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DEVIATE DAMAEN

INTERVIEW G/AB SVENYM VOLGAR

26 November 2020

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Culturally strong and with sharpened blades, Deviate Damaen return with "Skizzi Di Rischio" for Hellbones Records, a collection containing 12 tracks distributed in 30 years of career and never included in the official discography of the band.
Defiant enough, stringent but fair, the band prides itself on a 30-year career.

 

Welcome to Rockers And Other Animals. First of all, I apologise for not interviewing you before but if I do not have clear ideas and enough intelligent questions to ask, I prefer not to ask anything.
I start with the first question, listening to your last work, (a collection that marks the band's longstanding career), I ask myself and I ask to you how many topical moments have you had?

 

Thank you, Valeria, I have great esteem for your critical cut, never taken for granted, so I will answer your questions with the care that belongs to me, but also with the added value that I reserve for nonconformist spirits (and you are few even in your sector).  "Skizzi Di Riskio" is part of the digitized recompilation of our entire discography, and it collects, more specifically, all the singles, amenities and unpublished songs excluded from the albums previous to "Retro-Marsch Kiss", with the addition of some tracks resulting from my collaborations with artists outside the band.
It is our firm intention to aspire to every free spirit the sowing of the entire musical, aesthetic and literary production of the Deviate Damaen, over the centuries and in every possible format. We will fuck it up the "Great Reset", as we have long used "alternative" strategies for the diffusion of our audiophonic material. "Skizzi di Riskio" also contains the single 2020 "Buon Maiale!", a mocking sound of immigrationism and, musically, the link between the formation of "In Sanctitate...".and that of the new albums in preparation. As is well known, it is my habit to break up the band after each album release to reconstitute it ad hoc in view of the next one.

Listening to you for a long time, I don't like to classify your music, close it in a sterile label, I like to call you more theatrical. I like the recited parts that often compose your songs, was this prose in music born deliberately? And if so, how? I am curious about this tendency in your works.

 

 

Framing an eclectic and rebellious project like DD always puts a strain on anyone who tries their hand at it. So let your nose and instinct guide you to do it, and you won't go wrong.
Music is only one of the expressive expedients of our artistic mission; therefore, acting, photography, aesthetics, lyrics and the re-proposal of classical texts and literary works taken from our cultural bedrock are just as much.  Obviously each work has its own "mood", concept and identity, but this does not prevent us from exploring, even between one track and another, apparently irreconcilable terrain, far removed from that of a metal band.
My acting peculiarities have also led me to stimulating collaborations with very heterogeneous bands, from Stormlord to Black Shine Fever, from Immortadell to Ianva, from Aborym to Cultus Sanguine, from Imago Mortis to ZetaZeroAlfa Drumo and from Corazzata Valdemone to Velch.
This aspect of my activity as a musician has always been extremely dynamic, and often - not always - has built up beautiful artistic associations and important personal friendships.
I have to admit I consider incoherence the worst defect of mediocre man; and therefore, as a great lover of Dante, I am ready, like Cerberus, to bang those who are afflicted among the most shitty circles of the underworld.
I have no mercy with all those former barricaders, now gray and lardly, who have given up their youthful idealisms for a handful of ‘kibble’ thrown at them by mainstream ‘kitten lovers’.
And it is not a metaphor, as in our drone album (in preparation) there will be episodes from Dante dedicated to these whores.

 

 

 

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“L'elite De Notra Merd” is clearly a joke on the numerous, too many, incoherent ones in Italy. Do you think the same thing happens in other countries or is it a typically Italian attitude, i.e. incoherence?

 

I have to admit I consider incoherence the worst defect of mediocre man; and therefore, as a great lover of Dante, I am ready, like Cerberus, to bang those who are afflicted among the most shitty circles of the underworld.
I have no mercy with all those former barricaders, now gray and lardly, who have given up their youthful idealisms for a handful of ‘kibble’ thrown at them by mainstream ‘kitten lovers’.
And it is not a metaphor, as in our drone album (in preparation) there will be episodes from Dante dedicated to these whores.

 

 

“Unisex Borg” is one of the many songs that I appreciate and the compilation  ”No of this earth vol. 2” of which it is part intrigued me. How did this project come about and how does it feel to see your name along with Paul Chain's, with whom you have also played?

 

Yes, Black Widow invited us to participate in that original compilation as we were coming out of the publication of "Propedeutika Ad..."; so we opted for an entirely electronic track dedicated to the sexy-cyborg nature of Star Trek's Borg. A song definitely not very "doom", considering that bands like Candlemass and Paul Chain himself. An artist, the latter, who we always respected and with whom we shared the stage in the summer of '94; we already knew each other personally, but perhaps he expected a more mystical band, since during that live performance I rushed with hard cock on the guitarist while our reverend Lefebvrian at that time, Don Alexio Bavmord, showed great enthusiasm to the organ heedless of our erotic ardor. And so only the fog machine on stage remained mystical. We had a lot of fun.

 

 

As well as the piece “Nightlight” is very interesting in its nature and the project itself of which you are part, how did you live this experience?

 

"Nightlight" is a remix of a song by Stayer, the band of our debut guitarist, the legendary Arri. A rather "noise" and experimental project, 2 guitars and no bass. I really liked that instrumental piece of theirs, so I made a vocal remix of it with a little bit of my grace ..et voila'.

 

 

Deviate as musicians, don't create anything they don't think, therefore "politically incorrect” (beyond any political idea that accompanies you). In your opinion, why this urge to be correct at all costs in what revolves around the musical world, when instead bands like Sex Pistols or The Stooges have written a piece of history and are remembered for their lyrics and attitudes? What has changed in the approach? Why doesn't anyone, or at least a few, want to expose themselves?
 

I think this argument is at the basis of the decadent historical moment we live in, as artists and as "populus". The fight against the politically correct has always been the daily bread of our artistic militancy; so much so that we have pre-determined in advance nefarious ethno-masochist projects which today are given rhetorical names such as "Blackwashing", "Blacklivesmatter", "Cancel Culture" and "Great Reset".
The new vocabulary of cultural and demographic genocide that globalisation is inflicting on the West with the aim of eradicating the Greek-Roman-Gothic genome and replacing it with the toxic amorphous and mestizo basicity imposed by the globalist potentates. We Dame Deviate have been wiping our asses with this stuff for 30 years, so we're not going to use toilet paper now, are we? Songs such as "Brothers of the West, Save Us All From Extinction" certainly don't skimp on clarity of intent about our battle against the global fanfares, whose soundtrack is undoubtedly that Rap music which, not surprisingly, has taken the place of rock and discomusic in commercials, the main Tornasole map of how people's tastes turn.
Now the politically correct has been added to the pandemically correct one: and the starlets of the regime are competing with the most flamboyant and signed muzzles. At this point of the censorship offensive, the distribution of the subversive Opera becomes the weak link in the communication chain between the Artist and the outside world; between the Poet and history.
If we surrender to listen to music only in streaming, without really possessing the sound, textual and visual substance of the music, as was the case with vinyl, CDs or even simply downloadable digital formats, it will be enough for some asshole to cut the power to the network to silence us and suppress our Art forever. But since we weren't born yesterday, we've already put it up our ass to "their" intentions: in addition to distributing our music in strictly physical editions, for years we've been leaving our CDs on benches, under statues, on fountains, and we're committed to forward into the innermost recesses of archaeological sites, lake mirrors and mountain peaks capsules sealed with cutting-edge materials to withstand time, containing the best of our sound digitization and paper miniaturization.
So let's say nicely to those who wanted to make us disappear, to kiss my ass.

 

 

 

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Talking about the previous album "In Sanctitate, Benignitatis Non Miseretur!”, for which I objectively should have interviewed you, I consider it the most musical album you have released, is that right?
Musical extremisms for Deviate are the norm, as well as experimentation, and yet in this album they are not the characteristic. Was it a choice or more an evolution of the sounds in the composition phase?

 

Yes, you're right. It is perhaps DD's most musical and metal album. We wanted to pay homage to the genre that is currently the main heir of the entire Western sampler, since the Classica is becoming as generatively extinct as its audience, alas, now elderly.
A genre, Metal, that we had always lapped but never tackled head-on and in its most extreme keys, doom and black. In addition, for the occasion, we enlisted a highly original musician from outside the band, Vincent Felis, who helped us maintain a certain environmental and sound coherence, as well as giving

us melodic pearls like "I'll Wait For Elsewhere". The writing of the Opera was the occasion, therefore, for new inclusions and new enlistments, such as Messor, the beautiful virgulto to whom I entrusted the most "black" voices, the use of Aztec DeatWhistle and, as a Socratic son, followed me in the hiking adventures aimed at recording sounds and natural reverberations on the thrace of gorges, bunkers and sanctuaries overlooking the mountains.

The intensity of timbre and style of this album is supported by the thirty, or so, external collaborations we have hosted to help us channel the band's traditional creative energies towards a more musical key, although there is no lack of acting, punk, experimentation and ancient music. I won't hide the fact that such a stylistic framework weighed heavily on me, especially after a free, glamorous and ramshackle album like the previous "Retro-Marsch Kiss" that much better embodied the band's historical nature. So, once this doom epic is over, we'll be back there again, but with an even stronger dose of '80s "dance".
Last but not least, so much quality and freedom are made possible only thanks to our grey eminence Ark (Carlo Meroni), the band's sexiest lips, owner of ADSR Decibel Studios, eclectic musician and sound engineer with steaming assholes who, besides being able to make me sing in time, allows us any whim of sound and timbre. And DDs are very whimsical...

 

 

I am interested in the choice of the abbey of Sant'Eutizio, why did you choose this place where, if I am not mistaken, the album was born? (With its bells in the first track)

 

Being of Marche blood (like Paul Chain) and the Ghibelline Marche being very tied to the imperial ideal to which Dante adhered, I have often used those places as a theatre of suggestion for our compositions.  From the Stabat Mater of Pergolesi (who was from Macerata) to the text of "Nazi Anathem" born in '96 during my spiritual retreat at the abbey of Fonte Avellana on Mount Catria, or the noise backgrounds recorded at the hermitage of the White Friars of Cupramontana, the Marches have always been a land of great inspiration for the Deviate Damaen. Sant'Eutizio in Valnerina (the patron saint of the sick) has long been on my hiking agenda, even as a stopover on a biker's trail culminating with the waterfall of San Lazzaro, the saint of the plague victims. And given the themes of the album centred precisely on the concept of "sanctitas" understood as the supremacy of the Sublime over the mediocrity of goodism, it seemed to me the ideal place where I could retire to write the lyrics and capture images and sound settings. Fate wanted those bells, immortalized in the intro of "In Sanctitate...", to collapse shortly after my stay there, following the earthquake of 2016. But thanks to us their sound will never die.

 

 

All your works are a hymn to creativity, eccentric and paradoxical. How do you manage to give a shape without restraint or limits?

 

I can only tell you that DDs were born with such a privilege because for me it is natural never to compromise with censorship. Perhaps the secret is also to live Art as the delight of the Gods and not the craft that must give you a living. Because if instead of being an artist of yourself you end up becoming an employee of your record label or, worse, a slave to your audience, yours will no longer be Art, but a coin-operated business. This philosophy, together with our total management autarchy, makes the band a finger on the ass for any censorship, on the one hand, and for all those colleagues who play "the uncomfortable" without ever having pissed on the ties that matter, on the other.

 

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Looking around you in what the Italian metal scene, how many musicians and bands have remained coherent and how many have changed in the direction for more favourable winds?

 

 

Ah, what a wonderful provocateur you are, Valeria! It's enough to count the number of those servants who put blacklivesmatter's shit-coloured dot on their facebook profiles; or those sissies with bow, apron and sanitary mask ready to write the name of the naughty children on the blackboard.  Anything that diverges from the politically correct Single Thought will be increasingly considered subversive, sacrilegious and supremacist, and will be outlawed, as the algorithms of globalist digitisation already do. At which point, we free artists will assume the role of mentors of a new identity "resistance". And we won't have any fears whatsoever, rest assured; on the contrary, those who will do their best to cause us trouble will only give us a lot of publicity.

 

Isn't the term underground in your opinion too overused nowadays considering the fact that we have never had a real metal scene outside the underground in Italy?

 

I have always been wary of the use of barbarism as "underground" to define something that in Italy does not have an exact equivalent. I, as I have already expressed several times along this interview, divide art only into "free" and "servant". I have no other parameters, even less those dear to the ticks or, worse, to certain chopsticks of that intellectualoid (NDR In Italian language: Who or how much is exhausted in the ostentation of a culture more apparent than real.) right made of whining and whining mummies, incapable of any madness or futurist leap. Let them take a shit too.

 

 

What will the Deviate Damaen give us after enjoying Skizzi di Rischio? Is there already any idea for a new album?

 

Of course we do. There are 3 new albums in the agenda. One of style straddling "Religious As Our Methods" and "Retro-Marsch Kiss", as an idea, and the new line-up will work on it mainly with the rockabilly guitarist/synthetist DanPk, the multi-instrumentalist Z°g (already with The Murgen) and the sparkling bassist Sin, already with Labyrinthus Noctis and already guest with us on "Schiuma Su Sto Scroto, Progressive! It will be entitled "Soqquadro Tanz", and it will be the most danceable work ever tackled by DD. The word "soqquadro" is the paradigm of the spelling exception par excellence, the double Q instead of Cq; just like us.
Then we will face, assisted by a host of guests who will go from friends and associates Sister Judha and Iblis of Velch, to the eclectic sound experimentalist Stefano Bertoli, to the very personal blackster Skvld, an album of Drone music.
In particular, with Velch we are forming a choir, the "Coro Cerimoniale della Milizia di Velch" (Ceremonial Choir of the Velch Militia), which will help to forge the choral parts of the future works of the respective bands, so as to retrace the mythical choreographic art of the theatrical performances of our Greek, Etruscan and Roman ancestors.
And again, but this is only an intention for now, we are thinking of an Oi music album that will also involve musicians from the area of identity.
Then we will face, assisted by a host of guests who will go from friends and associates Sister Judha and Iblis of Velch, to the eclectic sound experimentalist Stefano Bertoli, to the very personal blackster Skvld, an album of Drone music.
In particular, with Velch we are forming a choir, the "Coro Cerimoniale della Milizia di Velch" (Ceremonial Choir of the Velch Militia), which will help to forge the choral parts of the future works of the respective bands, so as to retrace the mythical choreographic art of the theatrical performances of our Greek, Etruscan and Roman ancestors.
And again, but this is only an intention for now, we are thinking of an Oi music album that will also involve musicians from the area of identity.
Maybe distributed in music cassette...who knows.
I have intentionally left for last the preparation of an individual for the compilation of a magnificent project of which we can declare ourselves the first signatories. It is a "compilation" conceived and promoted by the intrepid musicologist and musician Antonello Cresti, all dedicated to the "politically correct" and his guard dogs. Here, the genius and courage of Cresti's initiative consists precisely in his determination to make the appeal, from a mediatically high ranking bench, of who is really rebellious and who is not. Of those who intend to put their faces to spit against the statues destroyers and the regime's ass-kissers, and those who do not.
The appeal of those who put the mask on their face and those who put it on their ass (as we did). It is no coincidence that the compilation will be entitled "O Sarai Ribelle, O Non Sarai" and will be digitally distributed by our own Hellbones Records. It will be a pleasure for me to finally see all those pusillanimous people that I have been waiting for years to come out of the hole of their circle-bottlenecks, whose names - I am sure - will be on the list of participants.

 

I have to say that it is not a legend at all. There have been abjurations of some vocal collaborations that have been requested of me over time, abjurations due to the discomfort that DDs sometimes represent even in the eyes of their own sodalists, who ask us for collaborations and then regret it.  Yes, because it is one thing to admire an artist like myself for his subversive courage; it is another thing to accept to get your hands dirty with him in the eyes of your audience, perhaps not particularly accustomed to admiring his ass. Sure, you'll tell me: but couldn't they have thought of that before? Yes, they should have, in fact; but perhaps the greed of the media to have my name among their guests has led them to exaggerate with dessert, and now, instead of locking themselves in the gym and hoarding all that vital energy, they have locked themselves in the toilet begging not to shit the wall.

 

 

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Is it true or is it urban legend that some of your colleagues have stepped back from collaborating with you?

 

I have to say that it is not a legend at all. There have been abjurations of some vocal collaborations that have been requested of me over time, abjurations due to the discomfort that DDs sometimes represent even in the eyes of their own sodalists, who ask us for collaborations and then regret it.  Yes, because it is one thing to admire an artist like myself for his subversive courage; it is another thing to accept to get your hands dirty with him in the eyes of your audience, perhaps not particularly accustomed to admiring his ass. Sure, you'll tell me: but couldn't they have thought of that before? Yes, they should have, in fact; but perhaps the greed of the media to have my name among their guests has led them to exaggerate with dessert, and now, instead of locking themselves in the gym and hoarding all that vital energy, they have locked themselves in the toilet begging not to shit the wall.

 

In these 30 years is there anything you would change in your career as an artist?

 

No. First of all because the history of a human life, just like that of the whole world, is not rewritten, if anything, it is improved for the days to come. And then because I had too much fun, from every point of view, and I wouldn't know what to invent to do better in the next life. Maybe trust someone less.

 

 

Let me tell you a 'behind-the-scenes' episode. When I was deputy editor-in-chief of an Italian webzine, a reviewer refused to listen to your music and review it. I took the honour and the responsibility of reviewing it myself. Then the site became my property, hached and magically a lot of articles disappeared, including your review. This reviewer focused on political ideas.
Why do you think politics is so deep-rooted that it erases the obvious that music should be ‘super partes’?

 

I know perfectly well that DDs are the absolute evil for a lot of printing. Partly because many publishers fear their readers' reactions to the divisiveness of the provocations we launch in interviews; partly because we are directly on the ass of certain publishers. Having said that, I have to point out a great positive ferment towards our band, especially after the release of "In Sanctitate..." which was received with a lot of openness and excellent reviews also from mainstream platforms.
I know perfectly well that DDs are the absolute evil for a lot of printing. Partly because many publishers fear their readers' reactions to the divisiveness of the provocations we launch in interviews; partly because we are directly on the ass of certain publishers. Having said that, I have to point out a great positive ferment towards our band, especially after the release of "In Sanctitate..." which was received with a lot of openness and excellent reviews also from mainstream platforms. This shows two things: that what we have been preaching for years was not so absurd and unlikely (think about the ongoing ethnic substitution theme); and that our artistic value does not depend on our political ideas. Evidence of this is that the censorship strategy of our detractors has changed completely: while before they used to fart at every fart we made, clapping and tearing their hair out, now they have gone into total silence to avoid advertising us. And they have explicitly stated this on several occasions, creating a sort of tam tam to publish neither news nor reviews nor interviews on DDs. So, know, Valeria, that you are committing a subversive act not only against the politically correct, but also against many of your "colleagues".

 

 

Thanks for your time, the interview has come to an end even though there are millions of questions to be asked.
How would you conclude this interview? Is there something you would like to add, something I haven't asked you?
 

Thank you for your dedication, courage and availability (as well as for the translation). I conclude with two invitations: the first one to musicians of identity area who strut their stuff between a bignami of Evola and a spider's web on their lapels, without ever having done a concrete fucking thing: lower your crests and, rather, move your ass by participating in the compilation by Antonello Cresti (you can find the announcement on his profile).
The second one to the blackmetallers: if you really want to show how extreme and ferocious you are, instead of desecrating deserted churches and pissing in your grandmother's Lourdes madonnas, go and get mad at those shit religions that slice your dick if you don't doggy-style at least 5 times a day. Your girls won't even notice.

 

My suavity,
G/Ab Svenym Volgar of the Xacrestani, leader of the Deviate Damaen

 

Valeria Campagnale

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