SERPENT NOIR (EN)

Being myself devoted to the hidden arts, and more specially to certain doctrines encapsulated into the Left Hand Path, it’s a pleasure to run into bands as the Greek one SERPENT NOIR, that go further beyond what is plain music, creating with it an offering, a vessel, turning their albums into rituals, into channels or portals, making their songs become hymns, chants, and turning their listeners into adepts, congregating them in a ceremony where, in this occasion, with their newest «Erotomysticism», the focus is eroticism, with the roar of the Dragon and the wiggle of the Serpent always present, explored from the perspective of different doctrines within the Nightside Traditions. With it SERPENT NOIR have left us one of the best albums of the year so, months after its release, we couldn’t miss the chance of having an interesting chat with Yiannis, leader and composer of the band.

– Hello, thanks for taking the time. How is everything going right now with SERPENT NOIR? What is keeping you busy at the moment?
Yiannis K.: Everything goes perfectly well. We are currently putting things together for the composition of the new Serpent Noir full length. It is going to be a rather slow process. The time has come for the most fierce side of Serpent Noir to reach the surface.  The new album will be mainly based on a revolutionary book of Dark Magic, being currently written by a Frater of mine from the Order of Dragon Rouge.  I think that this book will be a milestone of the literature in regard. I’m also focused on a new project of mine, which is soon to emerge.

 
– First off, how did you come up with the band’s name? It really represents the band, making referencia to Draconian traditions, but why in French? Maybe as a reference to the Dragon Rouge? Which by the way one of its 6 cults in Europe is in your country, Greece.
Y: I initially came up with the name Dragon Noir  but at the time an old soror and friend of mine suggested the name Serpent Noir. Considering that both names have the exact same meaning (the black Dragon or Shadow Kundalini), I decided to go with Serpent Noir because it sounded more artistic. It is in French because it works as a reference to the old grimoires »Le Dragon Rouge» or »Le veritable Dragon Noir». Indeed, the Order of Dragon Rouge is officially established in Greece through the channeling and work of Lodge Typhon.

 
– Earlier this year you released your latest opus to date, «Erotomysticism». Now that that you can look at it with some perspective, what are your feelings on it?
Y: An honest record , a sonic grimoire for the mysteries of Luciferian Magic and the outcome of initiatory advancement through the work within Dragon Rouge. »Erotomysticism» has deep Magical potential and it will give to the patient listener the chance to take a trip to unexplored and unknown worlds. Other than that , I would say that I can hardly remember any moment of composing it, like the process in its whole was merely a fusy dream.

– «Erotomysticism» is a quite wide title, that can make reference to different doctrines, such as sex magic, the Qliphoth, Kundalini… How do you explore this theme throughout the songs on the album?
Each song deals with a different theme of the Draconian Tradition and initiatory corresponds to different levels of Erotomysticism. We take it way deeper than just writing about things one would find in related books of Magic and Occultism. Just to mention and reveal a few details: »The veritable Red Dragon», deals with the power and the channeling of World Kundalini, expressed through a concentrating- collective power in the form of an Egregore. It subtly reveals secrets about what a powerful group of adepts can do by consciously directing the power by magical means. »Ayin», deals with mysteries of Higher (or Lower) Qliphotic Magic. »The initiatrice of A’arab Zaraq», being an actual Sex Magical and Luciferian ritual. »The Dioscuri of Darkness», refers to the Mysteries of the lowest Qlipha on the tree of Death, Thaumiel. »Mephistophelian Pacts», being a real apocalyptic experience related to Goetic Magic and the life pact with the vast Dark Forces.

 
– You explore it from the perspective of the Left Hand Path and Nightside traditions with a special focus on Draconian traditions.  Are these the currents you have worked most with?
Indeed , all our works are focused on the Nightside Tradition and the Draconian Current as it is channeled by the Dragon Rouge. it is the only current I have worked and I will be working with in this life and beyond. For me, It is the Current that shows the only way to one’s personal truth in the existential Initiatory circle.

 
– Anyway the author of most of the lyrics on the album is the author and founder of Dragon Rouge Thomas Karlsson. How did this cooperation arise?
Y: Thomas Karlsson is a magical brother of mine and we get to know each other for many years.  His works as an author are phenomenal and I would like to encourage anyone with a deep interest in Magic , Esotericism and the Nightside Tradition to dig in his books: the classic Qabalah Qliphoth and Goetic Magic, Uthark: the Nightside of the Runes and -a personal favourite- Amongst Mystics and Magicians in Stockholm- naming those titles which are currently translated in English language. The cooperation was a fulfillment of old esoteric deeds and occured very naturally. It is noticable to say that apart from writing most of the lyrics he has also done the vocals on the song »Desert of Azazel». His performance is outstanding. By founding Dragon Rouge, showed a unique way towards the existential pursuit. This is one of the reasons the song »The veritable Red Dragon » is dedicated to him and his Draconian Heritage. As you can also read in the menifesto of the album, inside the booklet: Erotomysticism is the outcome of a Draconian collaboration coming from the deepest core of Ordo Draconis et Atri Adamantis…

 
– The cover artwork is storngly linked to the overall theme/concept on the album. Would you mind to elaborate a little bit on its significance as well as the artist who worked on it?
Y: The cover artwork is done by Timo Ketola  (who also did the front cover of our first full length album, »Seeing through the Shadow Consciousness: Open up the Shells»). I gave him some details and guidelines concerning the record and he came up with this maginificent piece: The Sphynx depicted on the front cover is a symbol of the mysteries of Existence, Eroticism and the latent powers of Man. It is also the Gate to the great Unknown. Around the belly area of the Sphynx, one can see the symbol of planet Venus. Black Venus or Venus Illegitima corresponds to the dark side of sexual power libido (with libido being the outer form of Kundalini energy or the Dragon power) and the Luciferian Mysteries. According to the Qliphotic Initiation, it is the sphere of A’arab Zaraq – the dark side of feelings. At this crucial point of Initiation, the adept goes through the nightmarish experience of a metaphysical death, dissoving all old ideas and concepts, entering the small Abyss to born anew at a later point. Finally, the abyssic sea- the great Old Sea is a symbol of the great universal Unconscious.

 
– In fact I feel like you face your art as a whole thing, enclosing music, lyrics and artwok. So why did you choose the artists involved in «Erotomysticism»? And what is your music for you?
Y: None of the artists involved in the record were chosen randomly. Timo Ketola is a well known top artist. We were very satisfied with his work on our previous full length album . He understands exactly what we need, thus the cooperation re-occured. Regarding the in-lay art and lay out, we cooperated with Michael Idehall, a new multi artist with many fresh ideas, who is a true Symbolist. He is also a Frater of mine from the Order of Dragon Rouge and those interested in his work should check the publishing house Belzebez.

 
– Musically you have evolved a lot since your previous full-length, «Seeing Through the Shadow Consciousness (Open Up the Shells)» came out, know with a more unique and focused sound. I guess a first album might be more like a learning experience, and the sophomore a more steady step into your actual musical personality…
Y: This is not the case with Serpent Noir, it might indeed sound like an evolvement of our sound but we just express ourselves depending on what we want to approach and what we want to deliver . Something different should be expected from the upcoming Serpent Noir album. We are about to take another direction, a more fierce one.

 
– In fact the album itself, also aesthetically/sound-wise is really erotic, like it ozees or rises from a kind of Kundalini energy.
Y: Exactly, this is what we did and what we wanted to deliver. I’m glad you have taken notice of it.

 
– Talking about such, all your albums have a specifical overall theme. Are they easy to transmit those ideas with your sounds?
Y: I have had previous experience by playing in other bands before the formation of Serpent Noir,  but delivering artistically Magical Inspiration is a completely different thing. It took some time before I feel I am able to deliver all it is needed through musical composition. At first, it is like finding a gate one has to unlock. Once the gate is unlocked an ongoing openning takes place. When the gate is fully opened a current of inspiration rushes like a wild beast. When you can no longer distinguish between a Dragon Release and inspiration/ creation through the Visio, Vires, Actio motto , you have assured you have reached the right point where you become a mere vessel through which the channeling begins.

 
– Greece itself is a really rich land in mysteries, history and myths. How much of an influence is your land for your lyrics and music?
Υ: I’m directly influenced in some cases and indirectly in some others.  Maybe there will be a direct reference to the mysteries of ancient Hellenic Dark Cults  in future releases.

 
– Music-wise it also has a really poewrful extreme scene, I think characterized by giving birth some of the rawest and darkest acts. Do you feel like part of that scene? Is there actually a sense of «scene» or «brotherhood» among Greek Metal bands?
Y: No, I don’t feel like we are a part of any scene. Many great bands have emerged and keep emerging from Greece from late 80’s to this day, especially in the extreme dark sound. We are in contact with a few individuals and friends from other bands and we have a good typical relationship with some others. Nothing else beyond that.

 
– Going back to «Erotomysticism», I believe here you are experimenting more with sound effects. Did you set to somehow have no boundaries or do you use to compose on a more spontaneous way?
Y: Yes, we did experimented a lot with the sound effects for »Erotomysticism». The material and deliverance of certain feelings demanded we would do so. By doing that, we were able -among other things- to deliver this »under the surface of the sea»  like feeling and a strong  Sex Dark Magical (see LHP Tantrism) touch.  What is more, it is the causation of the sensation of an old unidentified memory.  There are no boundaries when composing music for Serpent Noir, as boundless is the highest speech of the Dragon that takes the lead when I am composing music.

 
– For instance guitars have a lot of melodies, there’s even really catchy moments. Do you think you achieved with the album what you had envisioned?
Y: We didn’t force anything , all melodies are naturally incepted. I am glad Erotomysticism depicted 100% our vision at the time it was written. But I don’t think we would ever make another record similar to it.

 
– You recorded again at Eleventh Tower Studios. How positive could you say was for the final outcome to work on a known environment?
Y: Both environment and equipment are familiar, plus we are well aware of the steps needed in the creation of a new album. HV, the studio owner, is familiar with Serpent Noir’s sound and we can communicate each other with closed eyes regarding the demands of each record.

 
– All this about «Erotomysticism» being said; how could you describe it in just 3 words?
Y: Left Hand Path.
– Now before we wrap this interview up, and as the end of the year is drawing nearer, I would like you to tell us what have been your 3 favourite albums of the year as well as the worst one.

 
Y: I’m not the most up to date listener, so I will just mention records it happened to listen recently but they were not released in 2015, except one. Better late than never. The best record I came along this year is by far Weapon’s »From the Devil’s Tomb». It is just so good. The way this album produces visions and pictures in my mind is unparalleled. Then I would go with Grafvitnir’s »Semen Serpentis», pitch dark black metal with razor like guitars and overally a very interesting approach in sound. Third choise would be Christofer Johnsson’s »Luciferian Light Orchestra». I’m very very fond of Christofer’s music through his mighty beast Therion (especially the Therion albums released between 1993 to 2000) and LLO’s album brings an old Therion air in the atmosphere. As for the worst, I would rarely listen to something I don’t like, however, it happened to remember the praysing Tool’s »Lateralus» got when it was released (and still gets, I think). It happens to have this record in my collection since it was released and never managed to get into it. This year, I decided to give it one more chance: The result? I cannot listen to it more than 3 minutes- it is just awful for my ears.
– And finally, what are now your near-future plans?

New releases, new material, new projects… And above all, I want to hit the stage and perform live the songs of »Erotomysticism».

– That’s all, thank you once more for answering our questions. If you want to add some final words; feel free to do it.

Thank you for the interesting interview and your interest in Serpent Noir. O.D rises!

Tania Giménez
tania@queensofsteel.com