Unknown Icon

It took us more than a year to present you this…
A sword of death for the weak
A key for the apprentice

1 – Unknown Icon, what does it stand for?

The meaning of the name is a reflection of my anonymous nature, the mysteries of the Kingdom and my role within it…

1.1 – … and what is your role in this earthly life?

Well, I can’t say exactly what my role might be during my time in the material realm, but on a larger scale I’m talking about destiny. Simply put, I seek a return to the beginning and end of all, the Great Unknowable, the Mysterious Unknown. This to be attained through knowledge/awareness of my divine nature.

2 – Emit, an entity or a tool? And what does it mean precisely?

Emit is both entity and tool, though actually we’re not talking about a proselytising machine. Emit is more and more intended for those with knowledge already, for contemplation and meditation. However, let’s not ignore the fact that in the younger and less experienced audience, perhaps, Emit (and others) may serve to ignite a slow, dim awakening of the divine spark within the apparently dormant. Shining a light leading onto the path of gnosis.
In terms of meaning? Emanations from the All, emissions from the dark (light), time reversed in backwards birth etc.

2.2 – The Emit younger audience, even some of those claimed mature enough, consider you nothing but a person who transmits self loathing, hateful and melancholic feelings. Do you find it insulting or think it works just fine?

I don’t find it insulting particularly, as I already said, Emit is more for those seeking illumination already, rather than those who aren’t aware yet. I understand that many people involved with music such as Black/Death Metal are often obsessed with suicidal thoughts, melancholia and such things. From my own point of view, for as long as I can remember I had a strong feeling of longing for “something”, it was (and is) almost physically painful. In my early years this was interpreted as something of a primitive, pagan consciousness within myself, a distant awareness of lost gods and ancient pre-civilisation. I’d read the “nature” works of Algernon Blackwood (who’d been a member of the Golden Dawn), particularly “The Centaur” quite a few times and I was generally reading a great deal, trying to find answers. But in more recent years I had what you might call an epiphany, and I finally understood the reason for my “condition”. Emit was formed largely as a result of this new understanding. Slowly, Emit is moving away from the material realm and reaching inwards and out. And this can be witnessed in the transition of the Emit discography – from the depths of the forests to the stars and far beyond, yet all within the self, the universe internal…

2.3 – Emit is no ear-friendly creation, yet even in the extreme underground world It usually ends being misunderstood, dismissed or highly praised by the very few. Does it make you question the “underground’s” integrity or is it something trivial to you?

It isn’t the purpose of Emit to receive praise and celebration, nor condemnation. Thus people’s understanding of Emit and their reaction to it isn’t important. I don’t particularly question or even care much about the underground scene’s integrity. If you observe closely enough you’ll notice how many of these so-called devout defenders of the faith are actually just as materialistic as the average person. Whereas the average person may desire to possess the latest and best plasma TV, the average underground Black/Death Metaller desires some stupid rare LP instead, and perhaps the plasma TV as well. This is miles from where the Emit brethren and myself are heading.

2.4 – Many say or coin Emit in the Black Metal field or simply in the metal category… and some place it as “black noise”. Do you mind these categories and especially calling Emit as a manifestation of “noise” (be it white or black or red)?

Black Noise/Ambient seems a fair description really. Most of the best Black/Death Metal has a lot in common with Ambient music anyway. Emit is more related to Ambient than Noise I would say, but it’s not of great concern to me in any case. I understand that this may be a bit confusing for people who don’t understand what Ambient, Noise and even Black/Death Metal actually consist of.

2.5 – You have mentioned in your past interviews that Whitehouse and Abruptum, in some way, were the reason behind how Emit sounds. Can you discuss what really led you to do what you are doing now and why that Emit is the only tool existing thus far as an outlet for your expression?

They (and others) were an influence on how I originally went about crafting and channeling that which eventually took the form of Emit. I think it’s taken the time since 1998 to actually get close enough to what I really wanted back then, and also to understand exactly what it is that I do and have done, which may sound strange to the average person I’m sure. Emit isn’t an outlet for my expression, the mysterious unknown revealed over time that as a mere vessel of the Light of the Kingdom I can only express that which I contain, without which I am literally less than nothing, for Nothing is also the Kingdom. Emit came to be through the inevitable result of a yearning within me that echoes through aeons past and aeons to come until the Death.
I’ve also expressed this through anXpm (Mediaeval abbreviated Latin for “Before Christ”), not only Emit. It’s more or less a one-off EP of four tracks to be released through Niessedrion Recs.

2.5.1 – A “possession” is what some refer to as what others might call “inspiration”. Do you find a difference between the two wordings that you try to avoid the word “inspiration”? Or both do lead to the same essence in your opinion?

No, being possessed is different from inspiration. I don’t think being possessed is something to wish for (or work towards!) either. I believe that certain mental illnesses and other afflictions are often due to possessions and demonic (inferior) influences. Inspiration can come from anything of course, from chance events, writings, music, thoughts etc. But my greatest inspirations, especially when it comes to lyrics, come from meditations, dreams and so on.

2.5.2 – Why would it be “you” the one chosen to channel the unearthly? And can’t it be all a result of some psychological phenomena controlled by a deviated subconscious?

I’m not special, I haven’t been “chosen” in that sense. In contrast to my early years, I’m quite a humble person, I don’t worship my ego, I’m not some superior being. I am, in fact, HUMAN! I think all people have the same Alphapoint potentiality, however, I can’t help but feel scorn and even pity for those that stroll through life only concerned with accumulating money, social status (including status in subcultures such as Black Metal!), material possessions and so on. Studies, contemplation, meditation and existence as a whole prove me to be correct in my convictions. I think a lot of people are living in a fantasy world where they believe their actions, thoughts and motivations don’t have any repercussions. Believe me, they do…

2.5.3 – anXpm is still unknown to the waste of flesh out there, including myself… could you unmask the tool and the reasons?

It actually started out as Ante Cryst which was the band of a couple of old friends of mine. I joined on guitar for a while and wrote some material, but then the original guys left, so with their blessing I carried on with a new line-up and a name change. Reasons are numerous, but it’s the musickal soundtrack of pre-reformation monastic life – devotional and fanatical, studious and on the verge of extinction.

3 – A Sword of Death for The Prince:
You’re from the UK, does it have some allusions toward the killing of the royal family and especially the prince, the upcoming king?

No, the Royal Family are completely irrelevant. Seriously, if I was to name an album after a subject as ridiculously petty and political as killing the Royal Family, you would have good reason to question my motivation and aims. It’s a subject for boring punk rock bands. Even merely alluding to something like that would be really stupid in the context of my Work. You’re perhaps mistaking me for another English band, The Smiths and their “The Queen is Dead” LP.


Forging a work of death as sharp and as strong as a sword that could kill for the Prince of Darkness?

The “Prince of Darkness” could perhaps be called nothing more than an Archon of this cursed material world, and the Emit Brethren are not associated with him (note that I don’t use capitals to refer to this inferior god). Reading the Holy Bible is not enough to understand these weighty matters (nothing is weightier actually), and most people are misunderstanding the meaning of the words they read and use, inadvertently giving praise to the god they claim to hate. Christians of the Church are pretty much in the same boat as the devil worshippers, ironically enough. Both are ultimately slaves to the material world and the ignorant creator god. True Death Worshippers (and there aren’t many bands that I know of bearing the correct belief in regards to this), on the other hand, are absolutely an affront to the false creation with praise of the Mysterious Kingdom beyond. By the way, on a related issue, since when has blaspheming been the primary purpose of Black/Death Metal? I’d rather offer praise to the True than blasphemy to the false and this is (or should be) the way of Black/Death Metal as well.


Something totally different?
Could tell us more about it and why and how this title came to being?

Originally, the title was an amalgamation of content from various ONA manuscripts. I wanted to communicate some key ideas as simply as possible. In actual fact, the title is open to interpretation. For example, we’re told that Christ did not bring peace, but a Sword (of division)…

3.1 – Bands like Mutiilation, Deathspell Omega, Ondskapt, Glorior Beli, Merrimack, Hell Militia, Ofermod, Katharsis, Malign, Funeral Mist, Watain, among many other bands, claim proudly to be Satanists – devil worshippers fanatics (in the true sense of the word according to them). Most of these bands blaspheme the known “holy religions” and praise drugs, violence, rape, self mutilation, hate, suicide and anything related to low lives’ way of life. Even some of them use Freemasonic symbols, Jewish occult symbols and Kabala gnosis as a part of their “believes” and defend it. And those who praise the devil, praise him in a biblical / spiritual /metaphysical way making sure to keep it vague. Bash or praise… where does Emit stand and why?

The wonderful acts mentioned above, whether they be praised or glorified by devil worshippers or not, are good because they Darken the material world, or presence the Dark, to use ONA terminology. Whether or not you choose to “get high on your own supply” is up to the individual. Personally I’d leave it to those who have only been granted temporary souls, as their sole purpose is to be of service. Anything that corrodes this false “reality” (everything is illusion, as Buddha says) and material existence is good, not evil. If someone else sees it as “evil” that’s up to them. The bands mentioned above can speak for themselves on their beliefs, I’m only in touch with about two of them and have no idea.

3.2… but isn’t the whole “underground” claiming to be corroding and darkening the material world? It seems a much easier said than done… why make the above mentioned bands any special? Don’t you categorize them as ones of the “bashing” bands instead of praising?

I think you misunderstood my reply to the above question. When I say “wonderful acts” I refer to the actions of rape and so on as Darkening the material world.

3.3 – And how does Unknown Icon darken the material world?

It’s down to the individual what they do. Not everyone has the aptitude for certain acts, nor do they necessarily have the need to commit them. One rather obscure gnostic sect back in the early days of christianity believed that (to put it simply) because creation was a mistake, manmade/god-given laws must also be wrong. Therefore they should endeavor to live their lives breaking as many laws as possible. Some “satanists” still act like this in the present day (or say they do). I think they’re rather stupid to dedicate their lives to this belief and action, but still they darken the material world and I’ve obviously nothing against it. I suppose that each has his place. You can say that the mere knowledge/gnosis which me and my brethren ( i.e. those with the divine spark, dark flame, whatever you want to call it) carry with us darkens the material world, because this gnosis is illumination about our place within it, its origin and ultimately the consummation of it. I believe in preaching the gospel of reality – turn off your TV and you’ll hear silence. Outside the silence is Death, outside and within everything is the original old Death. Only Death is real, in fact.

4 – If one looks at the Emit releases, it would be clear that the only “real” artwork existed on “A Sword of Death for The Prince”, is there a reason?

If by “real” artwork you mean a hand-drawn image made for the specific purpose of being used for the cover art, then I suppose you’re right.
The reason for it would be that in this instance I felt the only way of expressing the musick in visual form would be if I asked someone capable enough to do it. And so it was done. Stylistically, the drawing is very much recognizable as being the work of the artist concerned, yet it brilliantly conveys something of the musick’s form and purpose in a quite simplistic way.

4.1 – And where does the front cover come from? And what does it mean?

The artwork was made by Spica from the French band SVEST, working from my directions according to how I’d visualized the musick (and to some extent, his own understanding of it). As far as the meaning of it is concerned, I would direct you to the lyrics of the album and personal interpretation.

5 – Some might say that Emit shares some similarities with :STALAGGH: do you think so? And what’s with the thanking for :STALAGGH: in some of your releases if you might tell us?

There aren’t really any similarities that I can hear. There are some vague, rudimentary ideas that we share in terms of music but I think it’s plain to see that we’ve taken very different paths from a similar originating point. Stalaggh tend to create these very long single pieces with one “musical” approach throughout, distinct from Emit’s aesthetic. Furthermore, Emit conveys a very different atmosphere to that of Stalaggh. Conceptually I don’t think there’s anything in common either.
Actually, I don’t like “thanks lists” very much. I’ve included them in a couple of past releases purely for nostalgic reasons. When I first started to buy records/CDs they nearly always had huge thanks lists in the liner notes, and I then used to buy/tape trade some of the bands that appeared in these lists, so…

5.1 – There was supposed to be a split with :STALAGGH: in the past, what happened exactly and why was it canceled?

This was at least four years ago if I remember correctly, I’m surprised anyone has even heard of this. I think Total Holocaust Records had advertised it on his website back then, maybe you’d seen that, or some flyers or something? I can’t remember why it was cancelled exactly, but I believe it had something to do with some of the Stalaggh members disagreeing about ever releasing a split recording. It’s not important or even interesting information to know anyway. The Emit material that had been made for this split was then going to be used on a split with Nazxul (from Australia) but this was cancelled as well, so it seemed the material was utterly cursed, haha. In retrospect, I’m glad that neither split happened, I think it was best that the material was published on tape format (as “The Dark Gods”) at that time. Still, demand for this material is quite high nowadays, seeing as the tape is long sold out, so Goatowarex is releasing “The Dark Gods” and also “The Dark Bleeding” together on CD.

5.2 – Why the Nazxul/Hell Icon/Emit split was cancelled too?

I don’t even remember this one, sorry. Anyway, I’d only do a split release these days with people I know really well. I’m doing a split demo tape with PTC for instance. They made the outro on the Emit debut and are spiritually on the same wavelength as Emit.

5.2.1 – Could you share more with the readers about PTC? When can we expect this split to be out? In which format and who will be releasing it?

PTC, or Power Trance Chaos to give the full name, was the group that evolved into Reverorum Ib Malacht. I don’t know when this split (on tape format as mentioned earlier) will be released and it doesn’t matter either because the contents (90 minutes of Death already recorded) are timeless. It could equally be tomorrow, in 10 years or never. Whatever happens, it’s currently in the womb of ALFT (www.alft.cjb.net).

5.2.2 – As far as I can tell Emit so far released only one split, which is with Vrolok, how did this came into being and what would the others acts be that Emit would share a release with beside the already planned split with PTC?

We also released a split demo with EK1 actually, in 2001, though it saw limited distribution. Anyway, I’d been in touch with Dan of Vrolok since his demo tape came out on Dark Whispers and we’d always wanted to do a split. It took several years to actually get round to it but it was worth it, I think you can really feel something powerful and inspirational in it. I’m planning on recording an album of purely vocal works soon (under a name other than Emit), inspired by the vocal tracks on the split, though it’ll be rather different… No other splits are planned.

5.3 – Goatowarex is gaining the reputation of a bad label quite quickly these days. Countless people were ripped off by this label and those who have received their promised packages, they arrived real late. Why Emit keeps dealing with this label (a split with Vrolok was released on Goatowarex not long ago)? Wouldn’t this affect the spreading of your material or make some people wonder why anyone keeps working with this label? Can’t it be understood that the bands who work with rip-offs labels are in a way or another supporting the very existence of this label and its actions?

Really? I haven’t heard anything about him being a rip off, and my dealings with him regarding the split with Vrolok went without any problems. I’ve never ordered from his distro so I can’t comment on that. I can only really judge Goatowarex on personal experience and therefore I’ve nothing negative to say about him.

5.4 – Why the re-release of the older Emit materials or the split with Vrolok didn’t make it on Total Holocaust Records?

No reason particularly. It’s not as if I signed a binding contract with THR to release a certain amount of CDs with him. All my dealings with Hakan have been good so I’ve nothing against working with him again in the future. The point is, Goatowarex offered to do these particular releases, so why not?

5.5 – Moors Murders… the complete history.

Ever heard of google? Haha. Outside of the “facts”, Ian Brady is interesting because I feel that he’s (quite literally) a kindred spirit. Unfortunately, after reaching similar conclusions to that of myself, he decided to live out his deepest materialistic fantasies rather than seeking gnosis, because he saw no reason not to do so. Ultimately, I believe he became a slave and his basic urges quickly overtook spirituality. Brady is the natural successor to the gnostic sect I mentioned earlier and a prime example of why their beliefs led them astray. Becoming too engrossed in rebellion against the creator god can be highly detrimental.

5.6 – How does Emit set a deal with a label? Based on what and what is it that you ask for or require?

I’m not sure how interesting or useful this is for people to know really. It’s just “business”. I only ask that the label I’m dealing with does what they say they will and that they give me complete control of aspects such as layout. That’s it.

5.6.1 – Actually I believe it’s quite interesting and strikes the heart of what all of us (either we like it or not) belong to, which is this “thing” called the “underground”. For a simple reason, why wouldn’t Emit be on Nuclear Blast or Relapse, even if they offered you a deal? Wouldn’t be because of the “censorship” that they will exercise upon you and the content of the recording? And isn’t this one of the reasons this “underground” was created, to offer the “artistic freedom” and be “fair” to the “artist” financially? Which is why “artists” with “extreme” forms of expressions and messages seek refuge in? Didn’t any of these “underground” labels tell you that only a very small amount of your recording will be pressed cause it won’t sell? Or even some dismissed your request for not offering any ear-friendly music?
Because let us not forget, the reader, or better saying: the consumer, thinks that the “underground” is the ever praised imaginary Utopia on earth.

What some forget is that the underground is not a static thing, mainly because the underground after all is basically a collection of people, and people are not very consistent or reliable. And let’s not forget that psychologically any large collection of people generally follow herd instinct (for good or ill). The Black/Death Metal underground today has very little in the way of unity of belief and conduct. There are too many stupid subgenres and at the best of times there can only ever be a very uneasy alliance between pagans, atheists, satanists and so on, all claiming to be Black Metal, mostly erroneously in my opinion. There shouldn’t be an open door policy for anyone to say that Black Metal is about this or that, it should be written in stone. I think bands have made comments regarding the reality of the underground numerous times before over 10 years ago and their comments still stand true today, which says a lot really. Thus I fail to see any point in going over old ground. Bigger labels like the ones you mention wouldn’t be interested in Emit because it’s not something easily marketable. Not all underground labels are interested either, down mainly to differing tastes, both in terms of musick and probably in terms of beliefs as well.

5.7 – So isn’t a problem for you to pay from your own pocket to make a recording, covering the whole aspects (equipment improvement, recording costs, cover expenses etc..) or is it also a sort of materialistic attitude that you do not wish to be part of? I work full time so I don’t have much problem paying for my own equipment and everything. I wouldn’t ask a label to help fund Emit because it seems pathetic to do so. If labels didn’t support Emit it wouldn’t mean Emit couldn’t function. Fuck, it’s comparatively easy to get a CD made (I have a little experience of this), but it’s easier to let someone else do it of course. Sometimes labels send me money but we’re not talking thousands and thousands, Emit doesn’t exist in order to make money as should be self-evident.


5.7.1 – Don’t you think that Emit requires 100% your time? For some, full time job and “musical work” is the perfect example for “amateurish” outcome. What’s your stand? And would it be the same for you and Emit if this full time job didn’t exist?

No I hardly think it should take 100% of my time! I’m not inspired 100% of the time and there are a lot of other important things to do outside of music, even without taking into consideration the demands of a full time job! Possibly you’d be surprised how many people in bands (with professional “outcomes”!) also have an occupation outside of their music. Ian Curtis of Joy Division still had a full time job despite regularly playing live and recording/releasing their first album. If I didn’t have a job Emit would still sound the same, I wouldn’t be any more or less productive either. I’d probably read more though.

5.7.2 – Darkening the material world with Emit and serving the general outcome of the slaves of the light’s society at the same time… a paradox? A smart strategy or two things that got nothing to do with each others?

It’s not so much a strategy as mere practicality. Anyway it’s not as if I work for a bank and have an office at Canary Wharf.

6 – Emit records, could you describe us the process? How do you first “receive” the “music”? Is it always improvised, or half planned, or requires something special? Please evolve in whatever way it suits you describing the composition and the recording process till you get the final result that the masses acquire in their hands.

First requirement – inspiration. If I don’t have that certain awakening in me then the only thing that comes from my guitar is useless shit. Some might say that everything that comes from my guitar is useless shit, but…haha. The source of this inspiration is of course the Mysterious Unknowable Kingdom and the various emanations there from. Emit is always improvised, though perhaps bearing in mind the inspiration, it might not be too accurate a description. Nowadays I usually record some “warm-up” material, almost as a beginning to a ritual you could say. I find that doing this gets rid of a lot of interference, allowing a less distorted, purer audial vision to emerge. I have a lot of unused outtake recordings as a result of this “warming-up”. Apart from this, I don’t think it’s interesting or useful for me to write more about the Emit recording process.

6.1 – Where does Emit record and using what equipments?

Emit has recorded in a lot of places, with a lot of different equipment. Early demo tapes were recorded on analogue equipment at my home. Later demo tapes were recorded part digitally, part analogue, still at home. The debut album was mostly recorded in a small studio in Hampshire. The owner of this particular studio was damned generous and let me use it as a favour. But, when he heard the result he was a bit embarrassed that it was a product of his studio, seeing as it was so fucking distorted, unprofessional and unpolished, hence he asked me to change the name of the studio in the liner notes of the album, haha. Later stuff, like “The Mother of Blood” (to be released this year) has been recorded at the studio of the band Reverorum ib Malacht in Sweden.

6.1.1 – What can you tell us about this new recording “The Mother of Blood”? (Is it going to be a full length or a demo or a mini album? Who is going to release it and in which format? Etc..)

Originally we planned it as a demo tape, however, the musick finally suited digital media better so it’ll be released as a CD by Todestrieb.

6.1.2 – Is there a specific concept behind this new recording? And what does the title stand for?

Obviously there is a concept behind all of Emit’s work, or rather the musick itself is the “concept” by virtue of its existence. Well, the lyrics (possibly my best to date) were written in a very brief period of incredible inspiration and concern the Divine Mother. I don’t care too much for the word “concept” regarding music(k), it mostly brings to mind 1970’s “prog rock” LPs and pretentious heavy metal tossers. Gregorian Chant for example does not have a “concept”, it has a purpose, thus you see the difference.

6.1.3 – What one can expect from “The Mother of Blood” “music” wise? Will there ever be a new direction or will it be the same old Emit as we all used to?

It’s calmer and more dreamlike than other Emit works. Really it’s musick to listen to in the period before sleep. Musick vibrating from the immortal realm of Barbelo!

6.1.4 – Why have you chosen to go to Sweden to record? And why the studio of Reverorum Ib Malacht specifically? Was it because it’s a good studio or because you were offered to record there for free? Or for some other reason..?

I didn’t go to Sweden specifically to record anything, I was going there anyway to visit some people. However, we thought it was a good idea to record some planned material while I was there (and also complete the recording of some unfinished work). Members of Reverorum Ib Malacht are also part of the Emit Brotherhood, so that’s why I used their studio. Their “studio” by the way is little more than a wooden cabin in the woods by a lake, with computers, amplifiers, mixing desk, drum kit etc all crammed into a tiny space. Perfect really, but you wouldn’t find Marduk recording there, hah. – As far as we know, R.I.M members weren’t part of the Emit Brotherhood in the past… is that just because they share the same concepts that they are in or there is more to the news?

We got in touch with each other not long after “The Dark Bleeding” was released. I think I asked to interview him for my zine regarding his band at the time who’d also released a tape on THR (though they’re split up now) as I thought they were really exceptional. In the end I never did interview him, though ironically there was once an idea of him interviewing me for a second issue of Swedish G’hinnom zine. Anyway we shared views and beliefs and began frequently writing letters, emails etc and making plans. It was natural that he and others from his circle would get involved with Emit in some way.

6.1.5 – Are you satisfied with the results? And how did it go recording somewhere else outside of England, which I believe was the first time for Emit to do so…

I certainly am, I don’t think it could have gone any better. Atmosphere was perfect and we all knew what was needed from the recording. Actually though you’re incorrect, I recorded some material for “The Dark Gods” outside of England – in Wales (ehem, I meant UK). That didn’t work out quite as excellently, but was still an interesting experience on the whole.


6.2 – Is it a conscious decision to keep the Emit frequencies as raw as possible or is it due to the recording equipments used?

A bit of both. I usually prefer a rawer sound and prefer working with primitive equipment as well. My guitar for example dates from 1762 AD, which is impossible of course, yet so is comprehension of the All!

7.0 – Emit just recently made a deal with the new rising label Autumn Wind Productions from the U.S.A. A digi-CD is expected… What’s the recording to be expected getting released on AWP? Is it “The Mother of Blood” or even a newer recording?

It will be the second album, “Conscience”. An album of ghost musick from the 18th Century. It’s not really in the same vein as the first album at all. I’ve no desire or need to make such an album ever again. Indeed, “Conscience” will be the last full length album as well. Todestrieb will release “the Mother”. There’s a few releases for which I’ve already recorded the material (some of which date as far back as 2004) still awaiting release, after that I move on.

7.0.1 – I read “…I’ve no desire or need to make such an album ever again” and the new album’s title is called “Conscience”, does it mean that you did interfere with what you were supposed to channel?

No, what I mean is that I’m not going to record such a “noisy” album again. I think the strength of Emit actually lies in the more atmospheric pieces than the chaotic deafening noise ones. That’s what I’m going to expand on in future. “Conscience” is following on directly from the split with Vrolok, though the prevailing atmosphere and sound is somewhat different.

7.1 – Why did you choose to have this recording released through AWP and not another label especially that it’s a new label. It can be seen as a “negative” point to some bands/projects, since they might not be sure about how good things will go and how good the label is actually.

I was sent some copies of the Vomit Orchestra double CD from AWP (I had some really old “guest vocals” on one of the tracks) and I was pretty impressed with the quality of the release. I’m confident that it’ll work out ok. It’s not as if the new Emit will be their first release, Erik knows what he’s doing I assume. These are all just business issues though, beyond the practicalities it’s totally uninteresting and irrelevant. When I purchase an antique book long out of print since 200-300 years, I rarely take note of the publisher anyway, though their job of printing may have been a good one. It’s enough to glean what I need from the contents and breathe the dust of centuries past.

7.1.1 – …So one can always have his recordings online and save the whole hassle… there won’t be a need for a label in the first place. Neither money nor audience’ response matters to Emit… so why finding a label?

The fact that audience response is of little concern to me doesn’t mean that people shouldn’t have access to my musick. Publishing musick exclusively online doesn’t appeal to me at all. It’s ok by me if people want to download things, but to only release an Emit album as mp3s isn’t appropriate. The lyrics and artwork are important to the whole. Even if you don’t have a physical copy of an album, chances are you’ve seen the artwork and/or read some or all of the lyrics and that imagery and those words remain in your head whilst listening.

8. Last drop of poison…

Since this interview was initiated and completed, Emit has moved to a new phase and shall henceforth be known as Hammemit. I had intended to alter the course of Emit in this way for some time now, since 2006. The name Hammemit became clear to me only in recent years and seems to be the culmination of garbled ideas/dreams only partially understood by me in 1998, at the beginning of the band/brotherhood. It therefore seems appropriate that the change is made in 2008 at the beginning of a new ten year cycle.
Reasons for the change are numerous, but the one that concerns the listeners of my musick the most is that the sound of Emit has gradually evolved to the point where a name change seems almost inevitable. Hammemit will prove to be the most complete realization of my musickal ideas.
The Hammemit album “Spires over the Burial Womb” was recorded in the summer of 2007 and will be released on Total Holocaust Records later this year.

Unknown Ikon / Malachi, April MMVIII

Contact address same as usual.

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