposed to know what I had done wrong. Freedom of speech that the west claims to have at every platform is a myth as we see from this incident. There is no two ways about freedom of speech, it is either full on or it does NOT exist. I really like to be offensive, because it goes to show how fucked up the world is. You see all these people raising hell about what you said when in reality they don’t do shit about the things you talk about. So in Viranesir I curse at everybody because the best of us are Child Molesting Rapist Murderers in my book and everybody is an ISIS militant so fuck your morals and your kids. Know that you raise future killers everytime you mumble some passive aggressivity on anyone, evil has a way of lingering. Sugarcoating your lives with hashtag activism and political correctness will not wash the blood off your hands. You and me are the reason for all the suffering in the cosmos. I am not saying not do anything anymore, but I know that anybody is as fucked up an as bad an influence as any maniac by just integrating in society. Otherising is a joke.
Rock Overdose: It is true that the internet is crowded with narrow-minded people and persons that can easily find something offensive, without even bothering asking questions. Didn’t you expect that something like that would actually happen?
Emir Toğrul: No I did not expect this, I thought better of people of bandcamp and all that so called “art minded” crowd, but they are no better it seems than rabid muslim scum. I just feel like I am crowded with idiots wherever I go, be it Syria, India, Turkey, Russia, England or America. Everybody is so predictable and the same. Fucking idiots who think that their limited cognition is the limits of universal truth. Makes me vomit and vomit…
Rock Overdose: Let’s go back to Blligghhtted. Why did you feel the need to create a new band? What are the songs of the Blligghhtted talking about that couldn’t be expressed with Yayla and Viranesir?
Emir Toğrul: Blliigghhtted is a Satanic Black Metal band, which is the most conventional way to be a black metal band. I did not create this band Ruhanathanas did and she is the leader (though I make almost all the music). She got me into black arts and philosophy and I think there is much territory to be explored there. Of course, I would not do it if I did not think I had a very different way of saying things that those billion satanic black metal bands, which I do with this band. It is very original as all my bands, but as strong. New album will scourge the world; it is called “Kosmoskampf”, coming next month (note: the album is already released)!
Rock Overdose: Have you performed any live shows or that is something that is not interesting you, at least for the time being?
Emir Toğrul: You’d be pleased to hear that we are working very hard on a Merdumgiriz Europa tour, which I would love to get a few dates in Greece. Confirmed acts are Survival, Show Me Wolves, Yayla, Viranesir, Blliigghhtted, Xaemora, Morkesagn,Azerine. So we will perform live, I used to do it way back when I was living in Canada, but I will get back to it this summer it seems.
Rock Overdose: Tell us a few words about Merdumgiriz Records that not only releases your albums, but the albums of many other underground bands, from all over the world.
Emir Toğrul: Revolutionary artisanal record label/artist collective that turns the industry on its head. It is a commune where artists work together to make, promote and sell their work. This record company is also another tool for me to be inspired (ritualistically). I hand make all the merchandise, spray paint, acrylics, fabric paint, sewing are some of the work that goes into it and every fucking thing is hand-made by me. I remember getting a Metallica record in my hand and thinking there is nothing about this object that has any connection with the artist, James Hetfield doesn’t even know it exists. The alternative I am doing is completely making everything myself, when one gets it in their hands, they look at my framework and feel my energy. Everything is handcrafted, hand-painted, hand-cut, hand-packaged etc. I have many bands that understand our philosophy. This is the Merdumgiriz Army. Nothing is wasted, everything is made on demand and nothing can stop this!
Rock Overdose: Is it the bands that contact you, for having their albums released, or you’re searching for new and promising underground bands? Do you have many bands that contact you?
Emir Toğrul: Sometimes bands contact me, but not a lot. Some friends of mine, who dig all day long for new quality unknown music are helping me find bands but I also sign the ones I stumble upon as well. When I see a band worth releasing I sign them even if I have tons of work to do because I feel like making albums and merchandise for them will make my spirit stronger. I feel compelled to support quality extreme art with all my mind, body and spirit.
Rock Overdose: Apart from composing music for your bands, what else do you do?
Emir Toğrul: I work on the record label and study filmmaking. As you might know I am a filmmaker and some of my films you can watch in here: https://vimeo.com/merdumgiriz I passed the Bachelorette of Fine Arts (BFA) and am on the Master of Arts (MA) stage now and I also want to do a Doctorate of Liberal Arts (DLA) after. I am an academic guy, but I do something very different in it like all my bands, my record company and everything I do, I will revolutionize it as well, I have ideals. I spend a lot of time meditating, doing yoga in accordance with my occult studies/rituals. I used to work out 3 times a week and play football 4 times until I tore my ACL, now I don’t do any sports for a long time. I used to drink, take drugs and smoke a lot too but I quit all that when I entered mental asylum 2 years ago and never used any of it ever again, I have been straight for 2 years now. I really like socializing with friends and I watch a lot of pornos.
Rock Overdose: Do you hear any other bands this period and what are your favorite bands?
Emir Toğrul: My current favorite bands from this period are Behexen and Sargeist. I like Blood Urn from Austria a lot and the same person’s black metal project Nahtrunar. Nidhogg released a new album and its grand; also Gorgoroth’s new album is really great. Outside metal I am currently listening a lot to Haus Arafna (industrial band). Voldsom Tapes is my favourite record label, Lord Vranevorn is the man behind most music (Yearner, Til Det Bergens Skyggene, Jotgrimm, Astral Order Of Impurityetc.) in this label and it is utterly fantastic. I absolutely love all the bands on my own record label and I feel extremely privileged to be able to work with them and obviously listen to them a lot when I am hand-making albums and painting shirts and patches for each and every one.
Rock Overdose: How are things with the Turkish Metal scene? Do you follow it at all?
Emir Toğrul: I currently don’t live in Turkey, nor do I hang out with the metal crowd at all. I love the bands Witchtrap, Sorg Uten Tarer and the first ep of Raven Woods. I wish I had more bands from Turkey rather than my own, but I haven’t stumbled upon any. I think my bands are the best in the land for sure lol.
Rock Overdose: Emir, thank you for your time and for being here in Rock Overdose. The last words are yours.
Emir Toğrul: Thanks so much Minos! Thanks for being such a supporter for us all these years, and hopefully more to come. Thank for giving dissidents like me a voice to state my opinions and art. You and people like you make all the troubles that go into making such hard work and following my dreams in exchange of comfort well worth it! I hope we play in Athens this summer and you come to our show, you are amazing bro!
People, who are offended by my art; rape, hitler, nigger and faggot okay?
For Rock Overdose,
Emir Toğrul is a bisexual half-Armenian Turk who loves pissing off both religious fundamentalists and social justice warriors. He also records some of the most politically incorrect music in the entire metal scene. He sometimes acts like a fruitcake but he has far bigger balls than me. He's not afraid to speak his mind, he's not afraid to tell the harsh truth, so I decided to interview him and get to know him better.
What's up, you glorious winged faggot?
Alright, let's get serious. Can you introduce yourself real quick?
Can you tell us a little bit about the bands you play in?
When and how did you discover metal?
What are your primary influences?
Do you like to listen to non-metal music? If so, what do you like to listen to?
You originally came from Turkey. What was the metal scene like there?
I hear you now live in London. What's it like there? I hear a lot of beatings and stabbings happen there.
You're also a filmmaker. Can you tell us a little bit about your work?
You also run a label called Merdümgiriz. What kind of bands do you sign and what is the primary goal of the label?
Can you tell us a little bit about your songwriting process?
Back near the beginning of September, your band Viranesir was kicked off of Bandcamp, presumably because they didn't like your politically incorrect lyrics. You sent them a series of e-mails asking them to explain the situation. Did they ever e-mail you back?
Speaking of which, do you believe people are too easily offended nowadays?
What do you think makes art truly meaningful?
What do you have planned for the future?
Any words for the fans before you go?
1. For those that have never heard of you before, can you tell us a little bit about the musical project?
Viranesir was in my thoughts to be a side project in which I was to explore relatively more experimental subjects and styles. In a way, a creatively fuelling side project to my main project YAYLA. I finally created it to score my film “Drink From The Fountain Of Uncertainty” and then it morphed into its own thing. There are radical stylistic and topical changes between each album, but so far the uniting factor can be considered their weirdness’s I think.
2. I have read that this musical project was supposed to be a fictional character's project from a movie you where working on, can you tell us a little bit more about this film?
“Drink From The Fountain Of Uncertainty” is my first feature length narrative film. It tells the story of a musician that has deep problems trapped in a hole that he digs deeper trying to climb out of. I have written-shot-cut this film by myself around my hometown, and my to be band mate from Viranesir; Merdumgiriz played the lead role and helped greatly with production. I did not release it yet, but the parties concerned can get in contact with me if they want to see it.
3. Recently you have released a new album, how would you describe the musical sound that is presented on the recording and also how does it differ from the stuff you have done in the past with this project?
Guitar, drums, vocals made raw experimental massacre. In this album, Merdumgiriz and I switched instruments and mainly worked with abstract hate and immediacy. It is different in that the previous two albums did not have guitar in it, and except their weirdness and chaos had a whole different musical style going on. The first album “Fountain Of Uncertainty”; although Metal like this one, had a way more concise, depressive and alien style while having way less riffs and progression.
4. You have some very offensive and politically incorrect lyrics with this project; can you tell us a little bit more about the songwriting?
I not only don’t have a concept of political correctness; I think it is very unhealthy to put limitations on speech. That having said, I accept the fact that this album can prove to be ultra offensive for some and made out of spite of the recent upheaval of the guilt propaganda and censorship agenda of fascists under liberal skins affecting our metal. The main idea behind doing such controversial work is to show that I do not feel guilty for saying what has been said, and even enjoy saying it. Before attacking me for making this statement, which so perfectly mirrors that whoever gets most offended, people ought to realize that they do the same. They not only have a good time while the things I sing about happen, they indirectly if not directly participate in them. They also seem to think manipulating and not talking about these subjects can achieve a merrier world. The only merry one will get out of ignoring their participation in the crimes that I am talking about will be their reoccurrence I think. Me singing about it as I am someone who does these things and enjoy it mirror humanity more honestly than it shows itself in my opinion. Using these words lightly also open the gates to taking away the religious zeal around them which then might lead to their free interpretation which will flourish the world of fine art.
5. How have some people react to the lyrics on the album, have you heard anything from very sensitive people getting angry?
I have heard that a lot of random people mainly thought it was insensitive, stupid or pure evil. I have seen couple feminist scum trying to form some sort of alliance on boycotting it. It makes me sigh that people become hate protesters once they find something to hold onto in this life (religion, ideology, parenting, position, possession). Most things deserve to be destroyed and hated but just because our limited minds cannot find ways to include them in our lives. We do in turn someway or another either destroy them or turn away from them. In my life I am no different than most hypocrites who live like their choices are so noble, but in art I am all for freedom of speech and free thought. However I do my best to limit it to the privacy of my art not on other people. Not that I have a problem with people doing it on other people, just the ones claiming that they don’t. I don’t expect nowadays people to get something as deep as freedom, but I know that freedom of speech is the future, I can see it and I am sick of waiting for people to accept the future.
6. What are some of the things you feel that you bring out with this musical project that you have not been able to with the other ones that you are working on?
Viranesir is like a free fall band in which I puke out all the piss within me. I do not let myself have this much freedom and immediacy in my other projects. I also have a lot of standpoints, criminal intentions and strong feelings for petty things and Viranesir is where I get most of the anger out in a socially acceptable platform. I have made psychedelic synthpunk to experimental doom metal in this band and I will continue towards more fucked up musical territory in the future. YAYLA is a tranceful fiery metal monolith with more spirituality and BLLIIGGHHTTED is a progressive extreme chaos with more philosophical inclinations. They can change too, but not as drastic and schizophrenic like Viranesir I don’t think.
7. Are you open to working with any other musician's on this project?
I have two more members in this band, Merdumgiriz and Ruhanathanas. The last album was all Merdumgiriz’ guitars. The future of this band will include both members as we’ve made numerous to be released material, but it is essentially my project and I can se myself make more one man albums. So much as I can see myself recruit more members.
8. On a worldwide level how has the feedback been to this project by fans of black metal and experimental music?
It has been really good. The real black metal fans never fail to endorse extreme things let alone not shying away from them. They have been very open to hearing what I really had to say and quite a lot of them enjoyed the music. I always say that Black Metal is the pinnacle of fine art, and its real fans are the real people with a perpetual critical eye. We’ve had very good conversations about evil through my album. Even some who were not capable of conversing about it thought it was somehow “cool” which is sort of better than turning away from the sight of it. Experimental music people are usually lame ass fucking hipsters who are politically correct, so not that many good reactions yet! But we can always hope for the better.
9. Are there any musical influences that you brought onto the new recording that you have not been able to do with the other recordings you have put out?
Musically speaking it is the most immediate and hardcore punkish hateful album I’ve ever been involved in. I have played drums for the first time on a recording on this album. It is also the album with the least amount of instruments (one guitar, drums, three vox). Lyrically, I have touched what might seem to be my most extreme subjects yet in a socio-political context. The GG Allin, Anal Cunt and that sort of influence very much slipped through to our recording without being as satirical.
10. Before we wrap up this interview, do you have any final words or thoughts?
I’d like to thank you John, for always giving us a chance to express ourselves through your site, and salute all the work you are doing for the underground music scene.
When did Viranesir start and who are the personnel? What musical influences inspired its creation? What does the name mean?
Viranesir started out in 2013 when I created it to score my first feature length film “Drink From The Fountain Of Uncertainty.” I remember it being initially on my thoughts for longer out of the influence that Quorthon made Quorthon as a creatively fuelling side project to Bathory and I wanted to do one for YAYLA, and with “Drink From The Fountain Of Uncertainty” came the opportunity.
Personnel are myself, Merdumgiriz and Ruhanathanas. We switch instruments and styles very frequently but its usually Merdumgiriz on drums, myself on guitar/vox and Ruhan on synth/vox. Musically speaking some common bands that all our current members enjoy in our blood orgies include Abruptum, Haus Arafna, early John Frusciante, Ildjarn-Nidhogg, early Deathspell Omega, G.G. Allin, Til Det Bergens Skyggene, Screamin’ Jay Hawkins and Poesie Noire. All of which I think to some extent can be traced as influences on our current and future discography. The name comes from where Musician ends up in “Drink From The Fountain Of Uncertainty” on his solipsistic quest for his personal redemption. The place he ends up is Viranşehir (means ruined city); we manipulated it as Viranesir (ruined slave).
From what I have seen, Raping Lesbians For Freedom is some kind of Swiftian satire. What are you satirizing with this album and its provocative title?
I haven’t heard Jonathan Swift’s name since grade school. Anyhow, before anything, I’d like to get some shit straight, we ain’t racist (we were all born into “hard to find more worthless” races), sexist (one of us is a female and all of us are bi) nor do we hold any “political” views (not in the sense that most mean). We hold the opinion that everyone in society is responsible for all the suffering in the world, therefore we kind of confess for others through this album. And yeah, we are bullies, genociders, rapists, murderers and animal torturers because someone committing that shit no matter when or where or who makes me as a human being responsible so long as I live.
I don’t think wearing El Che wristbands, mate calling in LGBTI parades or fighting for justice on the internet saves me from the fact that I am, like everybody else, a scum of this universe. All our hands are perpetually bloodstained in my book and metal and punk are among the most noble, healthy and effective mediums for expressing the heaviness of that burden through psychological sublimation, even raising awareness. But the political correct “authorities” are currently trying to sterilize these mediums so that their warzone is more of a fairytale. Well, we’ll rape their lesbian souls until they scream as their own sex!
Funny threats aside, I do not have a problem with these fascists under liberal skin until their elaborate self-contradiction becomes a means for oppression. I am and have been fed up with issues of freedom of speech. Especially from people who do not feel any responsibility for the suffering of mankind. Hypocritical educated pieces of shit who are deep racists, sexists, animal murderers, child abusers and torturers hiding behind so called racial sensitivities, feminism, vegetarianism, making children, naming, excluding in all its perverse forms; subliminally abusing the individualistic and promoting what they claim to fight against. Most artists who tackle these hard subjects directly are tired of dying for these people’s piece of shit sins as they have a good time in their festivals of peace as they exclude our “politically incorrect” work with their guilt propaganda and subliminal calls to censorship.
Wake up! People are murdering each other at family dinner tables everyday as they raise future killers by taking out their anger for their husbands on their children. We are the future of these very children and we need to take out our criminal intentions on songs we sing not your privileged lesbian assess. These mothers who raise us are the “politically correct” most of us worship. Why are they “politically correct”? I think it is because that is their confession booth in which they wash the blood of their hands with holy water. Well, nothing wrong with that except when they fuck with our temples in which we work with the blood through albums we make and sing about murder and abuse and rape, a more direct way of getting rid of the stench of blood that our, and their hands are painted with. Well, it pleases me that so far they have the right and tools to tell me that I am an inconsiderate up to no good piece of shit as I have the right to make this album. What a wonderful world.
How much does provoking the ire of religious people factor into your artistic work? Does it matter which religion?
I fucking hate the mainstream religions (jewism, footsmellam, gayristianity, atheism, nationalism), for the facts that most of their followers seem to A. otherise evil B. seek extension. Also, in footsmellam it seems the trend of using murder as a means of communication is at its peak, therefore I’d rather they all be degraded & destroyed as your rapper president suggests. With my music, I don’t want to merely provoke the ire of religious people because it is no different than kicking a huge dog. To make something happen with religion, I’d more so want to provoke the so-called “irreligious” people into acting like and realizing that they are the religious scum that they strive to fight against, and help them and myself craft more effective solutions.
In my opinion everybody is religious in that they form some sort of worldview that makes them relate to this uncertain existence and form a kind of “certainty matrix” through their vague and often highly distorted collection of memories. A matrix that tells them that if what they do in life brings them “success,” then the next unknown (eventually death) might not actually be unconquerable after all. Practicing their religion everyday through believing blindly in saying, doing and justifying things that make them feel good no matter how self-conflicting and half-thought they may be. It is a shame to admit that the mainstream religious are the ones who actually “in theory” submit to this tragedy. However, this does not at all mean that I respect or enjoy mainstream religious people. I just think it would be wise not to “otherise” in fighting against the tyranny of religion, because after all, it is a cheap weapon used by “pure religious radicalism” which is achieved exactly through fighting through otherising (see ISIS, Nazi Germs, guerilla, crusaders, Hollywood). And that is what most of us seem to do, however fighting without otherising can be achieved for example through discussion and self-criticism, which is only possible through total freedom of speech.
All religions, including in the cosmology sections of the most grimoires of Satanism that I became acquainted with (for example in their interpretation of the monarchic one God) have otherised and not considered the fact that the air we breathe is stenched with disparity yet we strive for unity. Of course Satanism (especially blended with quality black metal) is different in that it is an anti-religion and turning the spiritual theory on its head; in my interpretation and opinion, it is the gateway to a slightly more advanced cosmology and anti-belief system in that it is rooted in the depths of the human psyche and works with our need for certainty in a completely perverted manner especially in its alchemy of evil (that is why we formed Blliigghhtted).
Can you tell us where you are located? Are there any particular challenges about being a metal band, and having freedom of speech, there?
We are currently located in Istanbul/Turkey. No challenge whatsoever being a metal band and it gets me more pussy than most other countries I’ve lived in (Canada, America, England). I also run a record label here (www.merdumgiriz.org), my cheap ass fellow countrymen love us but never support us by buying our products, but its okay, at least they don’t behead us like the footsmellic sons of bitches they could have been. In terms of speech, there are no bigger issues than most of the west because we don’t have much of the idiocy called political correctness (Ruhan can often be seen around Turkey wearing a huge Swastika Mahakali shirt without getting any shit except from loser European tourists), however we have religious correctness to some extent, but not much.
I can actually say that between the respectable bigotries of the west and of east, Turkey is a calm little freedom center. Except if your speech is politically inclined; the only problem here is that if the government sees you as a threat, they will incarnate you. They are far from seeing Viranesir as a threat yet, which is our luck. Where fine art can go is way beyond the capacity of politics, and I am interested in such extremes that I can never even get close through politics. Yeah, yeah I know that I am actually sort of political even in saying that, but the particular challenge here that I am talking about would be to say shit about our government, certain political parties and its handsome leaders, a certain genocide, our blissful religion, our beautiful race and stuff, which except for footsmellam, I don’t really give two fucks to say anything about. Also, if I did, they might block access to DMU, which they do for many sites including all porn sites and many political sites. They got people on the tax-funded payroll searching and blocking “inappropriate” sites all day long.
It seems to me that freedom of speech is a bit of a paradox. Each society wants people to be able to express ideas, but does not want to be overwhelmed with speech for speech’s sake, which may not be relevant, true or important. How do we decide which speech is valuable, and which is not?
I contrarily think that society subliminally wants to be overwhelmed with speech for speech’s sake for a greater purpose, that is the reason for the blooming of social media. In my view speech is therapy, and the ejaculation of the unconscious; it is very healthy and to me, should definitely be totally set free.
For a merrier world, “no one should have to fear saying anything”. Since in my opinion deep inside society is aware of this, through saying a whole lot of nothing on twitter and facebook (and building a collective consciousness), it is getting ready for the future, which I feel is total freedom of speech. It is only a matter of time until we are all able to say many currently unimaginable things anywhere without getting treated as we are actually doing them.
Saying something is very important; for it is a lengthy and complex phase of contemplation (which inevitably leads to discussion, collective consideration and most importantly relief) before eventually doing it (except if you get in trouble for merely saying it) that most people skip. Saying something opens it up for contemplation and in my view, every speech is valuable; from the seemingly petty half-thought footsmellic rant of Arabic sand [redacted] to the meowing of a cat to a brain-dead high school girls vlog about relationships to a man-hating feminists blog entry on censorship to Quebecois peasants swearing disgusting French to each other in an alley way to Marxist-Lenninist bullshit preached by people who’ve never seen a socialist country to Schopenhauer’s aphorisms to spiritually enlightening Dissection lyrics. Something is to be learnt from all of them through interpretation and although many utterances can lead to unpleasant outcomes, it is the individual and the individual alone who should decide for what they should say. Irrelevant, untrue, unimportant, seemingly dangerous and/or extreme; I do not think prohibiting or censoring any sort of speech will get us anything but perpetual inner pain, stagnation and destructive destruction.
I’ve been told by others that Viranesir often gets compared to Anal Cunt, G.G. Allin and Impaled Nazarene, all of whom were very provocative. Do you see any commonality there?
I see much commonality, and personally feel that we have similar viewpoints for psychological sublimation in art. They too do not deny the blood on their hands and celebrate the fact that they are as human beings, no different than footsmellic arab murderers, rapists, torturers, bigots, animals, idiots. Viranesir, along with all those bands and many more all celebrate our impurity to be able to live with ourselves, unlike the hypocritical so called democratic bullies who not only otherise what they name to be evil and escape from their mental responsibilities, but condemn the ones who don’t as being extremists to raise hate for what they don’t understand. Speech can be beyond choosing sides or naming good & bad or love & hate.
Everybody is capable of bearing love and hate for the same thing, and they often do. Just as everything has the quality of bearing both good and evil qualities that also depend greatly on how one perceives them. Most things I do stem from the interaction of my emotions when I come in contact with these things that I bear conflicting feelings upon. When I say I hate something, I often mean I love it and vice versa. For example I can write a song saying “I love animal torture and taking advantage of women”. Although I “hate” both things in theory, I often use money to put a beast that I otherwise couldn’t have gotten closer than the eye can see to my plate, oh and I excuse the fact that it gets transcendent torture beforehand. Even if I think I don’t do it, I give money to restaurants that do it, or have friends who do it not if I let them pump their semen up my ass.
I also often use beer, money, my artistic projects and patience to insert my penis into some female vagina. Even if I don’t do it I give money to bars that it is being done in or have friends who do it not if I let them do it to me. I am with the thought that rather than denying the fact that I directly or indirectly participate in these tribal transactions through glamorous theatrics like vegetarianism and feminism and temporarily calm my conflicting soul until I bump into the next tragedy that reminds my unconscious that I am self-contradicting, why not sing about them in a more direct manner and rid myself off of the illusion that I can be consistent and just when what I am made of is inconsistent and unjust? To the party concerned, through direct speech and sublimation in art, perhaps I can say what most leave unsaid, grant relief, and raise more awareness and some real shame than to protest against this shit by guilt propaganda and trying to ban it, totally degrading free will and sense of responsibility. In other words, degrading my own humanity just like the mainstream religious scum.
Does Viranesir have previous albums? What were those like? Were they concept albums like Raping Lesbians for Freedom?
Our previous albums Kill Your Repulsive Child, Shoot On Mom’s Corpse and Fountain Of Uncertainty as their titles might suggest are all concept albums in my opinion. Kill Your Repulsive Child is our first venture into psychedelic synthpunk. It is a very personal album in that it is directly about my life, but very vaguely put together and useful for free interpretation. The music is crazy psychotic drumming mixed with schizophrenic vocals and chaotic fat synths.Shoot On Mom’s Corpse is the same thing, and is the continuation of the trilogy started with Kill Your Repulsive Child, however, it is better produced and both lyrically and compositionally way more concise. There is going to be a “father” album to conclude the synthpunk trilogy, which is very different and way grander than the other two.
All these three albums are based on my short story called Axiom Rotting, which as I said, is directly about mein leben. Fountain Of Uncertainty is a whole different thing; it is made solely by me as the music of the musician character in my film Drink From The Fountain Of Uncertainty which is a character based on me. It is a very dark sort of experimental metal with synths; way thicker produced than all other Viranesir albums. Me, me, me yes it’s all about me and know-it-all it may sound, I personally think that anyone claiming that anything that they do is not ALL about themselves are at best self-deceiving hypocrites no different than vegan bitches swallowing the cum of their McDonald’s consuming lovers.
As I understand it, “Raping Lesbians for Freedom” is based on a text that you and/or other band members wrote, and the characters in that text become voice actors on the album. What’s it like to write an album based on dystopian fiction that you’ve written?
Some weeks back Viranesir had a quarrel with Polish tourists who insisted Ruhan took off her swastika shirt. Ruhan was in shock trying to explain that it was ceremonial and stuff whilst a bitch in their group was screaming “Take it off, take it off” at the same time all of the others shouting how their Jewish grandparents died or got saved from the genocide and stuff while a Kurdish fag on the street joined their side and started cursing us for being Nazis. I basically stood between them and Ruhan and calmly improvised what would become the song titles.
I mirrored what I interpreted as their indirect anger and became their mouth to say what I understood they really wanted to say from their tone. After I said, “Don’t be a fascist and tell us what to do” to the slut, they magically stopped. Other than their following us for a while, no side breached the speech barrier and it was all good. Afterword we had a blast dancing in a superb club that night, then we went back home. We discussed what happened again and Ruh just uttered, “Political correctness is European ignorance” and exited the house. Merdumgiriz & me booked a studio and started recording the event as actors in a play. Re-interpreted the beautiful chaotic disparity that different races, thoughts and sexes bloomed as they came together that night into music and words. The outcome is a beautiful alchemical artifact of centuries old subdued hatred into rock music. All made possible through freedom of speech and sublimation of civilized people. I quite often do these kinds of things for creativity and it is safe to say that my life has become an album based on dystopian fiction that I’m constantly writing.
What do you hope the reaction will be? If people are interested in what you are doing, where do they go to see more?
The reaction will come from both sides, the rowdy, beer drinking have a laughers might love it for its psycho-ness, freeness and the raw music, while the educated elitist other might hate it for its uneducated music and political incorrectness and lack of sensitivity towards victims of rape, genocide, abuse and murder, which they will presume I have no experience of. I personally find both to be equally uninteresting reactions from a society that smells like the area between my balls and ass when it thickens with greasy filth as I lock myself home for days to write new music and screenplays while I jack off with cheap lubricants all day long. The reactions I care about will come from people who sit down and take a moment to interpret what I do into thoughts that I couldn’t have conjured by myself; negative or positive.
That is what art deserves, not “hahaha you guys are psychos”s or political piece of shit correctness, sensitivity or censorship or anything political. Where politics (social hypocrisy) is not enough to calm human soul that is where fine art comes to aid. I would hope to have intellectual, lofty, philosophical and existential conversations on evil about my album with people who don’t use “like” as punctuation marks and their Majors in Philosophy as proof of legitimacy. That was a joke, come as you are, as you were and chances are you will find me one surprisingly kind son of a bitch!
What was your main motivation to start a project like Viranesir? What does this project offer – for the listeners and for you – that Yayla doesn't?
Yayla and Viranesir are very different in the general nature of characters I get in for making them. I am living one life and both those projects outputs are solely made by me, but I can somehow say that it is not the ‘same sort of people’ who are making these projects. Coming to what it offers to me, vaguely put Viranesir is more earthly whereas Yayla is more spiritual.
«Fountain Of Uncertainty» was written as an original sountrack for your movie “Drink From The Fountain Of Uncertainty”. What can you tell us about this movie?
Although cinema is music and music is cinema to me, I consider myself to be more a filmmaker than musician and I started making visual art way before audial. This movie is my fifth official film and my first narrative feature. As with my work in music, I made this film by myself, in that I have written and shot it all by myself. The general outline of the story is about a young musician leading a life that he really does not enjoy. It is the first time I am using narrative elements on such a grand scale and it is safe to say that the outcome is unlike anything that I have ever seen before.
How was the process? Did you write the music as you produced the movie and did one thing influenced the other? How did it work, creatively?
Since the music is infused by the main character in the film, I was constantly in character making it. When it comes to the process, it influenced each other. While I was shooting the movie I was constantly thinking of melodies for the scenes which then became songs. In my off time from the film, I was playing them on guitar and recording ideas. When it comes to production, it was the movie that was written, shot and edited first. I’ve recorded the music while playing it on top of the film.
The titles of the tracks suggest a coital action which, together with the cover artwork, make of this work a very sex-orientated thematic thing. What's the approach to these subjects?
These are among the many keys given with this work. I have an understanding of the cosmos ‘Drink From The Fountain Of Uncertainty’ from which I crafted the audio-visual and textual elements, and presented them as these keys for people to do whatever they want with them. What would make me really happy would be to find out about the gates people opened and the paths they travelled with the keys rather than elaborate on my own ever changing journeys through them.
Working alone both in Viranesir and Yayla, you get to completely purchase your own vision, but do you miss sometimes other people's inputs, other opinions when you're stuck into something?
I do get to purchase my own vision, moreover, I think that those experiences can last a lifetime before have to I turn to people. A big reason for me to make art is making different beings out of myself and living different lives through my own mind. When I get stuck, I sometimes ask people who I trust to give me answers in places, but I find that most of the time, I just want them to tell me what I want to hear. I can certainly do most of everything without the help of others, but I do not deny that the right kind of collaboration brings everything to new and better horizons.
«Fountain Of Uncertainty» is mostly instrumental. Are the sonic landscapes always enough for you to have your message across in this universe, or do you sometimes feel you should sing something more in order to complete the art but you refrain yourself? Do you think you will sing more, in the future of this project?
A message is usually not what I get from or attempt to consciously put into works of art. A message is a side product of what happens. I would not know what to call it, but it is certainly an experience. But whatever it is, as you put perfectly, goes across the universe. Not only outside this earth, but inside as well, and I find that language is really not the only channel for one to use for working with things as deep as works of art. To me, the sense of completion comes from me, not the work itself so if it is finished, it is complete with all it takes for it to be what I want it to be. That having said, I actually really like using language, its physical, interpretative and spiritual qualities and will most probably use it more in the future.
In what way does the music of Viranesir take away a little bit of the most ambiental landscapes of Yayla and make it a different project as well?
Viranesir and Yayla are very separate things in my mind. I do not believe that one is a piece of another. They are very different voyages I take through my mind with the aid of certain tools of physical expression (camera, guitar). I am in the mind and soul of fictional characters that are crafted from parts of myself when making them, and to me those characters are from worlds apart. Not soon, but with the release of a couple more albums, perhaps people will be able to make the distinction between the projects as clear as I do.
Movie production, music... You're quite a complete artist. Are these two expressions enough for your to get your vision across at this moment or do you plan to have a take on something else, to go along with these two forms of art?
More than attempting to get my vision across, I am working with tools I know and experimenting with trying to find new worlds. I really enjoy making films and music. I do make other sorts of art but I do not enjoy it as much as these two to be able to make something worth publishing yet. I have been making and releasing photography as well, and in the near future, I will experiment with it more and release new photographs for sure. But for now, I see myself making new movies and music.
Having put out Yayla and Viranesir albums this year, and knowing you have quite a fast working ethic, what are your plans for the near future?
I am going to release two movies very soon, but these are movies I made in 2009-2010. So they are nothing new for me. One of them is “Adana; Grief Of The Certainty That I Will Kill Myself” and the other is “Fear Through Eternity”. “Adana” will have its soundtrack released as a Viranesir album while the soundtrack for “Fear Through Eternity” is already out since last April as a Yayla album. Other than these, I will release another Viranesir album right after which is not like anything I have ever released before. And of course, the new Yayla album I am very much looking forward to producing.
Is the political and social “revolution” that is going on in Turkey right now something that concerns you? What's your opinion on that movement and happenings?
There is no revolution or anything, its just protests. Right now it does not concern me, if anything takes the country to the point of compromising my making art, then I guess I will have to find a way to continue making art no matter what it takes.