DO WHAT THOU WILT – IN LEAGUE WITH THE AXIS…

Imagine the near-tangible dissonance from a nuclear-fuelled combine harvester fed with aluminium chips, a 666-unit Luftwaffe blitzkrieg plus a few dozen frenzied extreme-metal riffs secreting from a moribund Marshall speaker. Just laughable, innit? True aesthetes, of course, all know that sonic chaos is most destructive to the human ear when intermixed with just a hint of structural logic and coherence – however twisted and malignant it be. Propagators of the savage art since 1998, Axis Of Advance have recently issued their third collection of chaos-spun mantras entitled Obey via the ever-defiant Osmose Productions. Oblivious to the threat of contracting tinnitus and other such ear disorders, Evilution Magazine emailed a bunch of questions to vocalist/guitarist Wör; a man who know the virtues of laconism and most likely brandishes a pocket-size replica of the famous Occam’s razor.

# Congratulations on Axis Of Advance’s five-year recording anniversary! How much has the band in retrospect accomplished of what it initially set out to do?

“Thank you. We’ve had a blast doing this band, and over the years it is becoming better and better. All we set out to do initially was to get some exposure for our style of metal, play some cult shows, and write the kind of shit that we would like to hear. That’s it. Now, since we’ve progressed and carefully cultivated our sound, we see no end to the grim brutality of this form of music.”

# Could you briefly present the fundamental idea behind the ‘Tricategorius Concept’ for us mortal souls, and explain in layman terms the ultimate objective with the ‘Obey Doctrine’?

“The Tricategorius is merely a tool used by the mech expansion apparatus to motivate deficient workers within the human contingent. The ‘Doctrine’ is the law of the machine. It is policy.”

# How does the album artwork connect to these two central concepts, as well as the overall lyrical content on Obey?

“The artwork is critical. It gives the listener a vision into the madness of setting, tone, exposition, dénouement and climax while the music marches on. It is expressly designed to be a unique experience of endarkenment.”

# What immediately strikes me when I compare Obey to your previous album The List is the production, which feels more compact but in no way less natural and dynamic. How was it to work with Henrik Larsson at Berno Studios?

“Henrik would move a microphone 2 mm or push a button here or there. We had our sound instantly. I would work with him again in a heartbeat. Easy-going and super-professional.”

# The drum recordings for Obey were done by J. Read from Revenge, who has practically collaborated with the band since day one. Is he in effect a sort of third member of the band?

“J. Read is a session member only. However, when it comes down to learning the songs, he puts his own input and he is a tirelessly inventive warrior. We have no plans to replace him.”

# To what extent can Axis Of Advance be seen as a logical consequence and progression of Sacramentary Abolishment? Also, has the band been able to fulfil certain musical and conceptual aspirations as Axis Of Advance, which would otherwise not have been possible to carry out in this earlier constellation?

“Axis Of Advance is the band that Sacramentary Abolishment should have been. S.A. was very limited by what it could do for many reasons, which was mostly due to personnel complications. In Axis Of Advance we have no problems of the sort, and are thus able to do whatever we want. It is a position we will never take for granted, though, because we know how fragile the inner core of a band can be.”

# Axis Of Advance have collaborated with several different record labels throughout the years, e.g.

Osmose, Death To Mankind, Demonion and Catharsis. What impact has this had on the exposure of the music, and what has it meant for the band members on a professional as well as personal level?

“It brings more pressure. This is a good thing to us. We work better under stress when it comes to writing and collaborating ideas. We have to work harder and better and find new ways to get things done. However, with larger labels come larger touring and recording budgets, making these two elements infinitely easier and more relaxed, aiding our designs!”

# The following piece of text is taken from the Osmose Productions website: ‘Axis Of Advance should in no way be affiliated with any political movement. Axis Of Advance is not a political band, and those who think such things are gravely mistaken. Axis Of Advance hails metal exclusively. All other rumours and shit-talkers can and will cease. Vermin – A.O.A.’

Obviously, this message must be directed towards people, who are liable to find certain aspects of the lyrics and artwork represented by the band controversial and/or offensive. Was there any specific incident that prompted the band to make this statement?

“We got tired of bleeding hearts whining that we were some White Power conspiracy. We are now known as a black metal power conspiracy. Or maybe a black metal – doom – grim – hate – power conspiracy...?”

# The ‘patented’ Axis Of Advance sound is, to my ears, an extreme combination of equally strong elements from thrash and black metal with a touch or two of death metal. Would you care to comment on that observation, and perhaps enlighten us on some of the main musical influences behind the band?

“This is the only way we do it. It sounds like what we want to listen to. Some call it original and unique; others say it’s a bastardisation of styles. We don’t care. As long as we like it, we’ll release it.”

# Axis Of Advance have previously covered songs by Deathstrike (“Pay to Die”) and Sacrifice (“Re-Animation”). What motivated the band to record their own renditions of these songs, and what impact have bands like Deathstrike and Sacrifice had on the musical direction and identity of Axis Of Advance?

“Those songs are some of the first things we got into. It’s a homage.”

# The lyrics and artwork of the band reflect a certain fascination with the history of war and various warlike themes. Furthermore, I read an interview with Vermin in which he characterised himself as a soldier expressing himself through music and literature.

Finally, the band have contributed to a vinyl release on a Danish label which was intended to be ‘a tribute to war’. To what extent is Axis Of Advance an artistic mouthpiece for militant sentiments and viewpoints?

“If we are a mouthpiece, then it is not pro-war. It is pro-awareness. Keep your eyes and ears open because you are being lied to everyday by the power elite. Watch your back; because I’ll be too busy watching mine. Talk about it, but not too loudly. They are listening. Courage and alertness are all that can prevail now.”

# Is it possible to separate music from lyrics, concept and ideology, or are all these elements essential for the listener to achieve the full artistic impact of the band?

“They are forever entwined, leading into the very pits of hell.”

# On this final note: what will the nearest future bring for Axis Of Advance?

“Our spearheads are within range of targets in Western North America, and are looking into expanding the campaign to the European theatre by early 2005. We hope to see the hordes on tour soon, so keep your heads up! Hail The End!”

Conducted and written by Misereion.