The new album by Mono Inc. will finally be released on 15 August this year, and there will also be a German/Swiss tour in October/November. I had the chance to do a little interview with Carl Fornia (founding member and guitarist of Mono Inc.). But read for yourself. As always, I hope you like it!

This year Mono Inc. celebrates its 25th anniversary (congratulations from me!), so it's like a silver wedding anniversary with the scene, how are you celebrating?

In our timeline, we only have 2028 to 25 years. For us, the founding date of Mono Inc. is linked to the first album, which was released in 2003.

It's a good thing that time is relative, 22 years is a bronze wedding anniversary, also something nice!

Before Mono Inc. there was Wild Thing and Mono 69, why was Mono Inc. founded?

The band Wild Thing had a short lifespan because the singer at the time left the band after a short time due to a lack of financial success. The 3 remaining band members, Miky Mono, Martin Engler and I, needed some time to reorganise ourselves. We knew that we wanted to continue together and therefore chose Miky as our singer. After the demise of Wild Thing, which was contractually bound to the major record label Virgin (now Universal), we were free to decide what sound we wanted to make. It took us a few months, if not years, to finalize our musical direction. At the time, we were suddenly free to decide what was new and exciting. Looking back, you could say that Mono69 was the trial and error phase before Mono Inc. German, English, electronic, industrial... we were experimenting. Mono Inc. was therefore not ‘founded’ but was more or less a renaming, with the addition that Manuel Antoni completed the line-up at the time.

Mono Inc. is derived from monomania and incorporated, how did this name come about?

Well..., we felt like the corporation of the partially insane. So the path to the band name was a short one.

Is Mono Inc. with Martin, Carl and Katha Mia a family band? Will there be a kind of Kelly Family in the future? So the Englers Family?

Shouldn't a band always function like a family? We've never differentiated between blood relatives and soul mates. Miky, Manu, Val... Like today with Ilja... All family.

I can only agree with you!

Your first six albums were recorded entirely in English. Why? People often think they can express themselves better in their own language.

Head Under Water was the product of what had accumulated during the time before Mono Inc. German was tried out and then discarded. Martin lived and produced in Los Angeles for a relatively long time, which is why he can express himself just as accurately in English as in German. Temple of the Torn and Pain, Love and Poetry paved the way for Voices of Doom, Viva Hades, and After the War. We simply loved dreaming of reaching an international audience. Admittedly, we had hardly any international performances until the release of Children of the Dark, but we didn't want to miss out on the opportunity. At the time, we also felt that music was being neglected with songs written in German because people pay so much attention to the lyrics and not to the sound, production, and musicality. However, that's still the case today, which is why we only occasionally record and intersperse German songs.

Your album "Darkness" is coming out in August. What can we look forward to? What are your expectations?

"Darkness" is a very personal album – in our opinion – not surprisingly – one of the best we've ever produced. It's diverse, sonically truly the best of all time, thanks in no small part to Ilja's phenomenal bass playing, and some songs have hit potential. Let's see if the fans (will) see it that way. Our expectations? We don't have any expectations (anymore). It's important to us that we like it, so we can look ourselves in the mirror and have fun with the songs on stage. From experience, however, our taste is pretty close to that of our fans.

Mono Inc. is from Hamburg, or rather, was founded there. Hamburg connects many musicians from the scene (Witt, Lord of the Lost, etc.). What makes this city so attractive?

In addition to its beautiful cityscape, the city of Hamburg has always been known for its vibrant music scene. Before reunification, numerous major labels were located here, thanks to the diverse live and club scene. Hamburg remains a hotspot for international artists (probably because the Beatles helped spread the word).

Mono Inc. has collaborated with many artists (music and concerts). Do you have a favorite, and is there anyone you'd like to collaborate with?

That's a good question! Currently, nothing is planned, and nothing is hoped for. Martin always wanted to do something with Anna R, but unfortunately, that won't happen anymore.

With "Children of the Dark" and the collaboration with Joachim, Chris, and Tilo, you've created a true anthem for the scene. How did this song, or rather, this collaboration, come about?

The chorus of the song is, as you know, "We are the children of the dark." Martin was at the microphone and, after recording the demos, said something like, "It feels weird singing about us when I'm alone in the vocal booth." Since we were doing a lot together with Joachim at the time, it made sense to ask the grand senior. Tilo was important to us because, in our opinion, he had a massive impact on the black scene. And lo and behold, he agreed without hesitation, which was a very positive surprise for us. And Chris has been close with us ever since Lord of the Lost supported us on our Viva Hades tour.

There has been and always has been criticism or ridicule from the scene (about this song), even though it's arguably your most successful song. How do you deal with it?

I've honestly never noticed such criticism. We feel great humility and happiness at the thought that it's our "only" global hit.

In 2020, you covered Lacrimosa's "Lichtgestalt" in English with "Shining Light." Why this song, and how was the collaboration with Tilo in particular?

Yes, "Shining Light" was a brilliant moment in my opinion. Tilo was as uncomplicated as he was with COTD. He finished his vocal tracks in no time. And we even released a video for the song.

Do you have a nice anecdote from the scene?

Hmm, that's not so easy to answer. After more than 20 years, the anecdotes pile up. Many of them have already been told, some of them don't belong in the public eye. Let me put it this way: The Count is back, and his manager at the time, when we were touring with Unheilig in 2010, said that my band would definitely become a big hit. He was partly right, because there's still room for improvement. 😊

Do you have anything else you want to say or confess?

Well, definitely not confess. We are open and transparent. Maybe it falls into a different category, but when I used my badminton racket as a guitar in front of the mirror in my childhood bedroom, I had a 100% different image of a "rock star" than I experience today in everyday life (if you can call it that).

Thank you very much!

Home - MONO INC.
MONO INC. Shop official - cooles Merch!
Mono Inc. | Spotify

Some time ago I had the opportunity to conduct a very interesting interview with Hannes and Thomas from Kartagon. I hope you like this interview.

We know you from the cult band Panic on the Titanic, which existed from 1990 until shortly before the millennium, what made you start making music?

Thank you for the cult band status! We've been making music since we were teenagers. Hannes had vocal training in the choir and piano lessons as a child. Thomas had instrumental lessons on the organ and could even play the bass with his feet :-) (Note from Michael: We'd certainly like to see that!)

Why the name Panic on the Titanic and what was the iceberg that caused this project to sink?

The band developed from a school band and became more and more serious over the years, gradually moving in the direction of darkwave/EBM/gothic. The name was originally created for fun. But after our first concert at a school party, we felt that we couldn't change it because of our “name recognition” - and so it stayed! This was followed by the first tapes, positive reviews, newspaper articles, a record deal and finally the first CD album, although the name always stuck.

Towards the end of the 90s, however, the project gradually petered out. For various reasons, the band had already been reduced to a duo in the mid-90s, consisting of Thomas and singer Simon. Although an album was still produced and released, the production conditions were extremely difficult and the collaboration between the two became increasingly complicated.

In 2001 you founded Kartagon, how did that come about?

Around the year 2000, Thomas was working in the studio on new demos that were no longer intended for POTT. When we talked about it, Hannes quickly came up with vocal ideas. After the vocal demos were finished and approved, it was clear to both of us that this had to be a new project, and so Kartagon was founded. We deliberately wanted to make a fresh start, press the reset button and leave the “Panic sound” of the 90s behind us. Our many years of working together have always encouraged us to evolve and take on new creative impulses. Kartagon was a perfect example of this willingness to experiment and our drive to go in a new direction. We were then able to successfully partner with the label “Strange Ways” from Hamburg, who released Kartagon's debut album.

How do you describe your music (for those who don't know you yet)?

When we are asked by people who are not familiar with the music genres or especially the wave/gothic scene, I describe it as dark electro (‘like Depeche Mode - but harder...’). But we also use borrowings from synthpop, EBM, sometimes trance...

You've been making music for at least 35 years (congratulations), how has making music changed?

Yes, that's right - thank you very much! There have always been creative breaks, but music production has changed fundamentally over the years. In the past, you had to rely on expensive studios and special hardware; today, technology allows us to record ideas and produce complete songs with a laptop basically anywhere, even at the kitchen table.

This has also had a significant impact on collaboration. It has become much easier to work remotely with team members or producers and exchange musical ideas. This flexibility of not being tied to a physical location all the time is hugely inspiring and a lot of fun.

In 2010 you played with Lacrimosa at the Eine Nacht im Bergwerk festival, was that your first contact with Lacrimosa or Tilo Wolff?

Ah, no. We've known Tilo since the early 90s and our paths have crossed again and again, both privately and musically. If I remember correctly, we first got to know each other at wave/gothic parties in Basel. We recorded our first two POTT albums in the same studio as him and also met there in the studio. We know and appreciate each other very much, both privately and artistically, which is how the collaboration for the Snakeskin album ‘Medusa’ came about.

In 2013 there was a collaboration with Tilo on the album "In the Clinic", how did that come about and why was it the song Messiah?

For our second Kartagon album, we had decided to consciously enter into collaborations with other singers. That's how the tracks with the Swiss singer Nubya and Tilo came about. Especially for the song “Messiah”, which is so wonderfully epic, we were convinced that Tilo's unmistakable voice and vocal style would fit perfectly. We sent him a demo version of the song and he was immediately enthusiastic and agreed.
We could never have imagined in our wildest dreams that we would actually be able to play this song live with him in front of a large audience. But that's exactly what happened on our tour in Mexico - an absolute highlight and an incredibly fulfilling experience.

In 2015 you were on tour with Lacrimosa in Mexico, how was that experience for you? Were you able to absorb something of the culture and the people?

When I think back, I get goosebumps again. It was so exciting and great. The Lacrimosa fans welcomed us extremely positively with open arms and joy, so that we are still grateful to this day that we were allowed to be the support act there. This is often not a matter of course on such tours and it also takes some courage on the part of the management and organizers to allow a non-established support band to perform. We were all the more grateful for the fans who cheered us on during the concerts. We usually know Mexico from holidays. The friendliness, open-mindedness and enthusiasm of the people for the music and the concerts still inspire us today. It would be a great wish of ours to be able to perform in Mexico again.

In 2019, you were back on tour in Mexico, but also in Russia and Germany. How different did you experience the audiences there?

Of course, every country has its own peculiarities, but the Lacrimosa fan community is like a big family, so we always enjoyed the shows. Only the temperature differences between Russia at minus 18 degrees and 36 degrees in Mexico were a bit extreme and a challenge for the vocal chords, for example... I don't know how Tilo manages it so easily, but the problem shouldn't be underestimated.

With Medusa's Spell there was the collaboration with Snakeskin, so you made music together with Tilo (from Lacrimosa) and Tilo (from Snakeskin). Were there any differences when working with these ‘two Tilos’?

Of course the songwriting is completely different and Tilo ‘with sunglasses and a cowboy hat’ has many facets of composing. The Snakeskin sound must be deliberately different from Lacrimosa. This artistic exchange with Tilo was also exciting for us, as was the fact that we approached songs in a completely different way and arranged them differently to what we are used to with Kartagon. It was a great experience, gave us the opportunity to try out new things and of course it was a lot of fun to work with Tilo and produce songs together. It was also exciting as a singer. After all, you grow with every new project.

So far you've ‘only’ released three albums (two studio albums and one live album) (you've been busy with other projects though) can we expect more from you in the near future (I've heard there will be new material in the summer)?

Absolutely! We locked ourselves in the studio for a few weeks at the beginning of the year and recorded some new ideas that we'll be releasing gradually. As we like to bring in an additional opinion, this time we got Vasi Vallis (note Michael: FrozenPlasma/Future Lied to Us/Reaper/NamNamBulu) on board as producer for the new songs. We've also known him for a long time. As we've worked together a few times in the past with mutual remixes, we know exactly how he ‘ticks’. He is able to give the songs the necessary polish and elicit additional facets. The first single ‘Lost In The Fire’ was released on 06.06.2025. More songs will follow shortly. We are very happy about the reactions of the fans!

What can we expect from the new album, why did you take so long to make it?

The last Snakeskin album was released just before the corona lockdown in 2020 and somehow the air was out after that. We were looking forward to the release of Medusa's Spell and a few club gigs, but then everything changed and nothing happened for two years because of Covid. Motivation was at an all-time low. As artists, we need feedback from fans and applause. At some point, however, we picked up making music again and Thomas and I were keen to go back into the studio and produce new songs. Let us surprise you!

Are there any other plans for the future, perhaps a tour?

There are no plans for a tour. We've just been away for too long for that. Of course we are available for individual club gigs. We'll let it come to us. The better the songs are received and the more the organisers hear and read about us, the more likely it is that we'll be on stage again soon.

With so much experience in the music business, you must have a nice anecdote, right?

Apart from the fact that the music business is pretty tough and we've never given up believing in ourselves and having fun on stage, we can't think of any anecdotes at the moment.

You have worked with many musicians, is there anyone you would like to work with?

A studio day with Gesaffelstein or Trent Reznor from Nine Inch Nails would be great cinema.

Anything else you want to get rid of or confess?

Once again, a big thank you to the Lacrimosa fan community for the always great support!

Thank you very much for the interview!

Bandcamp:   https://mykartagon.bandcamp.com
- Kartagon | Spotify


The interview was conducted by Michael. The photos are from Kartagon. 

Capricorn are playing with Lacrimosa in Cuernavaca on Sunday. I had the opportunity to conduct a short interview with the talented Lou Alpizar. You can listen to the new single ‘The Magician’ on Spotify from today!

☞ The Magician - Single by Capricorn | Spotify

Could you briefly introduce yourselves?

My name is Lou Alpizar, i'm a musician from Mexico City and I've been in the industry for almost 20 years. I've worked as a session musician with big names in the industry such as Tim Ripper Owens (Judas Priest), Mike Vescera (Yngwie Malmsteen), Edu Falashi (Angra, Kalmah) and I've had the privilege of playing in a lot of stages and festivals in many cities. Like many of us, music has been my life since I was a little kid but I had to take a break for two years. In that time I started to create Capricorn in my head, and here we are! Welcome to the altar of the demon god! The full band is Gerard Orm (music producer from the death metal band Afterfall), Rod Mata (ex-guitar player from Afterfall), Oscar González (a virtuoso piano player and composer) and Natas Cancioncitas (our drummer who is actually an awesome singer and a pretty famous influencer)

How did the band name ‘Capricorn’ come about?

Well, I think it's a mystic name. In the zodiac, Capricorn is the father of the zodiac associated with authority, responsibility and a father archetype. The tenth sign is also related to Saturn, a planet and a mythological figure also associated with authority, discipline, ambition, hard work and dedication. These qualities are required in the arcane arts to be a complete magician. So, yeah, as you have probably guessed already, I'm a Capricorn! I was involved professionally with a lot of artists in the past and this is the first time I'm doing it on my own and it was pretty obvious for me that this would be the way. Also, this is a ritual to summon the demon god Capricorn, a fierce deity that provides mastery in arts, sciences and any discipline of your choice in exchange for favors. It's a metaphor of self-empowerment and magic through the process of facing and overcoming our own challenges.



What inspires your music?

My own melancholy and depression blended with the attraction I felt since I was really young for occultism, dark arts and faith topics in general. I like to study a lot and read about many religions, I think faith is the most powerful tool in the world and it should be used with responsibility. Not only theistic fate, but also faith in your loved ones, in your own projects, in nature, in principles, etc. So, Capricorn's music is about magic rituals, spells and summoning's as the way of the magician to harness his own internal power, facing his own demons such as suicidal thoughts, loneliness, abandonment, loss and all kinds of trauma. It's important to overcome our fears and become whole as magic wielders.

On the 7th of June you will release your first song ‘The Magician’ on Spotify, how intense is the anticipation?

This has been a long journey. I'm writing these words the very June 7th and Magician is out in stores now. My phone has been ringing like crazy with heart-warming messages. We made a 3-month campaign to anticipate 'The Magician' and I think we kicked off with the right foot. I feel fortunate and blessed.

This weekend on the 8th of June you will be playing in Cuernavaca for a small band called Lacrimosa, how did that come about?

Well, it was magic! We've been working on Capricorn's "freshman year" since January. My birthday party was on January 2nd so that was the day I told my friends "Hey, I've decided to start this band, who's with me?" and it has only been six months since that day. We operated really fast, maximum effort discipline and hard work and I was anticipating do bigger shows in the final quarter of 2025. But one morning I got a call from our manager at Legendcy agency, asking me if I liked Lacrimosa. I answered with a big YES, I'm a Lacrimosa fan since I was in early high school. And he said: good! 'cause you're invited to play at one of their Lament World Tour mexican shows. I was happiness embodied even though I'm always in a gloomy relaxed mood. I think this is a great opportunity, especially for a band with no songs on streams at the moment. But once again, i feel blessed because these people trusted my work from previous eras and that helped to give a little more power to 'The Magician'. I'm grateful with Legendry and of course, with Lacrimosa!

You gave your live debut 10 weeks ago, how was it and will we be able to see you more often this year?

It was a bumpy but satisfying ride with a happy ending that made me learn that I can do this on my own. Capricorn's debut was in one promo show for the mexican Lacuna Coil's tour dates. It was revealing and challenging because it was my first time frontmanning in 10 years but we had full house and our songs were extremely well received. And yes! We're closing dates with two other well known metal titans from UK and Sweden respectively. I cannot say much more at the moment but in the matter of concerts we have big plans in the country and overseas soon!

What can we expect from your performance on Sunday?

Capricorn is not just a band; it's a portal. Through goth doom metal, immersive soundscapes, arcane symbolism, and musical rituals, we invoke the energy of Saturn to guide those seeking transcendence. Come join us at Teatro Ocampo in Cuernavaca so we can welcome you to the sonic ceremony!

Capricorn is from Mexico City, have you seen Lacrimosa at Circo Volador?

Well, yes of course! I've seen them a couple of times in Mexico City. I attended their 2015, 2017 and 2022 tour dates at Circo Volador but my favorite was way back in 2009. My high school girlfriend was obsessed with the band and I didn't know them that much but she invited me and I was like ok, let's check them out. The outcome was brutal: I fell in love with Lacrimosa since then, I cannot count the times I've listened songs such as Malina or Copycat. Tilo and Anne are geniuses to me and really great people.

What are your next plans or projects?

In short term we have an upcoming videoclip filmed at Somnia Studios in a couple of days. Then, in a few weeks our second single 'Capricorn' will be arriving to the stores, it's my favorite song from this project. And finally the main course: our first album, CEREMONY will be hitting up the stores. All of this is happening in 2025. It has been exhausting but I couldn't be happier about it.

Anything else you'd like to say?

First of all, I want to THANK Lacrimosa.org for this opportunity and for giving voice to newcomers like Capricorn to a great community of music fans around the world. This means a lot to us! And second, we hope you enjoy the show and our first single 'The Magician', available NOW on your favorite streaming platform. Finally, we are really, REALLY excited to play for you tomorrow, we know Lacrimosa fans are an awesome, cool and really loving community and we hope we can live up to it, we're producing this concert with a lot of love and our best hope is for you to have a good time and join us at the summoning ritual for Capricorn! Thanks a lot!

✮ Update Interview ✮ 17/06/2025

It's been some time since the release of "The Magician" and the concert with Lacrimosa. What was the feedback like, both from the release and the concert? What did you take away from these experiences?

I feel blessed, starting a new band from scratch is always a big challenge and that's the main reason we planned the release and sharing stage with Lacrimosa on the same weekend. It helped to boost our music and enhance our plans for the immediate future. Feedback was positive, nonetheless, I also found some areas of opportunity in the technical process. For example, one of the greatest takeaways and learnings was that we need to redesign our room lightning. I need to create bigger atmospheres and we just finished creating some props like totems and smoke for our next rituals. Fortunately, the audience we "borrowed" from Lacrimosa was very receptive to our music and many people approached us outside the venue to chat, take photos and congratulate us for The Magician and the concert. It was unexpected but really awesome.

If you were to play a Lacrimosa song, which one would it be?

Oh, it would be Malina without a doubt. I love Copycat, Der erste Tag and hits like Lichtgestalt or Der Morgen danach, but Malina just takes me into another era of my own life, were young love and dreams were my day to day. Maybe one day I will play a cover of that song, it's a work of art.



What's your opinion on the fact that so much is published online these days, especially on Spotify? Is it a change or should we view it as a negative?

That's a tough question, my friend! On one hand, I think making music was some kind of a luxury for artists in general. Technology made that easier for everyone and I'm glad to live in a world were almost everyone can express themselves and turn their thoughts into music. That thought nurtures and nourishes my soul. On the other hand, this industry is always evolving and new bands come everyday... and they're amazing! So yeah, it's a big change but also a big challenge for artists to make way for their own music and Capricorn is no exception. I've been in the metal scene for 20 years more or less and I've seen bands come and go, including my own past experiences. But to make a clear statement... I don't think we should see music and creative workflows as a negative thing EVER. Spotify has good and bad things but bottom line, it's a platform that help us to make some dreams come true; for example, creating a first release and working it out with a big band like Lacrimosa.

You've played for both bands. Can you compare the fans of Lacuna Coil and Lacrimosa? In Germany, for example, there are many different fan bases. A small example: Gothminister opened for Lacrimosa in Berlin, and most Lacrimosa fans just stood there in silence. I don't think that can happen in Mexico, can it? Are Mexicans or Latin Americans more appreciative of music?

I'm sorry, Michael, I don't think I can make a short answer out of this, but I truly believe Mexico has FIRE. And I don't mean it just like a poetic metaphor, music fans in Mexico have TRUE FIRE running through their veins and I've seen it happen with a lot of bands. With Lacuna Coil's fans we encountered people that was really passionate about Christina Scabbia and the musicians, they go nuts when they hear their songs and they like to dance, sing and even mosh to them. But there's something special in particular about Lacrimosa mexican fans... the thing is I really believe most of then can live or die FOR Lacrimosa. I'm not even kidding, Lacrimosa fans are not afraid to expose their true core to the band. They sing with a piercing passion, it's like their soul is trying to escape their body and reach out to Tilo and Anne. Maybe I'm overreacting but it's almost like they are feeling the pain or the darkness that Lacrimosa is singing about. They also cry and wear proudly their tears, its impressive. In our concert I remember this guy in particular that attended to the theatre dressed up as the harlequin from Lacrimosa's album cover arts and he was in character until the end of the night. I mean, when the show was over, we went back to our hotel rooms just to get ready to celebrate with a few beers and we went back to Cuernavaca's downtown area 'cause we were told there was a cool bar over there... and man, he was still there, taking pictures with more Lacrimosa fans. It did not matter to them that the theatre had been closed for a couple of hours. They were just living the love for their favorite band and that's one of my favorite things in the world. Oh, man... and they have a beautiful community, really faithful to Lacrimosa. So let me tell you a secret, I went for this concert months ago because I thought it was a big challenge, but if my music could be accepted by this community, maybe we would be setting of for a great start. And I have to tell you; the result exceeded my expectations big time. Lacrimosa fans embraced Capricorn, and I will feel honored and grateful for that forever.
As a final thought: Mexico is a warm country not only in weather, I think we love to show the best that this country has to offer and welcome everyone who visits us with arms open. When it comes to our favorite artists, we like to make them feel what we feel: LOVE FOR THEIR MUSIC. And Lacrimosa it's one of the greatest bands in the history of music, they connect with the deep parts of everyone's hearts, and their music touches us. So, let's do the math, and we will know why Mexico loves Lacrimosa with a love made of fire. And Capricorn feels honored to be a little part of their history.



☞ Instagram - Capricorn
The Magician | Capricorn - Bandcamp

It's been a long, long time since I held my first Lacrimosa CDs in my hands. Apart from the music that captivated me, it was also the covers that were extremely fascinating for me.  Each cover tells its own story. And now I was finally able to do an interview with Stelio Diamantopoulos. I hope you like it as much as I do. Have fun reading it!

You are Swiss with Greek roots, does this combination have an influence on your life as an artist?

Yes, certainly. I grew up with these two roots, which are also two different mentalities and ways of life that can sometimes be very, very different. What it has certainly influenced a lot is my view of the world. I don't think in fixed, typical patterns, I always try to be very open. And of course this is also reflected in my work as an artist, as my art is strongly linked to my thinking.

You are not mentioned as part of the (Swiss) dark art scene, but through your collaboration with Tilo you have a good view of this scene, how would you describe it?

I only really got to know this scene in terms of music when I worked with Tilo and Lacrimosa. Of course I knew roughly which bands there were and what the music sounded like and how the people dressed and presented themselves. But I was never part of that scene. I find the scene stylistically very interesting, the style, the mood, the lyrics and so on. 
Perhaps this also ties in with my admiration for dark artists and authors. For example, I used to devour the works of E.A. Poe (smile).
In the visual arts, I admire artists such as Gottfried Helnwein and especially H.R. Giger, with whom I was also friends for many years.



You started with surrealist art, then you "switched" to political pop art, how did this development come about?

Surrealism has always appealed to me. This unbridled imagination and the wonderfully enigmatic works of artists such as Salvador Dali, René Magritte, Max Ernst ...
I also taught myself to paint by looking at my favourite artists, studying their techniques and developing my painting style from there. You should always learn from the best! (smile)
What characterised my work from the very beginning was a critical view of the world, which is sometimes reflected in the provocative subjects in my works. This basic attitude, the critical view and the message in my works run like a red thread through my work. And this is independent of the style.
The development of my current style was fluid and mostly resulted from emotional decisions.
In my head, I have always been very politically minded. If you like, it was a logical development.



Which artists/events have influenced you or continue to influence you?

The aforementioned artists and also the Pop Art artists, such as Andy Warhol, Roy Lichtenstein etc. But I'm also constantly discovering new artists, some of whom can inspire me.
But what actually influences me more than the art of others are world events and films, oh, I love films!

The world events thing can be seen well in your art, I think I've also recognised some Hollywood influences, but which films are they exactly? Do you have any favourite films?

It's not usually specific films that have an influence on my art. It's more the visuals, the mood, Hollywood with its many icons and symbolic references.
Of course I have also incorporated the odd film quote or character. For example, the two girls from Stanley Kubrick's ‘The Shining’ or scenes from ‘Kill Bill’.
Oh, favourite films...! That's difficult because there are so many great films.
I love Kubrick's films, for example. Or for a long time ‘Harold and Maude’ was my absolute favourite.
I also keep seeing new films that captivate me. I also love the old classics, I grew up with them. From ‘Citizan Kane’ to all the films by Alfred Hitchcock, the old series from the 70s to Quentin Tarantino and his masterpieces. There's so much!

Your art has already been admired in many countries, does that make you proud that your art knows no "borders"?

Yes, that makes me proud. Because I also see that my works are understood all over the world or at least find favour. I have always wanted to convey a universal language in my art. 
But there is also a downside. Sometimes I have the feeling that Switzerland, where I live, is simply too small or not open enough for my art. 
In any case, for me as an artist it is a huge compliment that there are people somewhere in the world who admire my work and even buy one or more of my pieces. That's a great compliment every time. But not only that. Because let's be honest. You can't pay the bills at the end of the month on fame and honour alone.

Can you make a living from your art?

It's been up and down. Since the Covid pandemic, it's become more difficult as various galleries I used to work with have been cancelled. But I'm always keeping my feelers open to make new contacts.



I see your art as social/political/religious criticism, but how do you see your art yourself?

Yes, that actually sums it up very well. I always try to deal with themes and subjects that are often controversial or give cause for thought.
There are works that deal with consumer society, or with icons and symbols of history, society and the economy. These works are often ambiguous. I like to play with our usual ways of seeing and perspectives, using metaphors and contrasts.
One way of doing this is to reduce my work to the essentials, which makes the effect
on the viewer all the more powerful. The aesthetics of my works, even with serious or unattractive content, is also an important stylistic device that I use purposefully. The viewer is thus challenged and often finds himself in an inner conflict. Goal achieved! (smile)
            
The big question: what is art?

Ooh, many people have already racked their brains over this. 
Art is the individual expression of each person. The ability to open doors. To create something. To burn for something and also be prepared to suffer. To find a form or vessel for your thoughts. And, above all, to react to stimuli and influences. Creative creation. Touching people. Giving food for thought.

In your early years you were also musically active, you played bass for The Glorias and Lacrimosa, what was that time like for you?

Music was always an important companion for me from an early age. I started playing bass as a teenager. It was always clear to me that if an instrument, then bass! It's such an emotional thing. I was active in various bands during this time and we did a lot of sessions. 
Working with Lacrimosa and recording these songs with Tilo in the studio was a great time. The way we approached it was so fresh and carefree. Pure creativity.
And when I listen to it today, I can just see us sitting there in that studio again.
By the way, I still play the same bass guitar.

Could you show us this bass guitar?



Most Lacrimosa fans of course know you because of the vinyl covers, how did this collaboration come about and how and where did you meet Tilo?

When Tilo was working on his first album, he turned to a design agency for the artwork.
They brought me on board because we knew each other and I had recently done the artwork for another band (Victory - Temples of Gold).
We sat together, Tilo and I, and he told me about his ideas, which were already very concrete.
And that's how the first cover and the Lacrimosa-typical artwork came about. A style created especially for Lacrimosa.
The rest is history!

Did you create the Lacrimosa Harlequin?

Yes, I created the logo. Tilo already had a clear vision here too.
I brought it into a form that still exists today.
This also includes the harlequin, which is always depicted on the covers.

Many people naturally ask how a "Lacrimosa cover" is created, does Tilo call you and is there a kind of brainstorming session, can you tell us something about the creation of a Lacrimosa cover? - How much Stelio or Tilo is involved in each cover?
​
Every cover is the result of an intensive collaboration. First there is an idea from Tilo or there are several ideas that we have together. And we sit together, sometimes it takes a long time. But sometimes the idea for the cover is found more quickly, because we know that this is exactly the right thing to do right now.
Once the subject has been found, I make sketches. Then we sit together again. Then the designs become more and more concrete. Every detail is scrutinised. You can't say exactly how much comes from Tilo and how much from me. We then work in a kind of symbiosis. (smile)
The detailed realisation is then of course my responsibility. I have a lot of artistic freedom, because on the one hand I know exactly how Tilo imagines the whole thing, and on the other Tilo trusts me completely.



Is there any unreleased "Lacrimosa art" a kind of "B-sides" or sketches, if so, will we get to see this art at some point?
​
There is no "official" Lacrimosa art. And I don't know if we will publish anything.
Maybe if it somehow fits and makes sense.

Do you have a favourite cover?

Good question. First of all, I like them all. I think it was often the case that the cover I was working on was my favourite. At the moment it's definitely "Lament". For a long time, "Satura" was my favourite cover. I love that iconic quality. The grace. That power. I think "Lament" is a real contender in my list of favourites.(smile) I love that darkness. This mood. And again, the power that emanates from the character.



Can you tell us a little secret or an anecdote about Tilo?

Mmh, I'll have to think about that... I can't really think of anything off the top of my head. And if I did, then maybe I wouldn't tell it either...(laughs)

What music do you listen to privately and do you also go to Lacrimosa concerts?

My taste in music and what I listen to is very diverse and spans music history and genres. The choice of what I'm listening to is very intuitive and mood-related.
It ranges from jazz and blues, including very old stuff, to the brilliant era of the 60s and its iconic bands such as The Beatles, Rolling Stones, The Who, The Doors etc. and legends like Bob Dylan to the great 70s bands like Deep Purple, Uriah Heep, Pink Floyd, Led Zeppelin, Black Sabbath and bands like Rage Against The Machine, Metallica, Nirvana, Avenged Sevenfold etc. and of course Lacrimosa.
With Lacrimosa, I'm always completely absorbed by the music, I can't just listen to it on the side. This is because the music and the lyrics have a very strong emotional impact on me.
I've already been to a few Lacrimosa concerts, but probably far too few, because it's certainly an amazing experience every time.



Anything else you would like to say?

I think it's wonderful to accompany the development of Lacrimosa from the very beginning and to be a part of it.
I am also infinitely grateful for every single praise for my work on the cover artwork.
And then there are all those tattoos with the cover subjects. Wow, I was almost shocked at first because of the responsibility. You create something and then someone gets it tattooed on your skin. Today I see it as a huge compliment to Tilos and my work.

Thank you all for being a part of Lacrimosa.

✮ The interview was conducted by Michael.
✮ The interview was conducted in German and translated by Lacrimosa.org
DIAMANTOPOULOS - official website

I had the pleasure of conducting a very nice interview with the super friendly Flo V. Schwarz. Flo is probably known to many as the leader of the band Pyogenesis but he is also responsible for Hamburg Records.

Small note, the interview was conducted on the 14th of May at 11am German time. Since I'm in Mexico, it was 3am for me. It was my first video interview... so I was very nervous.

Interview with Flo V. Schwarz

I'm in Mexico City now - I've seen that you've already played in Mexico with your band. And in September you're playing at a festival in Leon Guanajuato. Have you already played in Mexico City, I think so, right?

Yes

Was it at Circo Volador?

No, that was Andy Bridges, it's a bit out of town. I don't think it exists anymore. I googled it once. (Note: Andy Bridges is in Naucalpan)

It's been a while, hasn't it?

That was in 1995.

It was the first and last time in Mexico, wasn't it?

Exactly

You are the bandleader of the band Pyogenesis and also responsible for Hamburg Records, what does a normal working day look like for you when you do both jobs?

There's no such thing as a normal working day, on the one hand, as you said, I'm a musician and on the other hand I'm the owner of Hamburg Records, I do management, publishing and booking, which are relatively different tasks. But I also produce other bands in the studio and write songs for other bands. So, there's no such thing as a normal working day because every working day is somehow different. And the field in which I work, or the fields in which I work, are so different that you can't break it down to the average day.

You probably work all week, don't you?

Yes, and I also work at the weekend.

You have been making music with your band Pyogenesis since 91, and this band is one of the founders of Gothic Metal, can you be proud of these 34 years, or are you proud that you have been making music with the band for 34 years and how do you celebrate the 35 years with the band?

I'm proud of the fact that - I'm not proud of the band, as you put it. I'm proud that I've managed to maintain my passion for something for 34 years and that I've managed to make it mean so much to me to this day. It's a very important part of my life, and yes, it feels good to have done it and to still be doing it and still be on the ball. it's not primarily about success, but it's a wonderful occupation and yes, I can't imagine anything better

Is there already a plan for the 35 years?

No

How did you get into music?

I started listening to music at an early age (ringing interruption), so I started listening to music at an early age and really liked Depeche Mode in the 80s and then wanted to play bass myself because I liked the bass in Depeche Mode so much. I didn't realise that the bass in Depeche Mode is played with the keyboard and not at all with the bass guitar. But that's how I got into stringed instruments and ended up in heavy metal relatively quickly
and that influenced me and I spent a lot of time with it. After bass, electric guitar soon followed. A year after I started playing bass, I learnt to play electric guitar and a short time later I was playing in bands.

Was it during school time or after school?

School time.

You're coming to Mexico for the festival this year. But you've also played in other countries, for example, Russia, Europe, and, as I mentioned, once in Mexico. There was this festival in Romania with a huge crowd, and also shows in Russia with 25,000 people. When you play those shows and you're there, can you absorb the cultures or see that they're different cultures, or does it not matter live?

I always try to take my time. So, if it's a continuous tour and we're in different countries for several days in a row—that happens more often in Southeast Europe—then I don't have the opportunity to see much. I try to get into the city during the day. But I can't really get a taste of the culture. When we fly there for a show, like in Mexico, I take an extra week and come a week earlier to look around a bit. Over the years we have made friends in the individual countries who we meet up with and who show us around. They understand how we Western Europeans think, partly because they like our music. In Russia, for example, I found it really interesting that our friends, our fans who became friends and with whom we met regularly, showed me that they understand how we tick and can explain the problems to us in a different way than what we have been told in the media for a long time. Many countries share a common culture with Germany, or Russia in particular, for example Catherine the Great was a German princess who took lots of Germans with her to Russia to settle the land there and cultivate it, and to train craftsmen and farmers. Well, many royal families have gained new members from Germany, not least England, although England is actually very close to us. Mexico, too, by the way—so not a German, but an Austrian emperor. Well, I find it quite interesting to see the individual countries, to engage with the culture there, and to gain impressions not necessarily from a tour guide you book on the spot, but from the people who live there. I was in Israel and spent a day in Jerusalem with the tour operator. That was one of the most important days of my life because I saw things there and was told about them, and I understood the significance of what I saw there, something I would never have been able to do in Germany.

Do you prefer playing at festivals or in clubs? Which is more fun?

Both. - At club shows, it's just your fans. It's much more intimate. The atmosphere is completely different. The nice thing about a festival is that you have the opportunity to convince people who don't know you or maybe have never even heard of you, I don't know and see them standing around and then finally joining in, and later you see them at the T-shirt stand.

Since 2002, you've been in charge of Hamburg Records, which you also founded. I read it had something to do with the album rights, so how did this company come about?

Yes, as I said, the rights to the first albums reverted to us, and I could have simply licensed them and gotten a small piece of the pie. Or I could exploit the rights myself, so I only had to reproduce the recordings, vinyl and CD, although CD was the predominant medium at the time. I just had to make them available. I didn't need any marketing or promotion, because there's no such thing for a re-release. And I did that. And I didn't have to share it with anyone. The record company takes the lion's share of the proceeds and gives the artist a small portion. After I had the opportunity to exploit it myself, I did that, too. Hamburg Records was born from that, and more and more areas have been added, like management, merchandising, booking, publishing, and so on.

Hamburg Records now works with, so you work with, many bands. How does this kind of business, a collaboration, usually come about? Does the band come to you, or does Hamburg Records look for bands? How does that work?

Both. I asked Lord of the Lost, for example. Chris Harms shared a Pyogenesis video on Facebook in 2017 with some kind words. I didn't even know Lord of the Lost or Chris Harms. And then I approached him to see if we wanted to collaborate somehow, and yes, a collaboration developed from that. With Lacrimosa, for example, they approached me, who in turn asked Chris Harms who he worked with in merchandise, because things seemed to be going well with them, and whether he had a contact there. And that's how Lacrimosa came to us.
Funnily enough, Tilo and I already knew each other from the 90s. And when we had our first video call, just like we both are now, he looked really surprised as to why I was sitting there, because he didn't know that Flo from Pyogenesis was also Flo from Hamburg Records.

At first, I thought it was the combination of Hamburg and Hamburg Records. You're in Hamburg now, Lord of the Lost is also in Hamburg. Tilo is often in Hamburg too; it's probably his favorite city. Hamburg is probably a good place to be.

I'm originally from Stuttgart.

But you like Hamburg, right?

Yes, Hamburg has a lot more to offer musically than Stuttgart. Stuttgart was very one-dimensional in hip-hop. Dance music and guitar music. There were three bands there. And so I moved to Hamburg, founded Hamburg Records here, and now my home is here.

Hamburg Records has a lot of things: merchandise, booking, and many, many things, including many bands online shops. Who is responsible for the merchandise? For example, who has the ideas for the design or what kind of merchandise is sold? Lord of the Lost, for example, has condoms. Who comes up with these ideas? Does it come from the company, the artists, or do you work together?

Both. So, the band has ideas, we have ideas. We sit down together. So, Chris from Lord of the Lost is in our office twice a week and he either makes videos for social media to promote merchandise or comes to sign something or to a meeting. So, there is a very lively exchange, which we think is very important and that's how it works when everyone contributes their ideas. A lot of merchandise items aren't really what you'd think of as a merchandise item, but if you have a funny idea or can connect the product with a funny idea or a story and it suddenly makes sense, then that's a good thing and nobody is forced to buy the stuff. But if it's a well-rounded product, then people want it and we create a market for it. It sounds very technical, but ultimately, at Hamburg Records, we get food baskets from fans, packages with sweets, and thank-you notes because people have been ordering from us for a long time and already know who works for us and who does what. They somehow identify with it to a certain extent—if I say you now, it's wrong—but they are grateful that someone is making sure there are always new items and what they love, the band, that there's always something new.

The company philosophy also includes "No Nazis" (I think that's very good). To what extent do labels, Hamburg Records, or even the artists have to take a stand on politics or social issues? What is the duty of artists?

In general, or with us?

With you.

We don't demand that the artists we work with fly the political flag externally. That's not a demand from us. But we rule out collaborations with artists who, in our view, are going in the wrong direction.

No name, but have you ever had a situation where you said, oh no, it won't work with this band.

Yes.

We're in Hamburg, HSV or St. Pauli?

Well, actually, I don't care, but if I have to choose, it would be St. Pauli.

You already talked about how the collaboration with Lacrimosa came about, with Hamburg Records. But you also mentioned that you've known Tilo for a while. Is it because of those gothic metal pioneers, or how did you meet?

I worked at Nuclear Blast in the 90s. And he was signed there with Hall of Sermon. So we knew each other by sight, and then we were in the studio in Hamburg once – in 1996 – and he was in the studio there too, and because neither of us were from Hamburg, we had an apartment. Well, he had an apartment, we had an apartment, they were right next to each other. And there was the European Football Championship. When we talked about it, when we started working together, he told me that he remembered we used to live together, next door to each other, while we were in the studio. And that we used to shout. We totally, like we'd torn the apartment apart and banged on the walls, like we'd lost it, and then I had to remind him that it was the European Football Championship that day, and Germany can always go further, and the day he's referring to must have been the final. - Oliver Bierhoff scored the first golden goal in football history, making Germany European champions. Of course, I understand that he didn't know that. Because I don't think Switzerland plays a major role in either the World Cup or the European Championship.

I think he (Tilo) isn't that into sports.

But he could have noticed that it was the final. Even if Switzerland doesn't call itself 100%, it's still in the heart of Europe.

Since 2023, you've been responsible for CD sales and Lacrimosa merchandise. Which countries do you sell the most merchandise to? For example, from Lacrimosa, or what was the most exotic country you've shipped to?

I can't answer either of those questions. But as far as exotic countries go, we ship practically all over the world, and sometimes you're really surprised at how people in countries where you get the feeling they probably don't have the internet, and if they do, then not in Europe, find the bands, because they don't really exist in their cultures. There's no concert culture there either.

Through my contacts, I've seen that a lot of things go to Russia and also to China, which is super interesting. I saw that you've already made music with Lord of the Lost. Is something like that planned with Lacrimosa or maybe with Tilo Wolff? So, a musical collaboration.

Not yet, but it might be a good idea.

I also thought, why aren't you the band opening the shows in Germany? - Now it's [Soon], also a Hamburg band. Hamburg again. What's the relationship like between Hamburg Records and the bands, like, who's the boss?

So, the band has the final say, because ultimately, they have to represent that to the outside world. But I would say that we have a significant influence there, and that the bands listen carefully when we talk about articles, what we think, because we have much more experience than the individual bands.

At your band's live shows, you often play with pyrotechnics and lots and lots of fire. Does that have something to do with the band name?

It's just cool.

Will there be more Lacrimosa concerts in Germany than the four? Or do we fans have to buy more tickets so that the tour might be extended? (Now we know.)

Well, as far as I know, these are the only four concerts. And these days, advance sales really determine success. And if the agency, together with the artist, sees that advance sales are going well, there's demand, then it's understandable for everyone involved to extend the tour.

We know that German fans often complain and ask why there are so few concerts here in Germany, while in Mexico, for example, there are now 20, and in Mexico City alone there are three, and they're usually sold out. But maybe the market in Germany is oversaturated. But I heard that Lord of the Lost wasn't that crowded in China, for example.

But, you know, in China you first have to mobilize 300 people per city. I think you shouldn't always measure it by where the most people come, and then it's really small. So, it's quite an achievement to draw 300 people in China in one evening. Many bands would be thrilled to have that, compared to the number in Germany, the US, or Mexico.

Is there anything you'd like to do with your band that you've never done before? Are there any plans for the next 34 or 35 years, perhaps?

A duet with Tilo.

That would be interesting. I thought the music would fit too. Lacrimosa, Tilo calls himself a pioneer of gothic metal, and on your website it says you're the co-founders. I would have thought you'd done something in the past, festivals perhaps. Musically, that could be a good fit, right?

Yeah.

But maybe not something like Children of the Dark, because from what I've heard, that might not be the best.

Yes, although I think Children of the Dark was the most successful thing the protagonists were ever involved in.

That was the feedback I've heard that there are people in the scene who make fun of it, but when you say it was probably the most successful, it was probably envy.

Yes, of course there are purists everywhere, and you'll always find someone for whom it's not pure enough.

Anything else you'd like to say?

So, I'm looking forward to the next three decades with Lacrimosa. I'm looking forward to the next three decades with Pyogenesis. I'm looking forward to the next two and a half decades with Hamburg Records, and I hope all three of them will continue to work together for a long, long time to come.

Thank you so much!!!

Pyogenesis - official Homepage
PYOGENESIS - Tickets & Merchandise

Tour!
07.09.2025 (MEX) Candelabrum
19.09.2025 (ESP) Revoltallo Fest
20.09.2025 (POR) River Stone Fest
13.12.2025 (GER) LordFest

✮ I had the great honour to do an interview with the great Henrik Flyman, I hope you like it! ✮

You are from Norrland, which is the northernmost, largest and least populated of the three traditional lands of Sweden. What is so special about this place, and has this "lonely" place some impact in your music or life?

This is where I grew up and where my journey began. The raw, authentic nature of this place, and the way it encourages creativity to overcome limitations, have had a lasting impact on me. You could drop me anywhere in the wilderness and I would feel right at home. I'm connected to the elements here - the woods, lakes, rivers, mountains, animals, the ice and snow of winter, the four distinct seasons, the crystal-clear night skies with their stars, the northern lights. All of it is part of me, and I am part of it.

What made you decide to make music and what motivates you to continue?

It was never a conscious choice, it's just who I am. The possibilities are endless and that intrigues me. I guess my motivation comes from the curiosity to explore. Music is a big part of who I am, and it tends to show up in almost everything I do. I trust the stars to guide me well. For now, I'll just continue to embrace the journey, wherever it leads.

If I'm not mistaken, you've released 24 singles/EPs as a solo artist since 2021, where do you get all this creativity from?

I had to double-check to be sure. As of mid-January 2025, there are 26 releases featuring 70 songs, all from 2021 onward. And that number is only going to grow, as I'm constantly working on new music. Honestly, I'm not sure where creativity comes from. If I had to guess, I'd say it's always been there. The challenge is learning how to connect with it. These days, it's a lot easier because I'm in a much stronger, clearer headspace. In the past, my life was often chaotic, destructive, and filled with distractions. It's still not perfect, but the destructive patterns are mostly gone, and the distractions are more manageable. That shift is what's driving my most productive phase yet.

After playing in (and co-founding) bands like Moahni Moahna, ZooL and Evil Masquerade, what made you decide to realize yourself as a solo artist?

It all stemmed from my decision to leave Lacrimosa after more than a decade with the band. I took a brief pause to reflect and figure out where I wanted to go next, and it just felt like the right time to try something entirely new. As you mentioned, I've been in several bands where I played a key role, constantly having to keep things together as members came and went. In Lacrimosa, however, my role was more straightforward, as I was just the guitarist. The idea of putting my own name on the front cover was a first for me, and it took me out of my comfort zone in more ways than one. I've never been someone who craved the spotlight, and I had little experience as a vocalist. On top of that, I took on the full responsibility for the entire production process, which was a huge leap into uncharted territory. But it felt important to do. These were areas where I had often hit roadblocks in the past, preventing me from progressing fully. I had to quickly learn these new skills, and the best way to do that seemed to be to dive right into the deep end without a safety net. It wasn't always smooth sailing, but looking back, I'm glad I took the plunge. I'm still learning, and I'm enjoying every bit of it.

Are you planning to perform as a solo artist?

If there's enough interest, definitely. But I won't be putting a live band together until that happens. The days of touring without a solid fanbase are behind me. I've already played just about every type of venue, from tiny clubs to massive concert halls and festivals. I've performed in nearly empty rooms, and I've played for crowds that stretched as far as the eye can see. The music I'm creating now requires a top-notch lineup to do it justice, and a great lineup needs an audience. I love playing live, and I'm confident it will happen, but probably not this year. In the meantime, I'll keep doing what I'm doing now, which I really enjoy as well.

Your motto is 'Far from the Mainstream', so why are you on Spotify? - Is Spotify, although hated by many indie bands/artists, a good medium to bring music to the people?

It's not a motto, just an acknowledgment of the reality I'm facing. What I do doesn't really align with what's considered mainstream or popular. Spotify is what it is - it has its flaws, and I'm not sure how long it will last unless they change their business model. That said, it doesn't take much to see that, for now, this is where most people still get their music. That's why I'm keeping my music there for the time being. I'm pretty sure big changes are coming that will shift the way artists and fans connect. The current system is hanging on by a thread, and whatever comes next will include me. I'll be an early adopter. And I have a feeling that many of those who follow me feel the same way.

How much has the music scene, especially the alternative music scene, changed in the last few years/decades?

I think it has improved quite a bit in many key areas. The barrier to entry is lower, and the gatekeepers are slowly losing their power. Creativity and authenticity matter more than ever today. I focus on doing my thing for those who are interested, and they seem to find me, usually through word of mouth.

You have also worked with the rather unknown band Lacrimosa, both as a studio musician and on stage. How did that come about?

In 2009, I received a completely unexpected call when they had given up on finding a German guitarist to replace the previous one for the upcoming 'Sehnsucht' world tour. I'd never heard of the band, but I was at a point in my life when I felt ready for something new. Just as I was starting to explore those possibilities, the phone rang. If I remember correctly, they asked if I could learn about 30 songs before joining rehearsals in Germany, which would start in 4-6 weeks, followed by a long tour. I didn't know anyone in the band, everything was in German, the style was quite different from what I'd done before, and on top of that, I'd have to handle all the logistics - visas, extra passports, and getting the music ready in time. I had my doubts about whether it was even possible, but that's exactly why I chose to say yes. It felt like the perfect challenge.

With your band Evil Masquerade you covered the Lacrimosa song Revolution, why this song in particular?

I've always liked the song. It felt incredibly relevant then, and it still does. I was confident that I could make an Evil Masquerade sounding version, that would feel both fresh and exciting, while still staying true to the core message of the German original. Also, I had already played this song many times live, so it felt very familiar.

Will we see you on stage with Lacrimosa again in the future?

The great thing about the future is that it's still unwritten. Anything can happen, and honestly, I have no idea what's coming. Right now, I'm just doing my own thing and enjoying every bit of it.

Do you have any resolutions for 2025?

To be the best version of myself that I can be.

Anything else you would like to share?

I'm truly grateful for the continued support I receive from you and other Lacrimosa fans. Honestly, I never expected it, especially since I was often just a dark silhouette to the right of the drums, sometimes even hidden behind a huge keyboard. It really means a lot to me. I'll continue with my frequent releases, so you can expect plenty more music that's probably also going to land pretty far from the mainstream.

✓ Interview was conducted by Michael.
✓ All photos were kindly provided for the interview by Henrik. - Henrik at Facebook --- Henrik Flyman | Spotify<

Jyrki Witch: Touring around the world and playing concerts. Seeing new places and meeting people. Making new music is no longer a personal obligation, songs are created if they are meant to be, and the interest in publishing them depends on how well I feel the song succeeds. The most important reason for the band to continue is to perform the songs at the concerts.

Two Witches is considered a pioneer of gothic music and has positively influenced the lives of many fans, does that make you proud?

JW: Pride is perhaps the wrong word, but of course we feel honored if people see us as pioneers. Personally I am humbly grateful that someone has noticed us and that someone has liked our music. It means a lot, if our fans come to tell us that they have been positively influenced by our songs, or us as characters, or our comments or other activities we have done.

When you look back, is there anything you wish you had done differently?

JW: In the early 90s, our German record company Talitha suggested us to move to Germany, but we hesitated and stayed in Finland. In hindsight, we should have definitely tried our luck then and moved to a bigger market. When we finally decided to move to Berlin at the beginning of the 2000s, we no longer had a German record company to support us and anyway the peak years of our popularity were already behind us, so we were about ten years late and wasted our opportunity.

How did it come about to found Two Witches?

JW: Anne and I met at the beginning of 1987 and discovered that we like the same kind of music. Unfortunately, at that moment, there wasn't any Finnish gothic rock band that we could be fans of and go to concerts with, so we had to find such a band ourselves. So, it all started with the idea that we wanted to be fans of a band. But maybe someday in the future we will have our own fans?

Did you ever think you would reach fans all over the world with your music?

JW: At the beginning, we didn't even think that we would ever get any fans or that our music would end up beyond our own rehearsal room. We were already in awe of the fact that we managed to create something like "music" at all.

Do you have the feeling that the gothic scene in Europe is getting older and older and in South America the fan scene is constantly renewing itself?

Marko Hautamäki: Kind of. There are new goth-ish things happening in Europe all the time as well, but it seems to me that the newcomers would rather be labeled as dark indie or simply alternative acts. Maybe the gothic scene is seen as a pigeonhole that new artists want to avoid. Why cater to a small, tightly specified group when you could appeal to a larger mass without changing anything? A lot of "dark" parties also cater to a wider audience with larger variety in the music selection as well. In a way it's a good thing but it also means the "pure" goth parties are getting rare.
Scenes naturally change over time as new influences and people enter. Within any scene, there are always tensions between those who wish to preserve it as it is, and those who embrace evolution. Both sides also have a point. In Europe, the scene is older and thus often leans towards preservation of how it was, or was at least perceived to be, in the past. The South American scene is younger and tends to embrace evolution more readily, which keeps it vibrant but may also lead to evolution in some direction you don't personally like. The gothic metal trend in the early 2000s illustrates this nicely. While it brought new people and also more attention to the scene, many felt it steered things in a direction that diluted the scene's essence. Evolution is inevitable but it might take the scene in directions that not everyone appreciates.

Miss Blueberry: We should figure out how to get new and younger people to events in Europe as well.



JW: That's also a bit of a delusion, maybe it's more that the polarization of favorite artists and goth events has happened between young and older people. Young people in Europe are not that interested in traditional goth events or get excited about old goth bands like The Mission or New Model Army and such, but they have their own scene and new favorites. Let's call it "post gothic" or "nu-goth" or "newest wave of goth" or something else. The older people of scene may not know or be very interested about these new bands like Cold Cave, Boy Harsher, She Past Away, Twin Tribes and the minimal electronic acts, but the young people go to their gigs and they also organize their own events. So, summa-summarum, there are also younger goths in the European scene, but youngsters and elders do not meet very often, because both of them are having their own favorites and events.

Are there any plans for the future?

MH: We have 20+ demos of new material, and we are slowly but surely starting to work on the next album. The specifics are all in the open still but something is happening for sure. Then of course hopefully plenty of gigs in exciting places with exciting people!

JW: The most important plan is to keep the band alive and the wheels rolling. If I could decide, we would do as many gigs around the world as possible. Unfortunately, it never gets to be decided by the bands themselves, it all depends on the fans and the interest of the local concert organizers.

MB: We are preparing a new album, but it will take its own time.

Do musicians or artists have a role model function?

JW: At least popular artists would have a chance to be role models. Unfortunately, only few use their own opportunity and some even misuse it. For example, I hate seeing any popular artists comment on, for example, racist, dictatorship-supporting or other stupid opinions, and then I always wish that they would have only focused on making art. Like, again for example, Morrissey is a bit difficult to understand these days. But on the other hand, popular artists could bring good things to the awareness of their fans.

MB: Certainly, in many ways, starting with such simple things as appearance, hairstyle and clothing. But also in deeper matters. I personally try to show, at least with my own example, that everyone can develop themselves into what they want, as long as they do it while respecting other people.

MH: Whether as a source of inspiration or as a cautionary example, inevitably yes. Anyone with a public enough image does, but to some extent so does anyone in our immediate surroundings. We are pretty simple flock animals in a lot of ways.

Vampires appear again and again in your songs, what makes this topic so fascinating?

MB: I have liked vampire stories and movies since I was a child. But nowadays the stories have of course acquired more and new meanings. It is multidimensional as a subject of songs, as well as a good subject in terms of story and interesting from the listener's point of view.

JW: In fact, I didn't write any vampire-themed lyrics between 1999 and 2019, but for some reason new fans often seemed to find those vampire songs first. It wasn't question about getting tired of the subject, but I started to feel that people only saw us as a one-trick wonder, and on the other hand, I'm interested in many other topics too, from politics to religions, from different cultures to sexual fetishes and love songs to our everyday problems, wishes and feelings. I finally got inspired again to write vampire-themed lyrics while writing my first novel (Unien valtiatar, 2019, released by a Finnish publisher Kuoriaiskirjat) which was a modern vampire story. I don't regret taking a 20-year hiatus from vampire songs, but in retrospect, maybe it affected a lot of people forgetting about us during that time.
All-in-all, vampires and vampirism is a very fascinating theme. You can be interested in the subject only as horror stories or romantic stories, or alternatively see it as sexual metaphors, or something else. Blood itself is already a metaphor for life as a whole and I think most of us would like to live forever as vampires could and the power of seduction sounds like a very useful feature.
The modern vampire literature and movies also present most of the vampires as beautiful, powerful and very sexual beings, some kind of superhumans of the dream world, and of course it is easy for many wish to be like such an image or at least admire it.



Christopher Lee or Bela Lugosi? / Do you have a favorite vampire film?

JW: Sir Christopher Lee. I consider him a better and more versatile actor, and more aristocratic in appearance and style. He also came to Finland as a volunteer soldier during the Winter War in WWII.
My favorite movies are too many to mention. I like both traditional Hammer Production era movies like The Vampire Lovers, Lust for a Vampire, Dracula 1972 AD, etc., and later big budget movies like Bram Stoker's Dracula or Interview with a Vampire. One movie that became a favorite in recent years was Only Lovers Left Alive.

MB: I don't have a favorite, I like different styles of vampire movies and my favorite varies according to my mood. But I could mention one film that brings a new perspective to the subject among many of my other favorites, this film is Let Me In (directed by Matt Reeves, based on the novel by John Ajvide Lindqvist).

Do you regret the tour with Lacrimosa, since Anne left the band, or is it just part of the business?

JW: We've always been such a small band that it's hardly worth talking about any business in our case. Especially at that time, when we were just at the beginning of our career anyway. Anne and I are still friends, and all in all, I don't regret that tour any more than any other tour we have done these years. It helped us get new fans and we got to play bigger clubs than we could have done on our own those days. And one thing we all have to remember is that we were still quite young at the time and if you think about how many young couples stay together forever, it is very possible that it would have happened sooner or later. None of the other Two Witches members from the 1993 European tour play in the band anymore, except me, of course. The bassist and drummer left at the same time as Anne at the end of 1993, then Nauku and Toby left in 1998. Things, relationships and interests change more often when you're young.
I continued this band, Anne has her own and for the fans, that's only a good thing when there are two bands to follow.



Do you have an anecdote about Anne (or Lacrimosa)?

JW: A lot, of course. You have to remember that we lived together for seven years, but it's probably better for everyone that I just keep those things to myself.

Anything else you would like to share?

MB: I would like to send greetings to all our fans. Support the bands and go to the concerts, clubs and gothic events, because without your support this scene cannot survive.

JW: Hope to see you all someday somewhere. We would love to play more often in Latin America.

Bites and bloody kisses to everyone,
Jyrki Witch, Marko Hautamäki and Miss Blueberry

The interview was conducted by Michael.
The photos were provided by Two Witches for this interview.

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