Merciful Nuns - Interview (2022)

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Published on Sunday, 24 July 2022 15:44

The German gothic rock maestros Merciful Nuns, led by the iconic frontman Artaud Seth, emerged from the ashes of the legendary Garden Of Delight, the pioneers of the second wave of gothic rock, in 2010. For more than a decade - both in the studio and live - the Germans have retrieved what made early sinister music vibrate in all their natural force at a time when the blurred line between post-punk and goth rock still enabled a healthy mutual transfer. In March this year, Merciful Nuns released their 11th masterpiece named Kvltan, an album that takes us on a journey to the onset of human civilisation, and the origins of all earthly existence (you can read the review over HERE). Kvltan is maybe one of the most atmospheric and original albums that Merciful Nuns, and not only, maybe the entire dark/goth rock scene, ever produced. Professionally thought out, Kvltan offers a stunning explorative, meticulous, deliberate and strongest material ever done by Artaud Seth and company. No other band has covered so much ground within the Goth realm in such a short time. Merciful Nuns is an insatiable beast, as it is prolific - yet compelling - output has demonstrated since 2010. No less than 11 albums, six EPs and two live recordings constitute their rich musical legacy. And there will be more pretty soon, on the 2nd of September, the band is about to release a new EP, H.A.T.E. / ETHEREAL, which already with the first revealed single "H.A.T.E.", sets the temperature very high. I talked with the prolific yet mysterious Merciful Nuns mastermind Artaud Seth about many things regarding the last album, live shows, upcoming EP, and his theory of unearthly origins of indigenous life.

Interview with: Artaud Seth
Conducted by: Tomaz
Edited by: Jerneja

Tomaz: Hi, Artaud. First of all, I congratulate you on releasing a fantastic album, Kvltan. It's one of the best, if not the best, Merciful Nuns' album ever, in my opinion, even one of the most profound gothic/dark rock albums ever released. Let me know how it was working on it and how you feel about it now -  some months after its release?
Artaud: Thanks, Tomaz... well, writing an album as Kvltan takes forever. I worked on it for over a year. And that every day. It has a lot to do with the fact that I don't use factory sounds. All the sounds you hear on Kvltan, whether synths, drums, guitars or bass sounds, have all been reinvented. This is extremely time-consuming. But in the end, you have your own, incomparable sound. And that's important to me. What can I say - it still feels very good. Kvltan has become a really good, compact, almost meditative album, which can take you on a journey into the time before time. It's full of ideas of how it could have been. I would like to take us on a journey to the onset of human civilisation, the origins of all earthly existence. Why do we exist? Where do we come from? What was, or could be the "missing link" between a simple, indigenous life and the sudden appearance of the first High cultures in Mesopotamia? Why is it indeed that almost all subsequent world religions came about entirely independent from one another and without any conceivable connection between them by virtue of direct intervention from "Gods that came from the skies", i.e. from outer space? And why are we so fixated on the notion that intelligent life originated here on Earth? What irrefutable evidence do we have in support of the certainty by which this theory is being peddled as fact? The key to finding the answers resides in asking the right questions!

Tomaz: A couple of years ago, you dropped a hint that you would close up the Merciful Nuns chapter and devote yourself to some other projects. What made you change your mind?
Artaud: I actually thought I was empty and burned out... that I couldn't write anything new. Obviously, I was wrong. In addition, someone died here at the Lodge and deep sadness and melancholy lay over everything. All together were probably the reasons for the decision at that time. Maybe I just needed a break to regenerate. But afterwards, you are always wiser than before. Incidentally, Black Halo was not originally planned as a Merciful Nuns EP. I was, actually, trying out a few new things for a new project, but then quickly realized that it sounded very similar. I then asked myself whether I really couldn't think of anything new. And suddenly, the concept of the origin of all came to me. Actually, that was the logical consequence of all my themes: going back to the origin.

Tomaz: Correct me if I'm wrong, but a similar thing happened to you when you were still active with Garden Of Delight. Though, back then, you closed that chapter for good and started Merciful Nuns...
Artaud: No, that was something completely different back then.

Tomaz: The lyrics of the songs on Kvltan talk about the possibility of the unearthly origins of indigenous life. From where did you get this inspiration? How much do you believe in such a theory?
Artaud: The philosophical aspects in my lyrics and conceptual art are those which surround me generally. Ancient advanced cultures like the Sumerians, Egyptians, Maya, and their adoration for divinities from "beyond" always appear to me as an effigy of the future. By now, I have arrived at the inescapable conviction that we have already been visited by these so-called advanced cultures. Nowadays, these visitors are worshipped as God or Gods by us. You can find those "translations" in nearly all religious writings.

Tomaz: There are many theories about these visitors. Some of them say that they are present here and now. Do you think that this is a possibility?
Artaud: I don't believe in that. I believe in an untold story before a story. And not one that happens at the same time.

Tomaz: I guess Kvltan is a conceptual album, and I believe there's also a philosophical and mystical connotation. Did you want to tell something of importance for the future by it? Perhaps, a warning?
Artaud: Nope, it's just a kind of food for thought. Why do we unquestioningly believe in made-up stories from ancient religious books - in fantasies written by someone at some point? I can do that too; you can do that too. The cross-connections are interesting. Especially when the different civilizations had no contact with each other. That's where Kvltan comes in or sets the origin. That may be where the "truth" lies. At least this theory is no less exciting... and in the end, this theory is more likely.

Tomaz: Nowadays, there's a lot of material to find an inspiration for such thoughts. Tell me, what material (books, documentaries,...) did you use to find yours?
Artaud: In fact, I primarily use my own imagination. Of course, the knowledge I had gained through many books of faith and scientific documentation helped here.

Tomaz: The impactful front cover of the album shows a Heptagram surrounded by different symbols, one of those is the Eye of Providence. Can you explain its meaning regarding Kvltan?
Artaud: All the symbols I create for Merciful Nuns have a deeper meaning and represent the album content. It includes the typical Merciful Nuns Babalon, the All-Seeing Eye as a synonym for G.A.T.U., the Great Architect of the Universe, as well as various lunar and solar elements. They represent the beginning of the creation of the world.

Tomaz: Obviously, spirituality and mysticism play an important role for you. Do you use it only in relation to musical endeavours, or is occultism a part of your everyday life?
Artaud: I am a spiritual being. But I am quite capable of surviving in a daily ordinary life. But I certainly don't sit around somewhere all day and worship someone.

Tomaz: The album is most likely the most atmospheric and epic of all you ever did. Yet there are no instant catchy goth songs like it was, for example, "Allseeing Eye". Did you mean with such a trait to force the listeners to devote themselves even more to the music?
Artaud: I don't really think much about whether a song is catchy or not. Especially on Kvltan, it was important to me to tell an integral story. The entire structure of Merciful Nuns, starting with the Solar Lodge label, through the worldwide sales channels, to the non-cooperation with publishers, allows me to act with complete freedom. I can do what I want; nobody talks me into it and says how I have to do something to be more successful or whatever. I see this comfortable situation as a gift.

Tomaz: I sense a strong Pink Floyd vibe on some segments of the album, more than ever before. This airy "floydian" thing has rarely been used in gothic rock music, but you've incorporated it masterfully. Do you think using such new elements can save goth rock music from its vast mediocrity?
Artaud: In fact, I find 90% of what's released in goth to be very mediocre. To be honest, most of it bores me a lot. It's always the same. I don't know if a Pink Floyd vibe can help. I don't see too many parallels between us and them now. They're not dark enough for me either. But what I like about them is their conceptual thinking. The wholeness of the music - the concept behind it that carries through the whole album. If that's what you meant, then I accept the comparison. Musically certainly not.

Tomaz: I guess that many of us see it that way. Still, there are some good and original bands and artists out there. You have been active in this scene for a very long time, so do you have any suggestions on how to save the goth/dark rock scene from mediocrity?
Artaud: Oh, that's quite simple: spend an ear to the Nuns. I can especially recommend Kvltan, Thelema or Exosphere.

Tomaz: Have you already tried the new songs playing live? What was the response? How do you even prepare the set-list for each show, or do you more or less play the same songs each time?
Artaud: At the moment, our repertoire is actually not very extensive. With Jacques Moch, we have a new guitarist who has only been with us for a very short time. But we'll be scaling that up soon. We're currently playing three songs from the new album, which all work beautifully in the new set.

Tomaz: The Solar Lodge Convention III fest is almost here. Why did you, in the first place, start with this kind of festival; is its main reason to promote the Solar Lodge label and bands, or is there any other purpose. Why not make a proper Solar Lodge Convention tour?
Artaud: I've been carrying this idea around with me for a while. In any case, the conventions are a very atmospheric thing. By the way, you can watch it worldwide on the 6 of August. You can find more information about this at www.youtube.com/SolarLodge.

Tomaz: You have just recently announced a new EP, H.A.T.E. / ETHEREAL. So far, you've revealed the song "H.A.T.E.", which is very special, and not a typical Merciful Nuns song. Tell me more about the EP. I assume there's no talk about ancient cultures and aliens, or is it?
Artaud: Nope, it actually has nothing to do with the album. These four songs are about the transience of being. About sadness and emptiness for those left behind. The endless anger at everything and everyone results from it. The desperation of being alone reveals the Nothing that is now in front of you. Your own path ends because it is now revealed to be meaningless. It's about the loss of a loved one.

Tomaz: You directed most Merciful Nuns videos, the latest one for "H.A.T.E.". How much do you enjoy this process, and where do you get the ideas for the screenplay?
Artaud: Video shoots have fascinated me more and more in recent years. I really enjoy it. The ideas often come with the locations. The video for "The Pyramid" was created on an old mansion north of Berlin. I knew the owner, and we were allowed to shoot there for a few days. You just let the place sink in, and then inspiration comes naturally. We shot another video for "Down Dark Hallways" and parts for "The Kvltanians" in a remote mill in the middle of nowhere on the death strip between the former border of the two German states deep in a forest. There weren't even roads to get there. There was nothing within a radius of 20 km. There we basically took care of ourselves for a week, cooked food, and lived reduced and without digital devices. That was a very special experience. The house, the mill from the 16th century, with all its old interior... it was very easy to get ideas.

Tomaz: Have you ever thought of making/directing a film?
Artaud: This could actually be very interesting. We'll see.

Tomaz: Besides the new EP, what are the next steps for Merciful Nuns shortly? Maybe a European tour? I'm sure Europeans would love to see Merciful Nuns playing live in clubs close to them.
Artaud: I don't really like touring at all. There are too many people trapped in too little space while driving. I've never understood what's so great about riding across Europe - day after day in a Nightliner. In the end, what you see from the place is nothing but a club and its backstage area. Also, I've had this multiple times. I prefer to concentrate on a few concerts a year. You can go there to see us.

Tomaz: Thank you for this interview, Artaud!
Artaud: Be welcome. I thank you.

Merciful Nuns links: Official website, Facebook, Bandcamp, Solar Lodge, YouTube

Merciful Nuns discography:
- Liber I (2010)
- Hypogeum II (2011)
- Xibalba III (2011)
- The Gathering (Live) (2012)
- Goetia IV (2012)
- Goetia V (2013)
- Exosphere VI (2013)
- Meteora VII (2014)
- 400 Billion Suns (Live) (2015)
- Thelema VIII (2016)
- AUM IX (2017)
- Anomaly X (2018)
- Nekrolog (2010-2018 The Singles) (2018)
- Kvltan XI (2022)

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