The Magus interview
Once again we have the pleasure of hosting on TrueMetal one of the keystones of Hellenic black metal: The Magus, now fully devoted to his latest creation, which offers fans a second proof capable of illuminating the mind through darkness — and that is no oxymoron. The initiatory path of this multifaceted artist began in the Greek underground of the late 1980s, a crucible where boundless creativity boiled over and whose mephitic trace can still be sensed today, in an era that seems to have lost the meaning of the word “originality.” Consider yourself fortunate to still be intoxicated by these black exhalations…
So, dear Magus — what can we expect from your new opus Daemonosophia? I can definitely hear a more aggressive, in-your-face approach compared with the debut — was that intentional?
Indeed the album in general is more aggressive. More violent but in the same time more compact, complex and diverse. The melodies, the riffs, the harmonies have been all blend together in unison, exposing the many face of the album but keeping darkness as a common factor.
Lucifer is the central figure in your lyrical work; can you tell us more about the overall concept behind the lyrics of Daemonosophia?
Lucifer/Samael is the central figure representing Will holding a key. To the left with the chalice and book is Tiamat/ Leviathan, the primordial dragons of the Depth representing Wisdom. To the right is Satan/Belial holding a sword and a branch representing Action. It is triangle where Will motivates and unlocks everything. Daemonosphia is the quest of knowledge and transformation though the Infernal and NOT the Divine. The Infernal is genuine and closer to the human psyche.
Can you share your thoughts on the remarkable artwork by Mexican artist Néstor Ávalos? What was it like working with him?
We spent a lot of weeks of back and forth with Néstor. He is a remarkable artist and a disciple of the occult world himself. What I asked for was out of his usual style but he came through magnificently! It is based on the idea of the Byzantine triptychon, but instead of saints the figures are daemonic entities.
What was it like working at Pentagram Studio with George Emmanuel, and what can you tell us about the album’s production process?
George is like the 4th member of the band. He is our producer not just our sound engineer. During recording and mixing we discuss about changes, parts, melodies, riffs and everything about how to do something sound great but keeping the identity and the character of the original idea. This is very rare and we are lucky to have him. This time the mixing lasted a few weeks more due to the complexity of the music and the sharpness of the sound we were looking for. We worked on it night after night after night… Until we reached this grand result.
Can you describe the genesis and the evolution of a Magus’ song? Do you record a complete demo that you share with the other members of the band or do you work in a different way?
I record ideas. Riffs and melodies of a song. Then I send them to our guitar player, EL, who forms it into an initial demo. Then back and forth between us until we reach a satisfactory state. The first thing we record is the drums. After this we talk again the song and do a few changes and adjustments. Finally we decide on the sound of the keyboards and the parts they will play. Then again we do an overall isnpection on the whole song for fine tunning. Record guitars and bass and last byt not least the vocals.
What was it like working with Aris Shock on Necromantia’s biographical book, and what do you miss most about those pioneering days?
Aris is a great writer. He has a vision and transmits it back to you until it becomes a reality. He is very organized and knowledgable. What do I miss from the early ’90s? Maybe the purity and honesty… And the feeling of sailing in uncharted waters during music making. Now we have the knowledge and musical ability to write almost any kind of music we desire.
What is your opinion about the current situation with hellenic black metal?
It is getting bigger and stronger. The most important thing is that our scene keeps it’s uniquness and it’s originality. Like in the old days… Greek bands were always trying to find their own sound instead of copying.
Would you like to share any of your recent experiences in the field of historical fencing?
Nah, we are just some people who hit other people with sword! Lol. Historical Fencing is great because except the love of swords and the chance to use them in a safe enviroment it connect you with history and culture!
What final message or greeting would you like to send to your Italian fans — and do you have an invitation for them to buy a copy of Daemonosophia?
If they wish to dive in the world of Daemonic wisdom and be reborn then get the album. By the way there is a relatively new Italian band that I personally love: PONTE DEL DIABOLO. Amazing band, great artists! Support them too!
