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MORTIS MUTILATI: Death and Eroticism (Interview w/ Macabre)

Eroticism, death and necrophilia join together in an opus called “Mélopée Funèbre”, Mortis Mutilati’s third album which was released on May 31st via Naturmatch Productions. In order to understand that concept and to know more about the production evolution, we’ve got in touch with the entity behind the music: Macabre.

NP056

 

“Death and eroticism are two themes that obsess me. They are like doing a 69 in my mind (…).”

 

Each album is better than the previous one regarding production, however this kind of black metal usually is very raw. How can we interpret such thing? Is this you growing old? Is this a slap in the face of the so-called purists?
Mortis Mutilati is like a full part of me so of course, it grows up with me. I think that most of the purist in black metal are teenagers that listen only bands with productions of poor quality to be as trve as possible in front of girls, but finally don’t know nothing about Art or music. Of course there is a lot of amazing bands like this as Vlad Tepes, early Darkthrone, etc… That I love, but I think the music of Mortis Mutilati is full of subtleties and atmospheres that require a good quality production to be exploited as best as possible.

How glad are you about this new effort? Do you feel this is the most groundbreaking album of your project’s collection?
I am pretty happy of “Mélopée Funèbre” and I think it’s the best release of the band till now. But I can tell you that I have a lot of projects for Mortis Mutilati that will be even better in my opinion… But those projects must still grow a bit before being revealed.

In what point death and eroticism meet in this new album? Is necrophilia the result?
Death and eroticism are two themes that obsess me. They are like doing a 69 in my mind so of course, I couldn’t avoid a necrophilia point of view. For me, Art is the link between death and eroticism so I wanted to dedicate an album to that trinity.

Would you say that the taphophilia thing is metaphoric and you’re incarnating a character? Or is it for real?
Taphophilia is nothing metaphoric, I spend a lot of time in cemeteries, staring at the graves and wondering who were the people inside, how they died… Mainly when they are children or young people like me. As I said before, it’s an obsession. About Macabre, he is I and I am him. He is just the extension of my personality, my creative part.

 

“I need to be in a calm place to compose and cemeteries are that kind of silent place that allows me to feel in harmony with Art.”

 

Where is your favorite place to write your songs? And from what symbols, feelings, stories or environments do you get inspiration?
I need to be in a calm place to compose and cemeteries are that kind of silent place that allows me to feel in harmony with Art. I mainly use paintings and poems to get inspiration. In the booklet of “Mélopée Funèbre” (created by the Italian artist Asphodel, by the way), you can see Death fingering a young lady for example. I found it absolutely beautiful and this kind of vision is like an infinite source of creation for me. For example, “Nameless Here For Evermore” was inspired by my favorite writer Edgar Allan Poe and almost all the lyrics were from “The Raven” (1845).

Your art was already brought to us though Skog, Decrepitude and now Mortis Mutilati. Is this your final transformation?
Those bands were a bit like “musical vagabonds”…  I think I was not mature enough to give a concrete goal to them. So after a lot of reflection I killed Skog (Decrepitude died in the egg) and created Mortis Mutilati that became my main project now. But it’s not my final transformation as I also have Charogne in which I explore another dimension of Art by playing dark-ambient and black/thrash with Septentrion.

How do you feel the current state of the depressive black metal scene? Truly, it is facing a saturation point, don’t you agree?
I don’t follow the depressive black metal scene anymore, so I’m not aware of what is happening nowadays… In my opinion, the only good bands of that kind now are Gris, Sombres Forêts, the project of my session guitarist Obscure, Thy Light and Austere. When I was younger, I was a huge fan of DSBM but now, I think it was just a period…

You can read our review on Mortis Mutilati’s album over HERE.