Krohm is the new name of a very interessant band in the Selbstmord rooster. This one man band, composed only by Numinas at all instruments and vocals, brings you with its music inside untouchable atmospheres, outher spaces of melancholy and really sad feelings. I was really interested to talk with this guy, and I think the answers he gave me will also interest all of those who already know this shining musical reality. The other should keep a copy of "Crown of the Ancients" as soon as they can...

Hi Numinas! I’m still wrapped in the melancholic darkness that the listening of “Crown of the Ancients” made me feel… Can you introduce us to your solo project Krohm?

            KROHM started back in 1995 when I began writing riffs and composing songs on my own. I eventually had written enough material and conceived a sound I was satisfied with in 1997 for the release of KROHM’s first demo “Slayer of Lost Martyrs”. Not much activity followed this release other then continuous writing and development of new material and another demo in 2000 before eventually signing with SELBSTMORD SERVICES.

I read that this is your demo dated May 2000, and now re-mastered and published on miniLp / miniCd. I can find really so many good ideas in these three song that compose the demo, so I’d like to know how did you created them, and what was the first thing of it that came out of your mind, if music, lyrics, atmosphere or what?

            I usually come up with riffs on the guitar beforehand. I mostly create riffs out of improvisation or transcribe them from a thought or idea. When I create a song I have a general idea of where I would like it to go both musically and lyrically.

Let’s start analysing the three opuses that compose “Crown of the Ancients”: “Veneria’s Call” is an hypnotic song; it gives the listener the impression of a sort of obscure siren recalling you in her realm. And the final part of it, with that nice arpeggio and the keyboard underlining the pathos of the moment. What’s the meaning of this song? Who is Veneria?

            This song is an abstract ode to the beauty in suffering. Veneria is the lust figure, the seductress but can also be seen as flirtation with death.

I read in the booklet that the guitar in the last arpeggio part has been played by Jennifer Wyatt… who is she? Can I think she’s the one who gave you inspiration for the song? Eheh, I’m joking, but I’m really interested to know how did you created this charming last part, which did struck me suddenly at the first listening…

            Jennifer Wyatt was my girlfriend at the time and a very talented classical guitar player. The song was already written when I heard her play that acoustic piece by herself. I then asked her to try it at the end of “Veneria’s Call”. It happened to fit perfectly so I decided to keep it.

“Pshychic Pandemonium” reminds me a lot, hoping you will not be offended by the comparison, some parts of Xasthur’s works, being it fast at the beginning and then slowing down to depict oneiric and frightening landscapes of desperation, with the use of some figures such as Leviathan, the Maelstrom and so on… This song seems so much a description of a desperate mind, described using the metaphoric journey in the reality behind our life… Do you agree with my interpretation? What’s your real idea behind this song?

            No offense taken. I write my lyrics mostly so that their meaning can be left up to interpretation. I do like how you see it from your own point of view. These lyrics are figurative proclamations of what you could describe happens when one experiences feelings and thoughts of impending doom.

We are arrived to the last one, maybe the most depressive one, “Crown of the Ancients”, where the rhythm is once again cadenced, desperate, and you seems to say a sort of spell to the infinity, and describe your vision of the world, overwhelmed by war, destruction and desolation: in this song to I can find some mythological and alchemic figures, as the “Chaos Sea”, the “winged snake” which rides in the infinity (maybe the Ouroboros?!?) around the world. Once again I ask you to unveil us the meaning of the song, and your real idea behind it…

            These lyrics where derived from thoughts I had while gazing at the night sky, pondering infinity and the creation/destruction of the universe. I express what I think we are in the grand scheme, interpreting existence through a different perspective. I think you come very close in your descriptions as my writing intuitively touches onto the myth and essence of obscure as well as archetypal figures.

After this long analysis of the mini, I’d like to talk about some various topics that round around you band: first of all how did you get in contact with Selbstmord rec., what do you think of this label and its ideological / propagandistic background, and what are the band of its rooster that you respect most…

            I believe Niklas (SHINING/SELBSTMORD) heard the demos from a friend after which he contacted me offering to sign KROHM. I believe it was a natural fit between KROHM and SELBSTMORD since both are tuned in to the same concepts, musically and ideologically. SHINING, CRAFT & FORGOTTEN TOMB are my favourites on the roster so far.

Your musical genre is the kind that’s usually classified as “Depressive Black Metal”. Do you consider your band as part of this genre? What is depression for you and what do you think of the nowadays attitude to talk always about suicide, depression and melancholy, usually without having experienced none of them, that’s having a big following between the black metal kids?

            I do consider KROHM to be depressing Black Metal. Depression to me is a breakdown of our sense of normalcy, i.e. the decay of vitality. When we listen to death metal, it doesn’t mean that we enjoy going out on murderous rampages, chopping people up into pieces. Depressing Black Metal is another dark art. Some people are more drawn to it because they have experienced depression, can relate to the feeling, etc. though most are solely admirers, and that is fine. The music is a vehicle, or a snapshot of feelings expressed into music. I think fans of depressive black metal ultimately get enjoyment out of listening to it, or rather, they enjoy the sweet depression in an altruistic way through the music. If someone is affected in a truly negative way then the art has served its deeper, more sinister purpose.

What are your ideological, spiritual and philosophic ideas? How much of them take part in the writing and creating process that stands behind your music?

            My ideological and spiritual ideas are very personal and they are echoed in my music and especially my lyrics. I believe very deeply in the art form and value of music. This is one of the main driving forces in my life that I believe has the same meaning and purpose as what we try to classify as spirituality, religion and philosophy. I aspire to write songs and Black Metal is the form that reflects my essence most.

What are your musical influences and the band you respect most inside BM and outside it? I compared one of your songs to Xasthur’s atmospheres, what do you think of this great band?

            I would rather not give you a huge list that would require and extensive search through the archives of my mind. The most immediate/current/most relevant bands off the top of my head are: Thorns, Dark Throne, Burzum, Manes, Strid, Emperor (early), Ulver (early). Outside of black metal: Autopsy, Nuclear Death, Bolt Thrower, Lycia, Dead Can Dance, Wumpscut, Assemblage 23. I have only heard Xasthur once so far from a friend. I have recently been in contact with Malefic and will be hearing the rest of it soon.

The next step in Krohm, I hope, will be the release of a full-length album: are you already working on it? How will it be, always in the actual interesting style or will you change it a little?

            The full length debut album is complete and is scheduled for release in September. It will be titled “ A World Through Dead Eyes”.

The last question, a little different from the others: in the cover of “Crown of the Ancients”, there’s a photo of you (???) in a desolated field, with corpse paint, spikes, cartridge belts and so on… how much is important for you this kind of image, and how much do you consider it as part of your concept and music?

            This particular image is what I wanted at the time and thought would fit the music best. It was important to me because this imagery is part of a tradition. On the other hand it is not a huge part of KROHM as its concept and music progresses.

Ok Numinas, thank you so much for your time and now is your turn to ask me a question if you want, or to use these last lines to say anything you want or you think I missed…

            Who do you think you are asking so many goddamn questions?! Hahaha! Just joking! Great interview! Thank you for your interest and support!!! HAILZ!!!!

Oh well, I know it’s a goddamn work, but someone has to do it… I think I’ll be hardly waiting your full length album: for now, Hails Numinas!