Diabolicum: “Ia Pazuzu” – Interview with Sasrof

Welcome here and thanks for the interview. The first question comes by itself. We had to wait 14 years to hear a new Diabolicum album, why such a long delay? Was the band still active in this period?

It was a perfect blend of laziness and life getting in the way of everything that makes it enjoyable. But we where never dead, we kept producing material we just didn’t make it public.

“Ia Pazuzu” sounds like your most evil and violent album to date. Do you agree? What results do you think you reached in the new album compared to “The Dark Blood Rising”?

I agree, I think it was the process of us producing it on our own on our own equipment that gave us a more possibilities to control the final outcome of the material.

Would you like to introduce the guests who cooperated during the recording of the album?

They are all close friends of us personally and the band. Not much to say about them really, besides the that their contribution helped us take the album to the next level.

Pazuzu is the name of a mesopothamic demon, nevertheless it is known for being the name of the demon in “The Exorcist”. Is the album following a concept about this figure or each song is independent?

He was also at one point owned by professor Farnsworth (who also put him through college). The tracks does share a theme but not necessarily in the traditional storybook way.

Who is actually part of Diabolicum line-up? Are going to perform live to promote the new album?

For now its me, Gorgorium and Likstrand, we do gigs right now and when we do, Carl Warslaughter and V-Khaos handles the vocals.

Amongst DHG an Aborym, Diabolicum are pioneers of the hybridation between uncompromising black metal and electronic industrial music. How do you live this status of a cult band?

Its a tough job but someone has to do it.

Talking about the new album, the song called “Angelmaker” sounds a little experimental and atmospheric, would you like to describe this track?

Its a very slow moving song with a bit of Bathory and Tiamat thrown mixed to a rusted and hopeless journey. The lyric deals with mothers and fathers who kill their young and/or medical staff who offs their patients.

For instance, the songs called “The Void Of Astaroth” and “One Man”; sounds like the more uncompromising and disturbing aver composed by the band. What are this tracks themes?

The Void of Astaroth deals with a world ripper asunder by chaos and turmoil and a void that eats creation from the inside out. One mans war is terror manifested in a Power Electronics song originally written by our brothers in Survival Unit, that we rewrote the music to.

The titletrack contains imperceptible noises and even silence. Would you like to tell us more about this track that seems to hide a particular and symbolic meaning?

I wanted to build the notion of standing on the shore of a great dark sea with black waves reaching further and further towards land until it covers all that ever was and all that will ever be.

Last but not least, do you think the contemporary black metal scene could still be considered alien to the music business?

Maybe not the music, but those who perform sure can.


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Poser di professione, è in realtà un darkettone che nel tempo libero ascolta black metal, doom e gothic, i generi che recensisce su Metallus. Non essendo molto trve, adora ballare la new wave e andare al mare. Ha un debole per la piadina crudo e squacquerone, è rimasto fermo ai 16-bit e preferisce di gran lunga il vinile al digitale.

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