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with Napalm? Why did you decide to<br />
leave them?<br />
TT: Yes, I respected and liked Max a lot back<br />
then. I was involved with Napalm as much as<br />
it gets over that distance (Vienna – Eisenerz),<br />
you surely remember those times. But Max<br />
changed, and although I had a quite unsteady<br />
and unreliable time and haven't been<br />
the best business partner, he changed in a<br />
way that's not acceptable in my opinion, on a<br />
personal as well as artistic (a label deals with<br />
art/music) level. It's a pity, those times back<br />
then were a pleasure – recently I have seen<br />
the With Us Or Against Us album at someone's<br />
flat and read the statements and looked<br />
at the booklet, a nostalgic moment, but<br />
there's no looking back.<br />
Max operates on another level<br />
now, he does music business<br />
and has nothing to do with<br />
Black <strong>Metal</strong> or art, I mean Napalm<br />
and EAL/NED are two<br />
<strong>com</strong>pletely different worlds,<br />
even the reason why each label<br />
releases albums.<br />
Finally we found a way to clear<br />
up our problems to a degree<br />
where both parties can live with<br />
it and continue to work with<br />
Napalm for our back catalogue.<br />
My main concern is that we get<br />
high quality vinyl releases of<br />
our old albums.<br />
PK: There’s no relationship<br />
anymore, they’ve their "labelphilosophy”,<br />
we’ve ours, our<br />
ways separated, there’s no more to say about<br />
it, nor are we allowed at the moment…<br />
Ch: Thomas, you left Abigor in the end of<br />
1999. In the meantime Peter has done<br />
two more Abigor releases and worked on<br />
several projects like Hellbound and St.<br />
Lucifer. What have you done music wise<br />
during these years?<br />
TT: 2 more? In Memory was put together<br />
when I still did Abigor (although I was gone<br />
by the time it was released when I it remember<br />
right) and the 7” includes a track from<br />
Channelling on the B side, so I thought Satanized<br />
is the main release that PK did with<br />
other people.<br />
I released nothing, I concentrated on audio<br />
engineering, did some recordings but mainly<br />
to learn all the new technology and equipment.<br />
I didn't have the plan to release anything,<br />
or even create something where I<br />
could fully identify with it that would stand<br />
for my heart and soul in public. I did some<br />
29<br />
electronic tracks, the best way to learn software<br />
and mixdown, because 50+ audio-<br />
&MIDI-tracks of all kinds of synthetic and<br />
acoustic sounds teach you to do a proper<br />
mixdown and use your hardware right.<br />
Ch: TT, you have be<strong>com</strong>e a real expert in<br />
audio engineering and also built up your<br />
own studio. Can you tell us more about<br />
it? What gear do you use? What kind of<br />
bands / music have you produced there<br />
so far?<br />
TT: Studer 963 console, Neumann M149/AKG<br />
C414/EV RE20 as the most often used mics,<br />
mainly outboard gear to "create the sound”<br />
(Focusrite Red 3 <strong>com</strong>pressor, Universal Audio<br />
6176 channel strip, Culture Vulture valve<br />
processor, TLA EQ 2, several<br />
all-analogue effects like<br />
tapedelay, phaser, chorus,<br />
filter etc) and about 200qm for<br />
a relaxed working atmosphere<br />
with one side of the rooms<br />
having many windows on the<br />
first floor of an old factory. A<br />
dark cellar would sound appropriate<br />
for Black <strong>Metal</strong> but really,<br />
for full days of concentrated<br />
engineering I prefer daylight<br />
and enough space. Asmodeus<br />
& Vobiscum recorded and/or<br />
mixed there, I did several<br />
"mastering” kind of works (although<br />
I usually don't offer<br />
mastering as I work with a<br />
professional hi-end mastering<br />
studio and a recording/<br />
mixdown studio can never<br />
offer what a 100% mastering<br />
studio with specialized mastering engineers<br />
can offer), and of course all kinds of "jobs”<br />
like voices for adds, recording and mixdown<br />
for all kinds of music, not <strong>Metal</strong>.<br />
I didn't see it in connection with my artistic<br />
work, the studio is open even for the most<br />
stupid Schlagermusik, I make no difference. I<br />
try to make the best out of the job, if that's<br />
HipHop (which artistically I can't stand, a<br />
style I utterly scorn) or <strong>Metal</strong> doesn't matter<br />
to me – I just hear frequencies and see settings<br />
on my gear, and improving the source<br />
with my engineering work is my job, and if I<br />
did (make something sound good) I succeeded,<br />
I don't have to like the music at all.<br />
Ch: Now after recording "Fractal Procession”<br />
in your own studio, could you ever<br />
imagine to record in the infamous Hoernix<br />
Studio again? I mean you’ve recorded<br />
plenty of albums there and also<br />
brought lots of metal bands to this place.<br />
Still Hoernix has never been a metal studio<br />
at all…
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