Apart from sharing my taste in black metal, I’ve always had that deep curiosity the explore the creative minds behind each work that I’ve been lucky to get my hands on. And today, I’ve got the enormous pleasure to present an extensive interview with V. Tyrant, vocalist of German black/death metal act Thorybos.

Disclaimer: The pictures shown in this interview are not SBM’s property. They are taken from Photophobia, Marco Mangi Photography and Starspawn Phty.

Let me start off by expressing my gratitude for setting aside some time to have this discussion. Thorybos has become an extremely important band for me ever since I saw you performing live in 2015 at Under The Black Sun. It was a devastating experience, to say the least.

As said prior to our interview: Whoever has questions deserves answers. Apart of stupid questions, but there are only a few genuinely stupid questions actually, rhetorical questions mostly. People tend to think we embrace that ignorant-asshole-image to come over as brutish and repelling as possible, but that’s probably just the connection they’re used to make. We do certainly have our set of principles though, not the most open-minded ones for sure.

Thanks for your appreciation. When we grew into the Black Metal Underground, the Under the Black Sun Festival was a significant part of the scene’s identity, a place of remembrance and cultic performance, thus it’s still important to us to have been a part of it with Thorybos twice now, and countless times if you include the other bands we’re active in.

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As far as I’ve familiarized myself with the meaning of the band name, it stands for “riot”, I believe. Regardless, can you comment on what led you to choose that particular one?

Indeed, ὁ θόρῠβος is an Ancient Greek word rarely used. It roughly translates to riot, noise, tumult, but with multiple additional layers of connotation that – as so often – a word-by-word-translation doesn’t do justice. It’s a mêlée, a noisy upheaval, an uproar and oppressive din, a subversive breach of public order spun out of control into disorder, disturbance bringing on panic, pain and terror. Closely related to consternation, agitation, contempt and the seven categories of φόβος.

This complex set we deemed fitting on various levels, including the context of many of our lyrics, throwing people off their comfort zone, and the ancient option of applying anthropomorphic deified personifications even on abstract concepts like city states, eirene (peace), demokratia etc. In this manner we like to consider the band as a kind of embodiment in which the idea of the thorybos incarnates. An interpretation of the extra-individual entity of which the bandmembers are only worshippers in sacrificial services.

Last but not least, by its very definition “noise” is “unwanted sound”, and therefore an issue less of objective parameters like tone or decibel rather than of social temperament and cultural desire, historically and socially conditioned – I like that perspective as we want us and Black Metal to be “unwanted” indeed, from a social standpoint.

There is a strong notion of savagery in the way you’ve developed your sound and I’d like to ask what does such an immense intensity reflect?

Ironically, we already noticed that people who are very familiar with so-called Bestial Black Death Metal like that we write “actual songs”. In comparison to, let’s say, Impetuous Ritual, Tetragrammacide or Deiphago we might even sound pretty restrained, structured and less chaotic.

Savage or not, any (self-)description of our music should be seen as nothing more than exactly this, an act of creative accomplishment by the one who’s describing. This accomplishment, by its nature, can be appealing or misleading, or both. We’re not aiming to sound as savage as possible, it just feels natural when channeling the energy that forces us to do this, crafting a representation of the very idea of what pierces us as an impetus.


I firmly believe that art, no matter its form, can shape us and when practised genuinely may lead to unimaginable outcomes. Looking back at early Thorybos and now, did you change a great deal speaking of creative mindset?

Not at all. The core of Thorybos, that is our guitarist and me, started the band well beyond rebellious and insecure teenage times when we all were around our mid- or end-20s. At that time we already established a profound idea of what Black Metal means to us, what creating Black Metal means to us and what it means to perform actions within the underground. We already shared quite a lot of experiences and activities like labels, zines, bands and concert organizations.

We for sure naturally advanced in some aspects, standpoints and understandings, like improving the methods of technically transferring our ideas into acoustic matter soundwise. Both him and I are people constantly striving for the “next level” and never tolerating complacency. But speaking of the very core of our impetus and mindset, nothing ever changed.

Additionally, does your involvement with the band impacts your everyday life in some way?

Not at all, apart from the time invested.Apart from being the means for venting accumulated anger, does your craft hold more to it? Or say, does it embody a deep meaning or a statement meant for those who are willing to seek?

To us it’s really not an emotional outlet of any sort. We regard the Black Metal underground as a mysterious cult. A cult requires specific places, specific forms of worship and sacrificial rites. The “mysterious” element refers to its basic meaning, not open for everybody but to a certain inaugurated group of initiates, not necessarily equal in all of life’s ideas, but in their dedication, and their conviction of keeping inside what’s meant to be kept inside.

Therefore what we create is part of the ritual performance and sacrificial service within this cult, and we all known that music, sounds, aurality, auditory stimuli play major roles in the interaction and communication that takes places. We don’t aim to implement any statements or meanings upon the listener, there’s no enlightenment to find.

If we wanted to convey messages to anyone, Black Metal would be an ineffective, very limited media from the start. However, if someone does perceive our sound as another specific reflection of the very idea that the cult is directed to, the darkness that both artist and listener refer to, if he feels connected by some immaterial bond that for some reason makes some rough and simple distorted noise spiritually appealing, and incorporates our interpretations into his own worship, that’s the “more” that we’re basically aiming for.

Speaking of lyrics, what fascinates me is how you managed to incorporate your professional expertise in antiquity in the band’s core. Can you elaborate on this choice and how you tackle such an intricate subject in the form of extreme metal? Moreover, what perspective do you incorporate your knowledge in ancient studies from?

It’s a practical advantage insofar as it offers certain skills and possibilities regarding language, access to sources and case studies, fascinating monuments or simply being a professional grave desecrator and have experiences like unearthing human skulls and bones (which we are not-so-secretly in love with) that have been buried centuries ago, but also regarding basic understandings of continuities, cultural identity and value.

Then again, lyrics are totally different kinds of texts as articles or whatever, so it’s merely an inspirational thing that still has to be adapted. Furthermore we all know that lyrics are not the most important thing in Black Metal, often remaining bold or unread. Which is ok. There are studies or at least theories that already in ancient cultic performance often the pattern, rhythm and frequency of the spoken words was more significant to ritual action than the word-by-word content.

Anyway, I still like lyrics that are not empty phrases but add a certain, if only subconscious substance and composure. And inspiration may stem from very different sources, not restricted to any expertise, for example on the next full-length album “Saliva and Black Venom” there will most probably be a trilogy of songs heavily inspired by Gustave Flaubert’s great “Salammbô”.

Antiquity offers the perfect atmosphere, the perfect setting for the world of Thorybos – pure and powerful, strong honest mystic bonds to the insubstantial smoke of the great darkness that are understood as reciprocal interaction. The pre-Christian socialization devoid of any infiltration with weak monotheistic savior religions, providing a more profound substance, a better access to and more pure reflections of the Promethian flame that we share in order to embrace darkness as more than the absence of light.

Facing the incongruity of elements within the same scope that they claim, there’s always a threat in an alteration of values, and it is the function of the leading culture to command the end of this alteration. “value” is precisely defined as something preciously acquired, estimated by one’s willingness to sacrifice in order to preserve it. The problem is that our present morality preaches an overwhelming tolerance as the highest value. But tolerance is no value. He who tolerates everything appreciates nothing as precious. Tolerance is the value of those who refuse to have values.

Everything in history is losable, and while this is more the professional agenda, I still like Thorybos to embrace a cultural identity that grew from the values and achievements rooted in Classical antiquity. At the same time, much of this can be applied to a dying culture called Black Metal that ironically dies with every inch of its fame growing…

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When it comes to life outside the band, have you set a distinctive barrier between what happens within Thorybos and everything else? In other words, do you keep your involvement within dark arts as a private endeavour that is only to be shared with a selected group of people? And if positive, what’s your main reasoning behind such a decision?

Yes, absolutely. It’s neither about being afraid of repercussions on nor about perpetuating a certain image into your social life. For some sad reason people tend to exploit their status within a fringe group, within a minority, to define and elevate their social status and identity as a whole, unaware that the one is totally worthless for the other.

I know there’s a fuzzy complexity of concepts on how to approach an anti-social, misanthropic Black Metal ideology in life, some deem it especially valuable to have both being on par, intermingling the contexts, praising to adapt as much Black Metal as possible to your lifestyle. I don’t say that this is the wrong approach, but for me these things exclude one another, and taking the religious approach of the underground as a totally extra-social mystery cult bears a certain sincere coherence in its own, sans any possibility to utilize the cult, e. g. for your self-definition within society, just pure worship and dedication within the cult itself, sans any chance of profit whereever.

As each genre moves throughout the years since its inception, black metal has given birth to a number of sub-categories. Do you concern yourself of that fact and its impact in general? In that sense, can you point out the good, the bad and the ugly to this inevitable motion in extreme artistry?

There’s a certain scheme regarding the typical evolution of things that – although simplified and assigned in retrospect – can be applied to a lot, e.g. history, time periods, the life of individuals: Starting with rough Archaic times of origin, then reaching its apex, climax, ἀκμή, followed by a time of decay, which is often characterized by strong cultural interexchange, incorporating alien, foreign elements.

For many years now I believe Black Metal is dwelling in some sort of “Hellenism”, leading to some interesting creations, but also to a shitload of subcategory mishmash and “fans” from diverse scenes flooding the underground, which will inevitably lead to its decay.

The rule is simple: Discrimination is the principal foundation of any culture. Bands used to aim for participating in that common cultural identity, not to strive for unique selling points in order differ from it. The result is a loss of identity disguised as “individuality”, a tolerance for everything, and this fanatic pluralism will inevitably lead to the weak acceptance of randomness.

Mass media coverage has been the 4th ruling power for a very long time. Some would argue that it is the 1st one nowadays, in fact. That most certainly impacts how metal is delivered, perceived and experienced today. Do you think this interferes in the way black metal is evolving? Moreover, in your experience throughout the years within the underground scene, do you consider that mass media also plays a major role in alienating authentic creativity from musicians?

Absolutely. Black Metal has always, to some extent, been xenophobic. The “eliterian” narrative to me never meant that Black Metal people are the physically strongest warriors to conquer the world or whatever, or the smartest people around, but the restrictions towards alienating elements, the discrimination and the consciousness of something powerful that is not meant to be shared with the whole world. Mass media made Black Metal accessible to anyone, made it cool and artsy, a fashion, a subject for parody, for sociological studies, a brick of Lego amongst others to build one’s individual identity with, not a cult in which your individuality dissolves.

The consequences are at hand. If the underground is defined as extra-social cult, there is no intention nor risk to affect society. Nevertheless, with Black Metal (voluntarily) becoming a mass media subject of public discourse, it’s becoming a part of society and the same paradigms are applied as to anything else. This is the moment when outraged emphatics furiously carry their high culture of offendedness into Black Metal, labelling their morally enforced pseudo-consensus with the status of a common sense.

The moment when politicization takes place by imposing a civic catalogue of values upon an extra-social clandestine cult, resulting in the usual dynamics of political communication: talkative stupidity, anticipatory “have been right”-dom, “the good” as flexible means of transport for ideological objectives.

Ever wondered why it feels so stupid when a band sings about killing everyone on earth but distances themselves from any connection to disliking particular minorities? Because they obey what offended guardians of morality endorse as socially acceptable behaviour according to non-underground norms and rules. Now we have all these statements popping up about how “non-political” a band defines itself, because these bands somehow feel the need to willingly obey a system of contemporary social values to them, ironically politicize themselves in the process.

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Let me get back to Thorybos and the re-awakening of the band from hiatus. I’ve read on your homepage that you’ve been away journeying for 1 year through the Mediterranean, Western Asia and the Middle East. That must have been a profound experience in every aspect. Could you share what led you to go on this quest and what have you returned with?

Technically it was pretty much this. Pack your stuff, breaking bonds with a vast part of your social life and rules, and go. Not keen on de-romanticizing this image but of course there’s more connected with it. Somehow people decided that my preceding PhD work was awesome enough to give money to me to do that, so this was a scholarship to educate myself, in the sense of the 18th century grand tour, not some work-and-travel hippie shit.

Not a ton of money – I slept in the tiny car, washed myself in rivers and lakes, shat into the forest. But all these restrictions were worth it mostly because of two reasons: First, this feeling of total freedom with no other bureaucracy, routines, obligations and duties than your own motivation and self-inflicted agenda, no contact to people for several days sometimes except the words written in the books that (grown-up people’s fun) accompany your journey, like wandering bucolic Arcadia guided by Pausanias’ Periegesis or travelling the Caucasus with Alexandre Dumas (the Gate of Derbent in the Gelati monastery in Georgia isn’t that big actually).

Solitude and meditation, all this for more than just some spare vacation days, and it’s really a huge difference to any casual tourist mode of journeying. Second, personally connecting to and experiencing the fundamentals of our past and cultural identity manifested in material culture and sensescapes, many times especially those abandoned non-touristy ruins. There’s no alternative to personal experience in order to grasp the aura, the rhythm, the affective and emotional Wirkmacht, the whole sensory and environmental perception of spaces and places, in the sense of Yi-Fu Tuan or phenomenological approaches like Gernot Böhme’s concept of atmospheres.

And apart of this, ruins arouse me to an almost x-rated extent – they represent the great struggle of the will and creativity of the human mind and the necessities of nature, its claws spanning all the most distant aspects of existence, the judgement, the degenerated balance of the sculpting ascending soul, the descending gravity & the passively resistant matter. The natural vengeance of cosmic tragedy, when structures, raped for the visibility of the idea, return to the autonomous principles of their powers by a primal, world-penetrating hostility, becoming a natural product again, of very own meaningful distinctive and aesthetic unity, apart of human practicality.

In a way, Black and Death Metal are the ruins of music. While a creative human musical craft is necessary, its true value stems from the irrational subconscious, omnipotent powers of undefined darkness that tenaciously lay its filth upon the notes, the words, giving (back) to everything its true natural sense. It’s the insubstantial smoke, the essence, the flame of which we all only create new shadows.

Returning to your question, I came back with a lot of inspiration for lyrics or lyrics written on site directly capturing certain atmospheres, with serious depressions evoked by returning to normal social life, and with the certainty that a car breakdown in Northern Mesopotamia is a good way to become acquainted with a refugee camp next to the Syrian border.

In our communication prior to this discussion, you mentioned that Thorybos is on the verge of releasing a mini album titled “The Foul and the Flagrant”. Can you share more details as to which label will handle the production & distribution as well as when to expect it? Additionally, can you briefly comment on the specifics about the new album?

The Foul and the Flagrant” will be a mini album with a duration of about 20 minutes. It’s our most relentless, aggressive and barbaric material so far, but don’t regard this in the typical narrative of bands promoting their new recordings, and not as future perspective for all of our stuff to come – rather think of what “Apokalypse” was for Abigor in 1997.

It kind of happened, and feels strong the way it came to fruition. The initial release will be as MCD via Bleak Bone Mortualia and CassEP via Darkness Attack Records. And yes, the title is a play on Alain Corbin’s fundamental study on the cultural history of sensory perception, “Le Miasme et la Jonquille” (“The Foul and the Fragrant”). Reading the lyrics I kind of felt that it is suitable to reflect its synaesthetic approach that aims beyond visual and audial perception.

Allow me to step outside metal itself and talk about social media. There is a deliberate intention to stay away from social media platforms and the higher ranks in search engines. What drove you to choosing an incognito presence rather than being everywhere like most musicians strive to be?

Naturally any metal band will state that they don’t do it “for the money” but “for the fans” or “for themselves” which basically is just rhetorics for the same prostitution. Not prostitution for money, but prostitution for fame and recognition. Bands striving for status and recognition, for exposure and prestigious gigs, or (even worse) just any gig possible, for being labelled as “cool” by sporting fancy pictures of pretty Metal aesthetics, bombarding the net with contents to “share”, selfishly contribute to the social exposure and acceptance of something that is meant to stay underground, out of the public scope.

They’re not even aware of their unhealthy behaviour as they want to operate “within the scene” and simply apply what they think is natural for a music scene, for the sake of a worthless appreciation in fringe group identity. But the point is that the underground is not intended to operate by the paradigms of a music scene. They perpetuate a certain image and manipulate it corresponding to certain expectations, in order to gain most possible acceptance and recognition.

This is not how communication and interaction works for us. In the end, we also prostitute, we’re temple whores for the cult. We codify our symbols and operate within a horizon according to the cult, thus appealing to the ones acting within in the same system, to the recipients that understand the repertoire and the underlying meanings, to the ones that share the same bonds to the dark irrational.

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There is an evident obsession with data in terms of all metrics that social media has been built upon. Studies describe extreme cases like a severe dopamine addiction where individuals rebuild their daily life in a way to get instant gratification (e.g. likes, shares and comments). Thus, becoming their horizon in life, in a sense. Would you agree that this is a form of social reprogramming? Adding to that, would you dare predict where this will lead people to?

I don’t know. That Black Mirror episode might give a clue. I’m really not educated enough on this to express any qualified opinion. Pretty sure some handle its potentials properly and enrich their lives in terms of interconnection, communication and informational exchange, while others fall prey to the dangers of social alienation, conditioning and reprogramming. I’m not able to condemn or praise it as a whole, or recommend any manner of dealing with the phenomenon at hand, hence I’m not objecting the existence of social media in total, but its utilization within Black Metal.

Speaking of researching the metal underground, would you agree that looking up bands and albums on your own is a healthy habit? I mean, having all of the multimedia outlets out there at disposal, people have become accustomed to being forcefed with whatever they are given. That in return leading to nothing but stagnation that kills the explorer within. In my point of view, the less one inquiries, the more susceptible he is to manipulation. Including musical taste. What’s your take on this?

I certainly agree to what I think is your point. Being entitled and capable of critical thinking and reason is a human privilege that is ought to be embraced but too often neglected. One problem regarding the issue of information and metal bands and albums is the plentitude and accessibility, with just too much information being promoted that simply does not fulfill any purpose.

Another unhealthy habit is the tendency to idealize the scene’s protagonists. To worship the priests instead of the cult. To stylize individual characters to role models even in the underground lightheartedly choreographs a certain mimesis in which things are deemed right and desirable that others do and aspire, without questioning the values and dispositions behind. These kind of dynamics should stay in the world of stars and glamour, and their ordinary daily practitioners who in the end are destined to experience themselves as losers.

When it comes to your legacy with Thorybos, can you share what’s the ultimate motivation behind all of your works so far. As far as I can see and I really respect you for that, is the fact that you are not looking for approval, sales and acceptance from anybody. Obviously, you seek no popularity and fame. You are doing your thing regardless of what’s going on and most importantly on your own terms. Still, could you share what growing along with Thorybos gives you in return? What is it that you aim for with the band?

The irrevocable factum of everyone’s individual end and the consciousness of death give sense to cultural actions. Thus legacy is fundamental. Legacy opens the frameworks of communication and the scopes of action beyond the restricted span of life itself, interconnects ancestors, individuals and descendants to a meaningful totality, in which the finiteness of individual existence transcends to be explored even through extensive periods of time via the medium of cultural memory, connecting those who were, those who are and those who’ll be.

This being said, Thorybos functions as an entity of ritual performance that necessitates individuals as material channels, not a device for their personal gain apart of the performance itself. There’s no aim to achieve beyond the cultic deeds, including their relicts as material manifestations, hence the best case scenario is that our offerings will stay significant and powerful within their intended context.

For me personally, art has always been all about exploration and desire to search for all the riches that in some cases are hidden in plain sight. I’ve noticed, however that people are increasingly losing that trait of being curious and more and more they rely on waiting for somebody else to hand them things over. What are your observations on this and generally how much does curiosity and searching weighs in your opinion?

The value of anything is defined by what you are willing to sacrifice – not necessarily meaning money, but also effort. There is only minimal effort involved if your once hidden precious underground gem is just a few clicks away. Nowadays practices of musical consumption certainly propel an unhealthy de-valuation, furthermore supporting this aforementioned strive for individuality in order to stand out of the masses.

Not only bands, but also releases, their selling point being extraordinary box-sets with myriads of useless gimmicks, satisfying the needs of just these people labelling themselves vinylophile enthusiasts while abusing Black Metal releases for status, for whatever reason filming and sharing “unbox-videos” or similar types of “oh look at what I have”-attentionwhoring.

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With the fall of communicational obstacles due to the advancement of internet technologies, everybody is now entitled to voice his perspective while reaching the masses in an instant. New movements arise, organizations form and everybody pulls the rope towards themselves claiming that they’ve got it right and the others not. What are your thoughts on this so-called “phenomenon” and does it hold any positive features?

This is of course a vastly annoying phenomenon, but I can deal with it as this is the price for free speech that we have to pay. The problem emerges in how we negotiate the outcome of this plenitude of voices. These days diversity, tolerance, open-mindedness and diffusion are held in such high regards that being offended gains an extraordinary amount of power. It’s not the availability of information and opinions that is an issue, but the way in which we deal with it. This, the cultural uprooting of values and the inability of critical thinking easily leads to defencelessness in view of demagogues and manipulation.

Let’s switch back to your expertise in antiquity. As a person who is deeply rooted in historical studies, can you comment on the transparency and corruption surrounding this particular branch of science? In other words, is our progress towards understanding our past adequately presented through all the found evidence? Increasingly, people of scientific backgrounds admit about the possibility of groundbreaking answers, which are extremely well covered up for reasons unknown. What’s your take on this?

Unfortunately the government forbids me to elaborate on this. Just joking. But I’m really tired of bands bragging their “hidden truth” gibberish, sporting uneducated but cool-sounding half-ass phrases to posture up themselves as just the ones strong enough to resist global brainwashing, and all these readers of the YouTube-experts-on-everything-generation jerking off in view of so much deepsight and vision…

In reality, it’s quite the opposite: On behalf of researchers, there’s actually a strong competition in raising (third-party-)funds and publicize transparently your theory, methodology and evidence, and the people who decide and review what is funded and how well reasoned your stuff is are not hidden magnates but fellow colleagues.

Publication of course primarily takes place in articles and monographies whose print run is sometimes lower than your usual metal LP (sic!), hence much remains unnoticed if not passing the filter. And then there are self-proclaimed experts with handpicked and decontextualized information sounding just scientific enough to convince whoever is too lazy to really (!) swim against the tide, not by swimming with another tide, but by pointing his head towards the source.

However, I do agree that there is some sort of “corruption” but of different kind as your questions might suggest. Everything is perceived through the lense of reception, memorial culture and collective commemoration. No one today can personally deny being a product of his cultural environment, or its preceding past environments as Renaissance, Humanism, Neoclassicism etc. still heavily influence contemporary perception in Western culture, including all its inaccuracies that society and even science still have not managed to overcome.

There are trends, changing perspectives and there is the Zeitgeist that everyone is a part of, also historians, and every good historian will agree. For example, the great Mithradates VI Eupator has become the tragic hero of Mozart’s first opera, a subject for medieval alchemists, Th. Mommsen’s perfect “sultan” as well as an ideological protagonist for Iranian countries against the invasion of a Western civilization, and – in “global” times – a pioneer of multi-ethnic cross-culturalism. It’s not about holding back or covering something but about the perspectives you take and the questions you raise.

Don’t regard it as “the scientists” cooperating with “the controlling powers” on one side and “the people” on the other side, but an interaction, an interplay that everyone takes part in within public discourse about which questions are raised and which angles make it. And actually, a researcher of cultural history is the first person who’s very well aware of the dangers and curses of what we call political correctness, social taboo’s and public opinion – the real fundamental threats that are to be challenged. The greatest mischief and corruption is not a hidden conspiracy but the oh-so-public liberal concept of high-valuing the opinions of groups feeling offended even if contradicting all plausibility and reason.

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Allow me step into the conspiracy area for a while. Some ancient discoveries portray humanity to have had a relation to something far superior for its time. Do you believe that this is highly suggestive of co-existence with an extraterrestrial intelligence that was helping humanity in its first steps to independent growth?

These discoveries are highly suggestive of the imaginative power of modern man to create, find and grab easy explanations on things he does not understand, partly because for some reason he thinks pre-modern civilizations must have been extraordinarily stupid. I’m too much of a scientist to be hooked here, sorry.

In 2017 I visited Göbekli Tepe in Southeast Anatolia close to the Syrian border (one of the most notorious places for conspiracy theorists, I guess), and walking the site on sunset, I had some great long talks with the recent excavators who politely dismantled just about anything of the garbage wackos like A. Collins write. I’d be highly enthusiastic about any certain proof of extraterrestrial contacts in the past, but so far not managed to spot one.

Some people love to promote the image of arrogant and blind researchers not opening their eyes for new ideas and greater knowledge questioning established theories, and these people do so in order to advance their own interpretations. In fact, the scientific standpoint is that we know nothing, have to be sceptical about anything and question everything.

This includes questioning one’s own ideas as well as questioning alternative speculations that so far must remain just this: speculations with highly questionable plausibility. The problem is that people think in terms of “truths”: the conventional established truth vs. the alternative truth that people embrace because they love to reject mass-thinking. But the thinking of historical research does not operate with truths but with regularly contested plaubilities that are constantly subject to negotiations.

However, I do believe that pre-modern people did have a closer and far more intimate relationship to something superior to man than we do, this superior something being nature, spirituality and cultural identity.

Before I hand you over my last question, can you share if you have planned any live performances for 2019?

There are no concerts planned for 2019 yet. However, we do plan to play gigs selectively sooner or later.

Thank you for the time spent with SBM. I hope this interview was not exhausting. Please, feel free to wrap this up the way you want.

Not exhausting at all (maybe for the reader though), but refreshingly individual non-boring questions. Thanks for your energy put into this.

Unleash the fire.

Visit Thoryboshomepage for more information.  | Order physical material at Bleak Bone Mortualia.