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jools green

Jools Green


Lord Matzigkeitus is undoubtedly one of the hardest working and productive musicians currently in Black Metal. His work to date consists of his main band, Canadian Black Metal outfit Idolatry, along with his brainchild 'The Projectionist' and providing lyrics and vocals and collaborating with Abyss on the latest 'Diabolus Amator' to name just a few. In and amongst all this creativity MetalTalk managed to track him down for a quick chat.

  Lord Matzigkeitus, thank you for taking the time to answer a few questions.

"Greetings MiLady."

You are currently involved with so many projects, what drives your productivity and how do you manage to juggle them all?

"My overwhelming sense of being temporary, that all of this can and will end, that my sorcery has an expiry. I manifest my resentment, depression and loathing with the aspiration that when I'm gone, there will be something of my voice left behind. It's a compulsion. I need to keep perpetually in creative distraction; it keeps my mind from lurking in darker places than it currently exists.

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"In terms of organization, I coordinate the musics every day. My first rule is I never allow any of my other endeavours to in any way infringe on Idolatry. I don't miss rehearsals; I record for projects on my time. It solidifies my commitment to them, I believe.

"Secondly I have two conspirators that I belligerently pester for progress daily; Abyss and Destroyer. They are the anchors and nexus of all music we make aside from Idolatry. They never fail to engineer the wildly oscillating flux of ideas I attempt to see breathe. I owe them much.

"I also arrive one hour early to work every day so I can sit and write poetry/lyrics."

Where to you draw all your inspiration for your creative endeavours?

"From anxiety, from dwelling in negative planes and exploring where they go. Normally I read quite avoricely, but of late I haven't taken in much literature or film. My newer work is more an expression of isolation and doesn't take into account the goings on of a world I feel less and less a part of. In that sense, perhaps my writing has progressed to a solace.

  "My work with Abyss has seen me writing purely about war. Rather than study, I chose more so to put myself into that character and feel the soldiers; spectrum. Aim at targets Abyss and I mutually detest and fire.

"Inspiration is a roulette table of ghosts for me. I'm the vessel."

Your poems and lyrics demonstrate a sound knowledge of LHP philosophy. How important for you is it to express this aspect of your being in your work?

"On a foundational level yes, I was very studious about Satanism most of my life, always trying to flesh out its practical applications to everyday existence. While I enjoy the ceremony and imagery of ritual on a cathartic basis, I actually believe the true tenets of LHP philosophy to be more prevalent in the works of Nietzsche and Rand.

"Ayn Rand's objectivism is true Satanism for the real world: the individual might and effort, the discarding parasitic villainy/altruism. She poses that question of religion or not isn't whether there is a God or nothing but that the question is of ability vs. need. Anyone weak, incomplete and empty needs to conjure something alterior to themselves to vindicate their wrongs and pass credit for their achievements. Thus squelching the self/ego. Versus the able who exist by their efforts, intellect and ingenuity. The purpose of their motion, who by proxy of this are complete in and of themselves. Thus being godless for lack of necessity. This, to me, is true Satanism.

"This may not always be on the surface of my writing, but these virtues are deeply woven into what I create."

You are also working on a Black Metal opera. How is this progressing?

"I am waiting for the grand finale to be sent to me for vocals and it is complete. To clarify for some; it is an opera in the sense that there are characters (many voiced by myself) engaging each other in a storyline. This is NOT symphonic BM, still the same cold harsh Black Metal you'd expect my voice upon. The band is called Sartoraaus and the album should be ready within three months..."

  Excellent news, I look forward to its completion. And there is also a second book of poetry underway; when can we expect it?

"The new book is tentatively titled 'Temporary' and is about the haunt and drive that comes with feeling your own death coming and how I process that. It's much more depressive in tone from 'Catharsis Spoke Her Virtuous Evil'. It's currently halfway written and will be roughly the same length as the first book. Teal Cereghino from Moribund records is contributing art for it as well as Demoniarch who has done extensive artworks for AMSG/Ouroboros. I'm expecting at the present pace to wrap up writing by October/November, with a possible January/February 2017 release. Again through ATLHOS publications."

So far you’ve created books of poetry, a Black Metal opera and several Black Metal projects. Are there any uncharted areas of creativity for you that you would like to venture into?

"I'm working on playing more of the music on my own albums. I have some unbelievably talented musicians encloaking me with their works on 'The Projectionist'. I own a theatre organ and bass guitar and I plan on elevating my skills to a level that I can express my lyrics with music I wrote as well."

Jan Psyander Whitney has been involved in many of your projects, providing some superb artwork. How did this collaboration come about?

"I met him through Idolatry's early dealings with Death to Peace records I believe. Stunning works. I love his work with Drowning The Light. He's very prolific and his work captures a fair spectrum of what evil I wish to see associated with all my endeavours. He's brilliant."

Since the first Idolatry EP, which I thought was excellent, you have continued to improve and push your vocal capabilities to a point where for me, you range is nothing short of impressively astounding! What tactics have you employed to bring about this development?

"It started with Daemonikus (Idolatry drums) hearing me experimenting with Silenceresque vocals in early rehearsals. He was all for it. A decade before Idolatry I was in a death metal band called Spawned By Rot and the attitude there was very constrained. I stewed about it years after, how much better I could've sung on that album with more freedom. It still angers me.

"From the onset of Idolatry there has been a notion that we can try anything. If it works, it works. If not, so be it. Black Metal vocals can be very monochromatic, I love some of those bands, but the performances that stand out are the ones that were more gut wrenching and soulfully anguished, such as Bethlehem's 'Dictus te Necare' and Silencer's 'Death, Pierce Me'. They are unsettling and painful to hear.

"Black Metal above all other genres shouldn't fall into a comfort zone and be formulaic. It should hurt to hear, offend, upset, provoke... That's what I do, I push the boundaries of my instrument/voice and unleash an honesty of what madness and fury is in me. I want to be the most dynamic vocalist in Black Metal. Unimitatable. Irretrievable. I won't be ignored."

Well, I for one certainly feel you are very much succeeding in that respect. Any final comment?

"Expect much more from my hordes and I..."

Thank you once again for taking the time to speak to MetalTalk. For anyone unfamiliar with the many works of Lord Matzigkeitus below is a video, for your delectation, of one of his projects, Diabolus Amator and the track 'Exponential Retaliation'.



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