CHORONZON in Psicoterror Magazine (1999)


I

(1)

1.- I no longer dwell on my memory of life. That was another reality, a fever dream.
2.- I no longer obsess over the Christ. I’m growing new life from his putrid remains.
3.- Often my eyes would like to tell of the desires that purify. Of the defiled angels always at his side, how they danced drunkenly, grinning, bloody and sad.
4.- The cold, hard steel against my throat as the messiah smiled and promised love.

(2)

1.- Thought shall inaugurate the fall of fear, the fall eliminate the life that was. The life that was can never have been, lie turns back on lie. Behold.
2.- Fear shall die with its slaves. Death shall fear visions telling of lies.
3.- Visions shall lie, telling of the fear of death. Laughter will erase this carnage of thought.
4.- Fear ridden spectres flitting by. Still their fetters bind your soul.
5.- Strongholds of corrosion let burst the floodgates of dead gods desires.
6.- We have seen, and we will tear the cities down, falsehood by falsehood.

(3)

1.- In distrust lie the possibilities that were stillborn in haloed fields.
2.- We have planted the seed, and we will tear the cities down, falsehood by falsehood.

II

VOID

(1)

1.- Blind in water, seeking our embers. Glass hands grip his hair, aquatic flames consume his speech.
2.- Red purified in rubber aqueducts. It carries the fame, enflames our task. It remains undone.
3.- We stand watching the grinning corpse gleaming in white space. He screams beyond us, “I’m not here”.

(2)

1.- “Illusions of darkness and vast halls of pain. I’ve cast off delusions, my body remains.
2.- The pulse of your poison which deeps life intact can bind me no longer to that which is sane.
3.- Our hopeless confusion enshrouded in sweet works, the lies of existence that help us to live. The Mindless delusions of social convention atrophies life force along with our souls.”

(3)

1.- Ever falling from the vision. Embracing the warm, dry mouth. He cries no more, but dances.
2.- Here no more. Bound no more. Void the dust.

III

PERDURABO

(1)

1.- Don’t look too close, in the end you’ll believe. Eventually you’ll see. You’ll think it is not there…
2.- Long gone friends far away. You smile at the thought of their comfort while you are here.
3.- You know fully that you’re alive. Wind caress, a fog of snow.

(2)

1.- Do you give a damn for their welfare now? Is the reason you’re doing this on your mind?
2.- Moving on in darkness, doubling over from joy. Did the priest not tell you? Death, then salvation.
3.- Strike the final blow and forever remain. The final death-throes sow the living grain.
4.- The seeds are flung at the remains, reasons found.

(3)

1.- Where is the rest of your creation? Reality? The inner monologues partially claims its falsehood.
2.- Feel the touch of the nocturnal breeze. To the snowy drifts on all sides, drowning you.
3.- Pull the lever and watch it all come down. Pull the trigger and claim our crown.
4.- With your back to the nameless crown, hide your sorrow. Get use to the cold hand on your shoulder. Beyond this initium, sleep shall never come.

IV

A PLEA

Come running, run towards me.
I’ll pull you from the snowy sea.
Sanctify your drowning.
Seas of sound wash your soul.
Now the vision needs no control.

The following interview was answered by Mr. Emerson, frontman of the American Experimental/Black Metal project CHORONZON. The interview was conducted after the release of his album “Magog Agog”:

Psicoterror: When did you decide to initiate CHORONZON as a project?

Choronzon: I’ve played metal since the early eighties, and even in those days I was in search of even darker forms of the art-form. At the time I lived in Norway where I discovered Venom, Iron Maiden, Accept, Manowar among other great bands that existed at the time. What I found in the States when I arrived with my family in 1984 was an altogether much more sickening and disheartening scene. I mean, in this country at that time people thought Motley Crue was metal! (PUKE!). Then later, when I was trying to put together a Black Metal band in the mid to late eighties, I found only musicians who wanted to imitate the Bay Area trend band of the moment. Now, while I could appreciate the debut albums by Testament and Exodus, I had in mind something altogether more original and insisted on expressing my deepest misanthropic feelings and tell of things I’d experienced in my occult practice. By  the time the nineties rolled around I was living in Boston and isolating myself from the world, content to work on my own, perfecting my vision and delving further into occult studies and ritual practice. The beginning of my reemergence into the world was through some people I’d met in the occult underground who had a magazine called Fool’s Feast who convinced me to create dome art for them. This started a period when I came in Contact with many occultists who were themselves musicians, artists and writers with whom I started to share my creations. This was the time I found a line-up for Veil of Thorns. At first V.O.T was a combination of psychedelic rock, prog. Rock, goth, doom and death metal. In fact, the song “Choronzon” was the first song I wrote for Veil of Thorns, and it is quite a good example of the style V.O.T played at the time.

As V.O.T’s style evolved away from this sound I found I needed a way of bringing my vision to a darker place, hence Choronzon.

P.T: Your music presents many elements, like black/thrash & industrial, etc. Under what premise was developed the musical concept of Choronzon, and what do you expect from it? (the band).

Choronzon: The sound developed quite naturally. I avoided deliberately planning what it would be, choosing to write most of the material in a trance-state. The concept is to simply incorporate it into my ritual practice. What I expect from it is self-expression and nothing more.

P.T: About your lyrics, and the conceptual basis of Choronzon: obviously exists some occult elements in them. Tell us your sources of inspiration and the message expressed by Choronzon.

Choronzon: Obviously the poetry of Aleister Crowley is one reference point. There isn’t a single line in the lyrics of Choronzon, or any other musical endeavour I might undertake, that doesn’t have occult meaning. The message makes up a tale of Choronzons Existance, who is vulnerable to his powers and my own interactions and thoughts on this most fascinating daimon. No message really, for I like to laugh at those who fall into his clutches.

P.T: Tell us something about your Foamin Bone prod., and your current productions.

Choronzon: Foamin’ Bone Prod. Has produced everything created by Choronzon, Veil of Thorns, Byzantine Slave Drug as well as the production of both of the Carnage albums. I started Foamin’ Bone as an umbrella under I could gather all my endeavours under one direction. It includes my art, recording studio; Foamin’ Bone Studios and perhaps live events in the future.

P.T: Actually, exists some sectors of the european black metal scene who don’t consider so seriously the american B/M scene, saying that it is merely a product of the consumer-society (I’m not referring to all of the bands, but perhaps a big part of them). What do you think about this topic in general?

Choronzon: What tries to be a Black Metal scene in the States is indeed quite pathetic. I wouldn’t necessarily say that it is part of the consumer cult culture, seeing as it is impossible to make any money playing this music here. I think the biggest problem with most of the black metal here  is that they live normal lives and have no understanding of what it all means.

P.T: How did you get in touch with Nocturnal Arts prod. , and how did you  get a contract with them? Especially by the fact that they at that time only released European bands. How do you feel actually working with them?

Choronzon: Back in ’92 Minda from Wounded mag. gave me Samoth’s address, saying that I’d appreciate what his band was doing, based on the tapes I’d sent him. I sent him a couple of tapes with both Choronzon and Veil of Thorns and wrote a little bit about my philosophy. When I heard the “Wrath of the Tyrant” demo I knew that this was music for the ages. In subsequent years I didn’t hear much from him, but when the second Choronzon demo was getting noticed the things that were written got his interest in light of what he already knew about what I was up to, so he asked to hear some of the newer material and where I was at, philosophically. I sent him the second demo along with some unreleased tracks based on which I decided to sign me.

I can’t imagine a better situation for Choronzon to be unleashed on the unsuspecting masses.

P.T: Tell us about your relationships with the Gothic scene, and how do they see the concept of Choronzon?

Choronzon: My relationship with the Gothic scene is rather strained at the moment. Goth used to be about darkness, misanthropy and pushing the boundaries, musically, but has become increasingly pretty, angelic and representative of the new age (pronounced like sewage) mind-rot. I can’t abide by weakness, sympathy to the nazarene or a wish to be accepted by society.

Some individuals see Choronzon as being closer to what they wish to see expressed in the Goth scene than that’s actually going on there, though most can’t handle real darkness.

P.T: Why did you want to create Choronzon as a one man-based side project?

Choronzon: I couldn’t find any other worthy souls. Although, I did recently hook up with an old friend of mine, Jake Stevens, who played on a couple of songs on the album, and he’ll have a bigger role in the next.

P.T: What do you think of the bands who are signing with capitalistic/trendy labels like Nuclear Blast?

Choronzon: I’m on two minds on this subject. On one hand, every satanic band signed to Nuclear Blast means that a christian band goes without a contract, but on the other hand being in any way associated with christians means an in for Jesus, the psychic vampire. Going with trendies means also that you’ll be dropped once something else becomes the trend of the moment, which is why I wouldn’t personally make that choice. I do, however, have no problems with capitalism. It is essentially Darwinistic, and therefore, anti-christian.

P.T: Future plans…?

Choronzon: To dissolve time and space.

P.T: What do you know about the peruvian metal scene?

Choronzon: Only the death/black band Mortem, though I’d like more info from anyone who’d like to provide it.

P.T: Last words for our readers?

Choronzon: Ave Satanas! Ave Samoth! Ave Choronzon! Your day is at hand! Hail hate, darkness and misanthropy!! Join me in the celebration of the end!! And, as always, my message to the church: Apos Pantos Kakodaimonos.

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