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First, can you sum up to our readers everything that has happened to Orplid since / Sterbender Satyr /?
Frank Machau: Not much, actually. Perhaps I should mention the two live gigs in between Sterbender Satyr and the new album. This was kind of a nice experience but as far as I am concerned nothing I would like to repeat. You just cannot reproduce the sound and the atmosphere of a studio recording on stage.
I find /Greifenherz/ colder and more martial than your previous record. Do you agree with that and how do you explain this new musical direction ?
Frank Machau: I have no reason to disagree with your description. This is all due to the lyrics dealing with dreams of war and death or intense feelings like fury and hatred – they simply forced the music in that direction.
Some elements remind of your early material, especially because of the martial side. Do you think the release of /Frühe Werke/ played a role in the musical approach that we can hear on /Greifenherz /?
Frank Machau: These days it is nearly impossible for me to comprehend what we tried to achieve on our early recordings. I wouldn’t completely disown them although with hindsight I must admit these recordings are not as strong as I wish they were. I can still spot some nice ideas but that’s about it. So Greifenherz is not a return to a somewhat glorious past, maybe it is a reworking of past failures.
What was the role of each one of you on this new album ?
Frank Machau: Uwe did most of the lyrics, I was in charge of the sound.
Once more, you chose to work with poems. First, can you explain the meaning of the poem Der Anarchist ? Frank Wedekind was a very provocative guy, writing about German society and sexual taboos. Is it the reason why you chose to work on a poem written by him ?
Frank Machau: The biographical aspect was not crucial to the choice of his poem. It was the poem itself, the words and the mood they convey. Before being executed, the “anarchist” is asking for a woman to beget a child, a son who will go on killing the sons of the enemies.
The “sexual taboos” have long disappeared but this poem is still shockingly affecting.
I don't know Rolf Schilling. Can you introduce him and his work ?
Frank Machau: He is a man who many years ago chose to live for poetry exclusively, a decision that allowed him to reach a level of artistic perfection most contemporary artists can only dream of. Accordingly, he is not very well known, sometimes misunderstood but also highly appreciated by a small circle of devotees.
What's the meaning of the poem Luzifer ? The song is very martial and menacing…
Frank Machau: To talk about the “meaning” of this poem (written by R. Schilling) would mean to reduce it. If I was more talented I would try to give a translation of some lines, unfortunately I gave up writing poetry at the age of 10. You find the music menacing? Well, the poem then is the real menace!
Once more, we can hear Sandra Fink. Has she become a fulltime member of the band ?
Frank Machau: Orplid has only two full-time members, she has her own project, SAFI, a pretty good band. Albeit more rock-based.
The voice of Frank is more « cold-wave » than it was before. Are you fans of this kind of music and in what way do you think this style can influence your music ?
Frank Machau: I sometimes use the term “cold wave” myself to describe our music. I prefer it to “dark wave” which is often used for the style of rather abominable bands and projects, especially in Germany. Early eighties music certainly had an influence on me, I grew up with it and those sounds are still haunting me in a positive way. I appreciate the work of producers like Martin Hannet and Conny Plank and of course I am fond of singers like Ian Curtis, deep, dark sonorous voices in general.
The song Traum von Blashyrkh is dedicated to the blackmetal band Immortal. Why ?
Do you know them personally ?
Frank Machau: They are Uwe’s heroes but I guess knowing them personally would be a great disappointment. Nevertheless, their music and appearance was quite entertaining for a while.
A lot of neofolk/martial fans are also extreme metal fans. How do you explain that and are you also extreme metal fans ?
Frank Machau: Extreme metal used to be appealing when it was still extreme. But it has obviously come to a point where reaching a next level seems to be impossible, it had all been done long before.
Would you like to collaborate with an extreme metal band on a record/song ? (if yes, which band ?)
Frank Machau: The idea isn’t too alluring. Maybe I’m too old for this kind of stuff.
Let's talk about the artwork. What's the meaning of this eagle in the desert ?
Frank Machau: Just use your imagination. It’s a very strong image isn’t it?
We can see pyramids on the cover, can you explain their meaning ? I thought you would work with Arabian musical atmospheres, but finally it's not the case for this album…
Frank Machau: Originally we had a song with some oriental elements on the album but it was deleted because it didn’t really fit in. Just a coincidence, I guess.
Once again, I believe the pictures and the music should work without explanation.
A lot of neofolk/martial bands like to evolve in a World War II universe. Orplid is more original and develops his own universe. Are you tired of all these WWII themes and imageries that we can see in this musical scene ?
Frank Machau: WW II imagery is often used as a means of provocation. In Germany this seems to be the last remaining taboo, for obvious reasons. It is a rather cheap way of gaining attention and it’s ridiculous to. Just look at the people in those bands – in a real war they would certainly shit their shiny uniforms.
What are your future projects? Any plans concerning a live tour ?
Frank Machau: Let’s see what the future holds for us. Nothing is planned as yet, everything is possible (although due to a lack of time and motivation there won’t be any tours).
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Hello! We did an interview when ‘Sterbender Satyr’ came out and now that the excellent ‘Greifenherz’ is available, let us do a fine update…
You said that once a record is released you loose grip on its intentions and its appearance is influenced by its reception. Well, what about the reactions and feedback on ‘Sterbender Satyr’?
Frank Machau: Well, a lot of people liked the album even though they had not been too enthusiastic about Orplid before but there were also some people who had bought our previous records and were a bit disappointed with “Sterbender Satyr”. Funny enough, there are now people who liked “Sterbender Satyr” and don’t know what to think of “Greifenherz”. This is what makes releasing music exciting. As far as I am concerned, I enjoyed working on both albums but I clearly prefer our latest effort. The sound is more mature and my singing is better.
What happened on the Orplid front since then?
Frank Machau: Not much really. Uwe and I we still get along well although we do not meet very often. Maybe that’s an advantage. Our working-relationship is still quite fruitfull.
Though created by the same people and mostly same “instrumentation”, ‘Greifenherz’ gives me a different feel than ‘Sterbender Satyr’. Though it should be more belligerent, it sounds a bit more organic and warm-hearted to me. What are your thoughts on this?
Frank Machau: So it seems we haven’t managed to eliminate the romantic element completely. The organic character is certainly due to the fact that this time I used many samples of natural sounds whereas on “Sterbender Satyr” there was a dominance of more synthetic elements. For the warm-heartedness you mention I have really no explanation but you are right, despite of the major topics and the lyrical content of the album it is obviously there.
The music is very cinematic, as miniatures of the grand epic classic movies. Can we see this as an influence in your life?
Frank Machau: They had an influence on our understanding of music and art in general. Among many many other things. The way I work with music and sound may be responsible for the cinematic feel – I always try to recreate pictures I have in my head. I think people more literate than me would call this synaestesia.
We know that some of the lyrics are inspired by poems, but can you go a bit deeper into the lyrical contents of this album?
Frank Machau: In fact all the lyrics are poems, this time they deal with themes like war, death, decay, but also strength and beauty. Two or three lyrics are about raptors. Most of the poems are written by Uwe, two by contemporary poet Rolf Schilling and one by Frank Wedekind.
The ‘Gryphon’ is the central theme of the album. Can you tell a bit more about that?
Frank Machau: The aforementioned strength and beauty are united in the shape of those animals, but they have a cruel and dangerous side as well. That made them appealing.
Is there a political affinity/signification with the poem ‘The Anarchist’?
Frank Machau: It has not much to do with politics, we were simply impressed by the contempt of death (and life as well, actually) expressed in this short poem. I believe the term “anarchist” has a different meaning today, it seems to stand for a certain lifestyle in connection with slightly provocative but more or less risk-free pastime activities.
‘Traum Von Blashyrkh’ is dedicated to Immortal. How did this idea come into being and what did this impressive black metal band mean for you?
Frank Machau: They are Uwe’s heroes (together with Manowar, I think). Nevertheless this is rather a tribute to an idea than to the actual band which in my opinion is still too much of a rock’n’roll type.
What’s puzzling me… can you unveil the sense of the three compositions called ‘…’? J
Sometimes we hear Mellotron. What was the impact of the great progressive bands of the seventies on you?
Frank Machau: It is the instrument itself that I really love. Most of the progressive rock bands of the seventies are to arty for me, it was the era of exaggerated virtuosity and seemingly endless instrumental solos. Having said that, I must admit to liking some of the early King Crimson recordings and Van Der Graaf Generator.
You are involved in all different kind of arts. Can you tell us about things that fascinate you these days on that matter?
Frank Machau: The greatest moments in life are when you think you have seen so many things and you know everything and suddenly there is something you have never heard of before and it kind of blows you away. These moments are rare and precious. I can’t speak for Uwe here but in recent years I found much joy in exploring the world of children’s book illustrations and obscure early eighties bands.
Can you tell us what Noltex stands for?
Frank Machau: It is derived from Uwe’s surname, there is no deeper meaning I guess. This label is completely his child, I have nothing to do with it.
Would you call yourself an introvert or extravert person?
Frank Machau: It probably depends on the mood I’m in. This certainly applies to Uwe as well though I’m not sure.
Orplid is Frank Machau and Uwe Nolte, in long term cooperation (since 1996). When and how did you meet each other and how did things evolve the way they did?
Frank Machau: We know each other since late 1990 and started talking in 1992 I think, when we started getting involved in a hardcore/heavy metal band called Rückgrat. In 1996 we decided to try something different. So Orplid was born. During the first years we were very close to each other, even lived in the same house. These days we are a bit more distant which has not diminished our creativity.
You do not like repetition as an artist. Every future work will be a true challenge then. Do you have already ideas for the next musical creation? If so, any ideas about the global direction?
Frank Machau: At the moment I honestly don’t know when I will find time to record again. My head is full of ideas but the music won’t feed my family or pay the rent. But I do not want to complain, being forced to make a living out of music was much worse.
What are your plans and wishes for the near future?
Frank Machau: To record again, as soon as possible. But it will not happen within the next two years.
And to occlude, to which people the music of Orplid will appeal?
Frank Machau: I have no idea. Everyone is welcome.
Thanks a lot in advance for answering these questions. ‘Greifenherz’ is a new gem to ease our minds in this hectic life. I wish you all the best with all your endeavours.
Many kind regards of Vera
Frank Machau:Thank you very much. It was a pleasure to do this interview, I’m looking forward to the next even if I don’t know when this will be.
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Hello! First of all, congratulations for your new work, "Nächtliche Jünger". To begin with, will you introduce us to your band, and its history?
Frank Machau: First of all, Orplid isn´t exactly a band, rather a project consisting of two people as a kind of core, which is open to work with different collaborators. It was founded by Uwe Nolte and Frank Machau in the summer of 1996 from the ashes of our Heavy Metal band, Rückgrat, with the intention to do something more personal, something which was still valid outside the boundaries of popular music, where images are often more important than content.
Well, the promo did not mention the release date of your album, so I don't know if it's released yet... But anyway, if it's not, when should it be in stores?
The album was released at the end of july, and as far as I know, it is also distributed in your country,so it should be availlable for everyone interested.
Your music is mostly acoustic music, yet you are on a metal label and in general your audience seems to be metal-oriented. Why do you believe this happens? Do you feel that you have metal elements in your music?
Because of their work in the past years, Prophecy Prod. have a reputation as a Heavy Metal label, although recently, they have been releasing very different types of music. I guess they don´t consider themselves a pure Metal label any more. Anyway, I don´t mind having a partly Metal-oriented audience. Everybody is welcome!
We hope to attract all people intelligent and self-conscious enough to develope their own ideas and tastes, people who do not sheepishly follow preprogrammed schemes in society and culture. Therefore, we´re generally not seeking for a fan-type audience. We are happy if our music has a certain appeal to people who like Metal, Dark-Wave, Folk or whatever but we really do not appreciate adult people who call themselves "metal(head)s" or "gothics". Do we have Metal-elements in our music? I´m not sure; if there are some then they´re at least not intended, probably they appear as relics of a past we couldn´t fully cast off.
In which genre would you place Orplid, if you try to judge as a fan, or a magazine editor? With which bands would you parallel your sound?
According to the media, we´re playing Neo-Folk or German Folklore. If you are in need for a term, take one of these or choose your own. Call it queer Hippie-music if you like. I have no idea, but I´m open for any kind of categorisation as long as we are not expected to behave adeqately. There are certainly similiarities between our sound and that of other musical projects. Nevertheless, I´m not able to give names here because these similiarities are based on incident rather than intention. Again, I can only invite you to draw these parallels yourself, I am too deeply involved to do so.
I noticed that, in your new album at least, your compositions are short. How comes you don't feel like stretching them a bit, and maybe add some variations of the main song-theme?
I must confess that I really like short songs, pure content with minimal but effective decoration. But on the other hand, I also like the idea of blowing up a simple melody or chord sequence to a song of considerable length, as it happened with the title track.
As for the lyrics now, what subjects will we find in your songs?
The overall subject of the lyrics could be summarized by disillusionment with the world that surrounds us, which is still not strong enough to lead to complete hopelessness and despair. Some songs are even really belligerent. Many of them use ancient myth and religion as a vehicle for their message, but we are definitely neither a religious nor a „heathen„ band. To be honest, we are simply some ignorant, complacent philistines expressing our poor little cultural and social resentments in whimsical songs.
Really, which songs do you believe to be the best in your album? And, by the way, do you see each song as a part of the whole album, or as an entity by itself?
Considering the fact that „Nächtliche Jünger„ is rather a compendium of songs from 1997 until 2001 than an album proper, each song must be understood as an entity in itself. Of course there is an overall idea which sort of connects them – it is the same idea which stands behind Orplid as a whole: To reestablish values like nature, truth and beauty in an obviously decaying culture. As for the best songs on this record...well, I could tell you the songs I consider to be the worst, but it`s certainly not clever to do so in an interview which shall serve as a means of promotion for our latest album.
By the way... what's the reason which urges you to compose music? What do you want to express through your musical journeys?
Difficult question, indeed. Sometimes, I even ask this myself. Many years ago I was able to feel happiness if I succeeded in composing or recording a song, I can`t remember when this feeling got lost. However, it was replaced by a kind of satisfaction if a song worked out the way I intended it. Today it is probably pure ambition that urges me to make music.
You have chosen to write all your lyrics in German... Do you feel more comfortable with your own language rather than English, or is it some other reason you have done so?
The exclusive use of the German language is part of our concept. We regard our native language as an essential part of our native culture, and with Orplid we are trying to make our small contribution to that culture. It is not our prior aim to represent todays popular culture, which is dominated by Anglo-American influences. We would be glad to find a place within a truly international culture, where native language and character are appreciated as a means of enrichment not separation. This idea, I think, is already part of the philosophy behind the „World Music„ scene. Probably, we should concentrate on recruiting listeners from these circles to reach international success? Are there some lovers of German ethno-pop out there?
Don't you fear that this choice may cost you some international audience?
(see above)
Which bands/artists would you name as your main influences, and what's your relation with classical music?
There are so many influences, it is nearly impossible to mention all of them or to explicitely name certain artists as „main„ influence. Some of the sources of inspiration for our music are: folklore, singer/songwriters, 60`s orchestral pop, country music, film music, German „Schlager„, ambient... ambitious pop music in general. As far as classical music is concerned, I can say that its influence is steadily growing. At a certain age the naive youthful interest in classical works gives way to a bit more understanding, which helps to find access to the composer`s intentions and allows a kind of deconstruction that is beneficial for your own work.
Since Orplid only consists of two people I assume that you don't play lives, or isn't it so? If I'm wrong (which I hope, hehe), is there any live schedule for the near future?
You are right, at the moment I don`t see any chance for live appearences, due to a lack of spare time and the fact that we are indeed only two people. This does of course not mean that we wouldn`t like to play some live concerts in the future. It would depend on certain preconditions.
For the end now, give me a list of your top 5 albums - ever! And of course, feel free to add anything I may have forgotten to ask you!
Frank Machau:
Scott Walker- everything
Jacques Brel- lifework
Lee Hazlewood- Cowboy in Sweden
My Bloody Valentine- Loveless
Freddy Quinn- early work
Uwe Nolte:
Iced Earth- Dark Saga
Gorgoroth- Destroyer
Empyrium- Weiland
Immortal- Sons of northern darkness
Freddy Quinn- early work
Thank you very much for your time and patience, Frank and Uwe. I'll be anxiously waiting for your next work. Until then, best wishes for you and Orplid!
Thank you for your interest. I hope that, although we don`t belong in any particular genre and we don`t even sing in English, there`ll be at least a few readers of your magazine who will like what we`re doing.
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En cada una de las revisiones que hemos realizado de los discos de Orplid hemos hablado de las excelencias de su música. Desde el principio quedamos atrapados por la magia y el magnetismo de su obra. Después de realizarles una entrevista como esta, uno cambia el concepto y la idea que tiene de unos músicos, e incluso reemplaza por otras, determinadas apreciaciones sobre su trabajo. Pero cada cual debe llegar por su cuenta a esas conclusiones, las mías son sobradamente positivas.
El envío de las preguntas se realizó al grupo a finales del pasado año, casi paralelamente a la edición de su último trabajo hasta la fecha, el 10" "Barbarossa". Pero las respuestas se hicieron esperar, y mucho, tanto es así que, debido a las dificultades idiomáticas para expresarse en otra lengua que no sea la suya, no recibimos las mismas hasta julio de este año. Finalmente respondieron como mejor podían, en alemán, así que doy las gracias a nuestra traductora por hacer que todos podamos entender las palabras de Uwe Nolte.
Orplid ha logrado, y siguen haciéndolo, dar una renovación y un aire totalmente innovador a unos estilos que ellos mismos desean tener bien lejos, por no sentirse identificados con ninguna corriente o movimiento musical. Creo que muy pocos grupos pueden estar a un nivel semejante a ellos, frente a esos pocos, los demás se encuentran a años luz.
No es cuestión de hacer comparaciones, siempre inútiles, es cuestión de poner las cosas en su sitio y darse cuenta de las diferencias abismales que hay por ahí entre los estilos semejantes. Orplid consigue fundir a la perfección música de formas tradicionales con una modernidad bien entendida y dosificada, toman inspiración, que no influencia, una inspiración casi subconsciente que les hace concebir unas composiciones repletas de talento y originalidad. Se mezclan muchos estilos; como comentamos en la entrevista, la variedad y la versatilidad de sus composiciones es admirable, pero pasemos ya a las respuestas de Uwe Nolte, al que agradecemos su interés y esfuerzo.
1. Me gustaría empezar diciendo que, personalmente, considero su primer álbum como uno de los mejores trabajos en su género y, al mismo tiempo, uno de los mejores de la tan llamada escena neofolk e industrial. Sus dos primeras ediciones están agotadas, y la excelente nueva edición publicada por Prophecy indica que las ventas y la aceptación son muy positivas. Cuáles son sus sensaciones después de casi tres años desde su primera publicación, y cuál ha sido la importancia en su carrera como un punto de arranque?
A este respecto, nosotros pisamos en aquel momento tierra virgen. "Rückgrat", nuestro proyecto musical de mayor andadura, malogró las postrimerías de nuestra juventud, pasión humana e intensidad musical ya no se deben definir a través del volumen y la conducta marcial. Nos estimulaba el sentimiento de un gran desafío, una responsabilidad, negada hasta ese momento, frente a nuestra propia cultura. Algunas piezas eran buenas, impregnadas de espontaneidad juvenil, pero entretanto transcurrieron algunos años de madurez, los cuales marcaron una distancia violenta hacia nuestra ópera prima. Solo quedaron recuerdos, bonitos recuerdos de tiempos de total despreocupación, no mucho más.
2. Podría presentarnos a los miembros de Orplid al público español, cuántos músicos han tomado parte hasta ahora, y cuántos pueden ser mencionados como miembros fijos del grupo?
"Orplid" somos Frank Machau y yo (Uwe Nolte). Los músicos restantes, o cantantes, actúan como complacientes instrumentos, no tienen derecho de intervención y no reciben ningún dinero por su apoyo.
3. Actualmente, muchos grupos y proyectos tratan de crear un sonido similar usando guitarras acústicas y algunos otros pocos elementos para componer en una línea similar, olvidando, en muchos casos, la originalidad y la capacidad para edificar una nueva esperanza en la escena folk. Sin embargo, Orplid está demostrando, desde su primera publicación, que se sienten inclinados a muchos estilos y que los practican todos de una manera muy particular.
Qué piensa de esta apreciación, cree que la variedad de sonidos es fundamental para el desarrollo de un grupo?. Siguiendo con un tema similar al anterior, ustedes practican desde baladas melódicas con instrumentos clásicos, pasando por temas marciales con una especie de influencia industrial y, por supuesto, uno de los sonidos que hacen tan brillante su música es la utilización de las guitarras acústicas. ¿A qué tipo de cultura musical se encuentran mayormente inclinados: músicas modernas, clásicas, folk,...?
Lo aburrido sería solamente satisfacer clichés, aún cuando se ganase más dinero con ello. Unas runas en la cubierta seguramente incrementarían correspondientemente el volumen de ventas, pero ésta no es nuestra forma de actuar. Nosotros deseamos sacar inspiración desde nosotros mismos, desde lo más profundo de nuestra sangre y explorar nuevos caminos. Frank y yo no queremos tener nada que ver con el circo del neofolk habitual, lo cual se percibe sin duda en nuestro nuevo CD. Autocrítica, franqueza y ambición son los fundamentos de "Orplid".
4. Todas sus ediciones demuestran que ustedes son realmente músicos experimentados, a las voces les dan una enorme importancia, usando de forma muy meticulosa tanto voces principales como coros; también opino que son unos músicos talentosos tanto con los instrumentos acústicos como con los electrónicos. ¿Nos podrían hablar de sus antecedentes y su formación musical, han estado trabajando en otros proyectos musicales antes de la fundación de Orplid y, finalmente, durante cuánto tiempo estuvieron trabajando como Orplid antes de la publicación del primer CD?
Nosotros dos, cada uno en su materia, somos prototipos de autodidactas. Aproximadamente un año después de haber dado vida a "Orplid", sacamos el CD al mercado. Anteriormente yo cantaba en distintas bandas de música death-metal, hasta que creamos Frank y yo en 1994 "Rückgrat", nuestro primer proyecto, que redujo a escombros escenarios del país. Por lo demás, nos influyen muchas cosas, desde lo clásico hasta lo moderno, no solo música. La inspiración auténtica proviene de todas formas de la vida real, con sus altos y sus bajos.
5. Nos podría hablar algo sobre el álbum "Heimkehr"?; según la información mostrada en "Das Schicksal" 10", dos de sus temas pertenecen a esa grabación. He leído que ese álbum no será publicado de nuevo, ¿qué es realmente "Heimkehr", cuándo fue editado, y cuántas copias se imprimieron?
Solamente se editaron un puñado de copias de "Heimkehr", el cual se planificó como álbum conceptual en el marco de la mitología nórdica. Yo mismo no dispongo, por motivos personales, de ningún ejemplar. Se generan energías negativas de esta música y solamente puedo recomendar a cualquiera que no adquiera este disco. Por ese motivo nunca volverá a ser reeditado.
6. Por qué no han tocado en directo hasta ahora?. ¿Considerarán esa posibilidad en el futuro?
Es prácticamente imposible trasladar nuestras canciones al directo, además de que la atmósfera del directo no nos agrada demasiado. El humo de cigarrillos, el aplauso nervioso y los silbidos enloquecedores no se corresponden demasiado con nuestros deseos. Tal vez si se diera un marco digno nos dejaríamos convencer para un concierto. Sin embargo, derivaría entonces hacia un sonido más rudo, carente de compromiso y salvajemente arcaico, parecido a los tiempos de "Rückgrat".
7. Están satisfechos con la definición de "German Folklore" para su música, cuáles son las fuentes que mayormente les inspiran del folclore de su país?. Además del hecho de que varias canciones como "Balder", "Bifrost" o "Walhalla" son claras referencias a la cultura nórdica, ¿cuáles son los mitos y leyendas que dan forma a tus letras, y qué escritores y filósofos consideran al momento de componer como un recurso de inspiración?
El concepto "folklore alemán" no nos gusta mucho. Seguramente llegan a ser eficaces algunas piezas folclóricas en nuestra música, pero nosotros no somos unos sempiternos ni coaccionantes portadores de tradición, ningunos nostálgicos melancólicos. Nuestra rígida cultura necesita urgentemente nuevos impulsos. ¡Ayer era ayer!
Mi mayor, más profunda y embriagadora fuente de inspiración es la obra de Rolf Schillings, el mayor poeta de este siglo. Él consigue en la misma una especie de suprarreligión, deja fundir mitos nórdicos con otros y crea un propio mundo superior a todo lo pasado. Algunos poemas se pueden encontrar en www.Arnshaugk.de, donde también figura algo mío (www.godenholm.de).
8. Fuera de la cultura alemana, ¿qué referencias son importantes para sus creaciones musicales?. Ustedes formaron parte del excelente recopilatorio dedicado al centenario de Evola; su amplio conocimiento sobre diferentes culturas y sus profundos estudios de los diferentes mitos le hacen absolutamente brillante. ¿Cuál es su opinión sobre ese pensador, escritor, filósofo, etc., y las muchas otras definiciones que pueden dársele a un hombre sabio como él?
Sinceramente, no soy ningún iniciado en lo que concierne a la creación espiritual de Evola. Solamente leí algunos extractos de su obra, antes de finalizar la aportación al recopilatorio, con objeto de familiarizarme con sus ideas, para comprender de forma intuitiva el aura de su personalidad. A mí me fascinaba la idea de tierras inmóviles, un reino espiritual, en cuya clara extensión de estrellas brilla la isla "Orplid".
9. Después de "Das Schicksal" editaron un MCD con un concepto diferente dirigido a veces a composiciones más poderosas, el tema de la guerra en la ex-Yugoslavia es una clara referencia: pero, ¿es también una referencia a otras guerras que han tenido lugar en Europa durante los últimos años?. Cuál es su opinión acerca de esos conflictos?
En relación con el MCD: en este disco se trató de forma generalizada el tema de la guerra, no iba referido únicamente a los Balcanes. De hecho, con este MCD de ninguna manera pretendíamos tomar partido por Serbia, como se ha falseado en los medios.
En lo que respecta a la guerra en la Ex-Yugoslavia: como en todas las guerras actuales, no se trata de honor y fama, sino de dinero y poder. Europa, la sierva del Tío Sam, jugó por orden suya a la guerra, destruyó un potencial cultural y económico con objeto de fortalecer a América. Las masas fueron manipuladas correspondientemente por los medios y la puerta hacia el "oeste salvaje" se mantuvo bien abierta.
Esta es la antigua fiesta de carnaval del hombre histórico y, dicho sea seriamente, es superfluo el desarrollar una opinión sobre este tema, porque las guerras son de origen natural, siempre regresan, devastan para alcanzar otras épocas, con o sin la bendición del individuo. Por ello no es necesario un posicionamiento en los conflictos de este tipo, yo quiero ser libre como decía Nietzsche; "¡Ni pastor, ni rebaño!"
10. El nombre de Orplid se refiere a una tierra imaginaria. ¿Es ese nombre un equivalente similar a otros como Thule, Avalon, etc., que representa un ideal y simbólico lugar con un significado similar en muchas tradiciones, principalmente en todas las tradiciones indoeuropeas?. ¿En qué fuentes podemos encontrar referencias a la palabra Orplid, y cuáles fueron las razones para usar ese nombre?
El nombre "Orplid" se cogió de un verso del poeta alemán Eduard Mörike (copla Weylas). "Orplid" es una isla situada lejos, en el océano de los anhelos, "Orplid" es el reino de la armonía de los dioses, un ángulo oculto en el corazón de cada ser humano, el cual deseamos alumbrar con nuestra música. Es muy interesante y correcto el que usted compare "Orplid" con Thule y Avalon (o Atlantis). Todos los nombres mencionados llevan ante mis ojos planos del conocimiento que el hombre perdió cuando salió del ciclo de la naturaleza. Actualmente flotan los nombres de estas míticas y hundidas islas de forma nebulosa en nuestro subconsciente, ya no son sino leyendas y sueños.
11. Recientemente se celebró el décimo aniversario de la reunificación de Alemania; al proceder ustedes de una ciudad que pertenecía a la antigua Alemania del Este, qué cosas positivas, si es que se ha producido un cambio real, han afectado a sus vidas y a su trabajo como músicos?
Desde un punto de vista exterior, parece que algunas de las diferencias que afectaban a ambas partes de Alemania, continúan estando ahí después de 10 años de una Alemania unida. Qué ha cambiado realmente para la antigua Alemania de Este desde un punto de vista político, social, o económico y, finalmente, y el más importante, desde un punto de vista cultural?
Este y Oeste, derecha e izquierda, bueno y malo. No tengo ninguna opinión acerca de cosas, opiniones y acontecimientos orientados de forma polarizada. Cuando uno ha descubierto su mundo interior, le preocupa poco el teatro de sombras global, la guerra y la paz, las aberraciones y los halagos de la vida material. De importancia, la reunificación de Alemania no ha cambiado nada.
12. Qué nos pueden decir sobre la escena musical en la Alemania Oriental durante los ochenta y los primeros noventa, cuáles eran sus intereses culturales y musicales de aquel período, y cuáles de ellos afectaron a sus actuales actividades musicales?
Apenas nos interesamos por otras personas, sobre todo si los músicos mencionados en su pregunta son, en su mayoría, animales gregarios, que sólo pueden existir en sus establos subculturales. Una familiaridad con criaturas semejantes no traería nada nuevo. Un paseo en solitario por el bosque me aporta personalmente mucho más.
13. Editarán un nuevo álbum pronto?. Qué nos pueden decir como adelanto de su próximo trabajo y qué sello lo editará?. Seguirán editando tanto con Prophecy como con Eis+Licht y, por favor, dígannos algo sobre el último disco, "Barbarossa" 10", qué diferencias se encuentran en esta y en las próximas ediciones de Orplid en relación con el pasado?
Entretanto el "Barbarossa 10" mencionado por Uds. ya hace tiempo que está en venta. En este verano saldrá al mercado la edición nueva del "Geheiligt sei der Toten Name" (Eis+Licht) y también nuestro próximo álbum ("Nächtliche Jünger") aparecerá a finales de otoño editado por Prophecy Productions. Además, Frank y yo planeamos sacar al mercado mediante distribución propia un disco con poemas recitados, matizados con sonidos experimentales.
Este se diferenciará enormemente de todos los publicados hasta ahora y ofrecerá un mayor enriquecimiento para los amantes de nuestra música, también para nuestros admiradores españoles, a los cuales aprovecho para saludar.
ENTREVISTA, F. PACO GONZÁLEZ (SDC)
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