m1

Лято е
Мирише на липи
У дома мирише на бездомни
Цвета отнасят надалече
Пият липов чай
Повръщат
Мухите се разтварят в билки
Не са за пиене
А за повръщане

fingertips

Before I can open my all to eager eyes
Everything changes from the oceans to the skies
Perpetual motion sadder place by me
Everything's breathing my air in all of tree

Yet my fingertips
Have a special sound
Yet my fingertips
They go around and round

This comical wisdom
Creeps into my brain
Away of my nerve
And also free of pain

Electrical current
Hallowed be the name
Live my emotions
And vanish all my shame

Yet my fingertips
Have a special sound
Yet my fingertips
Smell of sodden ground

reminder nr. 2

Space
Space
Space
Space
Awake Awake Awake Awake
Да се научиш да ходиш на ...
Да се научиш да ходиш
Да се научиш да не споделяш
Да се научиш да обичаш себе си
Да се научиш да обичаш
Да се научиш да не си гориш ръката
Да се влюбиш в себе си
This will destroy you
Nothing lasts but nothing is lost
It's all Self teaching Self
Обичам ви

малко бисери

"Мисля, че тялотo е достатъчно умно, че да не ти позволява такива волности."

"То си е достатъчно трудно човек със собствените си страхове да се справи, камо ли с нечии чужди..."

:D

northern sky

I never felt magic crazy as this
I never saw moons knew the meaning of the sea
I never held emotion in the palm of my hand
Or felt sweet breezes in the top of a tree
But now you're here
Brighten my northern sky

I've been a long time that I'm waiting
Been a long time that I'm blown
I've been a long time that I've wandered
Through the people I have known
Oh, if you would and you could
Straighten my new mind's eye

Would you love me for my money
Would you love me for my head
Would you love me through the winter
Would you love me ‘til I'm dead
Oh, if you would and you could
Come blow your horn on high

let go

остави се да създаваш смисли
не се съпротивлявай на съпротивата
в природата няма напрежение
тревата не се мъчи да расте
планетите не се мъчат да се въртят
водата не се мъчи да тече
защо тогава
защо не се оставиш
да бъдеш човек?

(посветено на пешо и хайваната)

the motherfucking truth

Till a system was formed, which some took advantage of & enslav'd the vulgar by attempting to realize or abstract the mental deities from their objects: thus began Priesthood;
Choosing forms of worship from poetic tales.
And at length they pronounc'd that the Gods had order'd such things.
Thus men forgot that All deities reside in the human breast.

Разходка със завит свят на Хайдегер за забравено зарядно

Някъде в алтернативна вселена се разхождаме в снега и слушаме унищожителна музика по цял ден всеки ден. Някъде снегът не спира никога и не се трупа върху ни, защото има други физически свойства.
Някъде в алтернативна вселена те срещам на улицата и те целувам.
Някъде държиш косата ми, докато повръщам.
Някъде цигарите правят света прекрасен, но не и ужасен.
Някъде снежинките нямат нужда от изтупване.
Някъде в алтернативна вселена трамваят вече е дошъл или никога няма да дойде.
Някъде всичко това вече се е случило.
А някъде не е.
Някъде ти си прекрасен. А дали наистина си прекрасен? Това никой не знае.
Някъде вратите към невъзможното са бранденбургски и това е добре.
Някъде хората в трамвая са безинтересни.
Някъде светът не става черно-бял, когато музиката спре, защото е впита в умовете ни. Някъде слушалките още не са изобретени. Там музиката унищожава всеки миг. И не боли.
Някъде в алтернативна вселена в трамвая се освобождава място и аз потъвам в Хайдегер.
Да, това някъде е сега.
Някъде всеки миг е "ето-на". Някъде месецът е "ето-на" и зимата е "ето-на", и снегът е "ето-на". Някъде истината е нищо. Това някъде е тук, ето на!
Някъде капките по стъклото са човешки пътища, замръзнали в писателския ум.
Някъде опиянението, което вижда техните пътеки като човешки животи е постоянно.
Някъде спомените от тези животи са "ето-на" и не болят.
Някъде в алтернативна вселена се качвам у дома и отпивам глътка вино, за да спре да ми се повръща.
Някъде не мисля за теб на този балкон.
Някъде всичко вече е станало, става и ще стане. И това унищожава.
И е толкова прекрасно, толкова... освобождаващо.
Някъде в алтернативна вселена зарядното го няма, лаптопа го няма и не живеем в тези черни кутийки.
Някъде, ето на, въображението ражда станали светове.
Някъде нищо не може да те отклони от центъра на равновесието вътре в теб.
If wants and needs divide me then I might as well be gone.
Някъде ме няма.
Някъде не съм машина за създаване на смисли.
Мога ли да си го представя?
Не, дори представянето е лъжа. Дори представянето е лепване на смисъл.
Някъде разумът е строшен на парчета.
Някъде до мен някой стене сладко и ме връща в тялото ми.
Свят момент, идея си нямах колко е свят.
Свят и наблъскан със смисъл, чак до гадене.
Моментът, в който се влюбваш в светия свят.
Някъде това малко момиче не мръзне по пуловер в най-големия сняг.
Някъде в ръцете й няма бебе, увито в хавлия, да фък, хавлия!
Някъде в алтернативна вселена аз се качвам горе и й нося едно от десетте си палта.
Някъде бъркам в джоба си и й давам шепата със стотинки.
Някъде баща й просто й купува едно шибано яке втора употреба за 2 лева!
Някъде аз осъзнавам колко маловажни са псевдофилософските ми терзания.
Някъде тези мисли не ме опияняват, а ме отвръщават.
А някъде истинната свобода е просто "оставяне на съществуващото да бъде".

Andacht - Charles Baudelaire

Sei weise, Sorge, lass dich nicht erregen
du wolltest Abend, er bricht an, ist da.
Wenn dunkle Schleier sich auf Dächer legen
ist einem Frieden, andren Sorge nah.
Wenn sich die viehisch grobe Menschenmenge
vom Henkersknecht Genuss gepeitscht zum Fest
hin drängt, nur Reue erntet, Narrenzwänge,
gib, Kummer mir die Hand, geh mit nach West
weit weg von hier. Sieh, wie die toten Jahre
im alten Kleid am Himmelssöller hängen,
Bedauern lächelnd aus der See aufsteigt.
Die Sonne stirbt, liegt unter Bogengängen
und hör nur wie als Tuch der Totenbahre
von Ost nach West die tiefe Nacht sich neigt.

напомняне

(...и пак, на м.)

черупка от морско охлювче
тя ще е моят шамар
обратно в сега
сега сега сега сега
всяка крачка е сега
всяка глътка въздух
всеки удар на барабаните
всяка снежинка
сега сега сега сега
всяко куче
всяко дете на улицата
всяко сърце на улицата
всяка руса мадама
сега сега сега сега
всяка стъпка в снега
всеки полицай
всяка усмивка по телефона
всяко подминаване
сега сега сега сега
всяка снежинка
всяко вдишване
всяка дръпка
всеки любим поглед
сега сега сега сега
всяка мисъл за баща ти
и всяка немисъл
всеки сантимент
напук на циниците

всичко е клише,
но важното е, че го чувстваме, нали?

Amplifier - Insider

The certainty that I am me,
That there is everything that I can see;
That what I percieve is all it appears,
And the belief that I am even here.

It's all in my mind.
Well it's all in my mind.

Into an ocean I am cast, between the past,
And all things that will come to be.
If every choice I make is my own, inside the unknown,
Then how can there be destiny?

Well...
It's all in my mind.
Well it's all in my mind.
And it's all inside.
This is all in my mind.

In every moment I dismiss,
And every metamorphosis.
That from a bud the flowers bloom,
A butterfly from each cocoon.

It's all inside.
Well it's all in your mind.
Then it's all inside.
This is all in your mind.

ревю на tenhi... може би

Tenhi - Saivo

Лежиш в прегръдката на майка си. Тихо - като в стая от памук. От небето свети сняг и мирише сладко. В далечината отеква пиано - чисто като дете в утробата. Цигулките топлят като ръка, която гали корема. Звънът на китарата осветява пианото. Гласове приспиват човек на смъртния му одър. Пианото все още е далеч - зад мъглата на съня. Меланхолия пристъпва тихо, обидно тихо... Разцъфва във акорди. И през облаци печал се процежда кратко щастие. Валсът на тъжната надежда. Валс с призрак. Да, тук мъртвите могат да танцуват или поне си вярват, че могат. Виолончелото тъче бял пашкул и увива света. Песен по-късно той се ражда и полита като пеперуда в църковни прашинки и лъчите на мъжки хор. Всичко е тленно, дори гласът на оплаквачите, пеещи смирено след ковчега.

9 isa

apc - коста

Mother, mother
There's too many of you crying
Brother, brother
Far too many of you dying
You know we've got to find a way
To bring some lovin' here today

Father, father
We don't need to escalate
War is not the answer
Only love can conquer hate
You know we've got to find a way
To bring some lovin' here today

Picket lines and picket signs
Don't punish me with brutality
Talk to me, so you can see
What's going on

Father, father
everybody thinks we're wrong
But who are they to judge us
Simply 'cause our hair is long
You know we've got to find a way
To bring understanding here today

Picket lines and picket signs
Don't punish me with brutality
Talk to me
So you can see
What's going on

птиците в сегед

2212 г. Аз и Зу още работим във вестник, но статиите вече са хиперреални симулации. Пускам си новата статия на Зу за птиците в Сегед през 2102 г. (В Сегед отдавна няма птици, затова статията е толкова интересна.) Та. Пускам си я и се озовавам в града под забраденото с птици небе - в дъжд от курешки. Това ми се струва толкова невероятно, че хуквам към Зу да й кажа колко й е добра статията и я намирам спяща в детска количка на улицата. Будя я, при което статията се разпада. След малко я пускам пак и хиляди оловни гълъби се вливат в мен, сякаш правя секс със Светия дух.
Абе, не е добра тая статия. Птиците в Сегед през 2102 със сигурност не са били такива.

Interview with Duncan Patterson (Alternative 4, Íon, Antimatter, Anathema)

(c) Pro-Rock Bulgaria

Congratulations on your new album with Alternative 4. Of course, the first question is - why did you pick that name?

DP: Basically I had to find a name for this new band, and Alternative 4 just stood out. At first I was thinking 'oh god I know what this is going to attract' but I also realised that, as well as being a great band name, I could use this opportunity to clear up over a decade of rumours and being asked the same thing time and time again. The more I think of it the more I appreciate the title, its mysterious without being clichéd plus it suits the music, and you have to remember that not everyone on the planet is obsessed with Anathema.

You say that piecing together an album with electric instruments takes a lot of energy you haven't had in more than 10 years. Why is that?

DP: I just didn't feel like it. I was exploring different things and keeping myself interested in my own creations. With the Antimatter thing I really wanted to take that into a really experimental electronic space. That was the original idea when I came up with the whole concept. Then gradually, as Mick got more involved, I realized that he wasn't into going so far in that direction. But at the same time he is a killer songwriter, so I compromised. Then Mick ended up going back to a similar place where I had already spent years, musically. So I started the Íon thing, which was like a musical detox and really cleaned my system out. So I guess that how I ended up getting that energy back. A change is as good as a rest.

The album is very dark and yet strangely peaceful. How did this happen? Does it reflect a certain humility you've found?

DP: This is something that I don't know how to put into words. When I am working on an album, and I find that certain vibe, thats when all the creativity flows out. And with this album it was, as you said, dark and peaceful and I pieced it together like that. The general concept is not a depressive one, but it is dealing with some sinister things that I would like people to think about. And all of this is coming from a peaceful perspective because thats how I am. I'm not an angry young man anymore.

The album get's even darker when you read its lyrical concept. Sheeple blindly following music, media, even religion - lost in an second hand online world. Is reality really so bleak in your eyes, or is this an art grotesque that's supposed to nudge people?

DP: I've just witnessed things gradually getting dumbed-down over the years and a lot of magical things have been devalued, almost intentionally ignored. I came from a music scene where people who were doing something original stood out and were respected. Its almost like people don't want that anymore. I remember people getting into alternative sub-cultures because they didn't want to be told what to wear or listen to. Now the metal scene for example is the perfect example of being told what to listen to. All the media is monopolised by the big labels and theres no room for anything truely independent and innovative. Same goes for the fashion, even in supposedly 'alternative' scenes its all uniformed these days. To be a celebrity on TV these days requires what? A lot of 'famous' people are put on pedestals by people who dont really know why. Its simply because they're on TV and in the gossip magazines. Its like business over talent, style over substance in all areas. Back to the music, the MP3 generation don't know that magical feeling of buying an album on the day it is released. That magic now, to a lot of people, is being the first person to 'leak' the album on the internet. If I can encourage at least a few people to think then I've done something more than just complaining about it in the pub.

"What a difference a name makes", you said about Alternative 4. People were calling you for gigs before even knowing what the music was like. People want information but the most superficial kind, they don't have the time or energy to delve deeper. Just like sheep, don't you think?

DP: Yes thats what happened. It was amazing and perfectly ironic, due to the album concept and everything. For years I was trying to set up small tours for Íon and the closest I got was "Hmm, why dont we do some kind of acoustic Anathema tribute instead" from the promoters. The name Anathema seemed to blind them. Whereas, if I didn't have that link I'm sure it would have been easy enough to book a string of gigs. That association has been a huge obstacle. People have this perception, even some of my close friends that I have worked with, that I have it easy because of the Anathema link and that I don't need any help with my career. But the opposite is true, I need a lot of help to get past this established 'brand name' now which has been the bane of my career for the past decade or more. Hopefully I can do that with this project, because it is facing the subject head-on. And as for superficial information, you only have to look at Facebook for that. We set up the Alternative 4 band page on Facebook and there were tons of people coming on without reading any of the information, thinking it was an Anathema page. Me and Mark were posting to them "please read the info section" to no response. If I merely mention the word Anathema on my music page I'll get 100 'likes' but if I post important news about the new album it doesn't get anywhere near that. At the same time though there are a lot of people that email me and are sincere about music, and respect and understand what I'm trying to do. I guess a lot of people who are attracted to my work are quiet, complative characters. It'd be nice to see a lot more people like that.

"Businessmen and general parasitic people who are like flies around shit at the smell of ‘success’, where peoples general wellbeing is taken out of the equation."
Actually, this is the reason for the Occupy Wallstreet protests. The problem, however, with these protests is that people have no clear demands, nor leadership, and it looks like an emotional but chaotic movement. What can we really do in your opinion?

DP: Theres a buzz about all the 'Occupy this and that' stuff and its cool that its being brought to light. Though there will be a lot of people who are just following (this is a common theme right?). But awareness is being raised about a lot of those subjects and its good to see people rising up and asking questions. I think we just need more of that, more thought and responsibility in general, more questioning and taking control of our lives. And that goes for what we eat, how we deal with doctors and our health, how we choose to earn money, who we vote for, do we actually rest? Many many important things that people don't give a second thought. For years now I have had a big interest in healing. From energy healing to nutritional healing, meditation, juice fasting and things. And I receive criticism for this from friends and even my own family for 'taking all that weird stuff' which is actually vitamins and essential minerals. And every 6 months or so I do a full detox cleanse where I don't eat animal products or drink alcohol. I always find during that time my friends and family trying to make me eat junk food or go out drinking. Every time, its bizarre and I don't know if its a subconscious thing or what. The majority of people are programmed though and maybe theres a fear of change with those people.

"With the owners anxious to get home to upload it onto the internet..."You say that we are on the brink of change but I don't quite believe it. Yes, it's always darkest before the dawn but people are getting more and more addicted to the internet - it's turning into a sickness, and very few are noticing. It's like a virus you cannot escape because you can't function without it. Scientists are actually developing chips that get implanted in your head so you can browse the net with your mind. On the brink of change? Really?

DP: I hope that we are on the brink of a positive change. On one hand I have seen a big shift in spiritual awareness in the last few years yet on the other hand I see people everywhere with Facebook on their phones, ignoring each other is bars and that. There are many positive things about the internet, but you're right about the addiction thing. I spend a lot of time online when I'm not touring or travelling. I do a lot of my work and networking online but I also enjoy just relaxing and keeping in touch with friends from around the world. I need to get out and do things though, I have itchy feet by nature. I remember when I did the Camino de Santiago Compostela a few years ago, and I raised a load of money for charity online. Many people were saying to me "I wish I could do that too" and I was encouraging them just to get up and do it. Obviously some people have families and can't take time off work but a lot would just be sat at home online. After 2 weeks of walking in nature it becomes obvious what we need and what a lot of us are missing. It would be the perfect 'cold turkey' for internet addiction.

I know you're not a fan of major record labels because it is like "somebody else is drawing your way or image in music for you instead of being "free" in creativity which is the way a musician or an artists should do". This idea fits perfectly to the Brink's concepts. Limits in thinking and creativity, selling your music and soul for money and fame... Am I right?

DP: Yes thats correct. I remember when I first founded Antimatter and we had a 3 track demo tape (a cassette!!) one of the major labels were interested. I'd already told Mick that I had no interest in signing to a major label whatsoever, and this was before they suggested that we make one of the girls 'the face of the band' and build everything around her image. There were no girls in the band, it was always just me and Mick, so you can see where I'm coming from with that. Yes, its possible that we could have reap financial rewards from it, but also highly possible that they could have decided not to invest in us after all, after being under contract for years and screwed up our careers. If it was just money and attention that we were looking for we would have tried to make fashionable music for starters. Mick is naturally more 'mainstream' than me because of his musical taste, but even with that he treasures his songs immensely. I'm often criticized for my songs being too long and monotonous, but thats what I do, thats my style. I don't do that by accident whilst trying to write 3 minute catchy pop songs and getting it wrong. And its often metalheads who complain about this, whilst my friends who have not boxed themselves into any particular scene would comment something like 'this sounds like music from a weird film'. Limitations can also apply to people who think they're open-minded. If I was to release a cliché-ridden gothic metal album that lyrically meant fuck all I'm sure it would be appreciated more by those people.

Do you still think that labels will become obsolete with the expansion of internet?

DP: I think there will always be people who want an actual product. I know some labels are dealing more with merchandise these days and they are very busy with it, so people are still buying stuff. Vinyl editions seem to be getting more popular now, maybe a novelty for the younger people who missed out the first time around. Whatever happens I will never go 100% digital, even if it means I have to write a book with each album.

What inspired "The Dumbing Down"? And is it correlating with Anathema's Destiny? There is Polish in the track - what is the woman saying, why did you pick Polish? Are the women grieving over Destiny's death?

DP: The Dumbing Down is split into three sections. i. The Travesty Waltz. ii. Steakknife's Theme. and iii. Silent Approval. Part 1 is just a play on words about 'destiny is dead' making no sense. Its a tongue-in-cheek retort to something aimed at me long ago. The Polish factor in part 2 is based on something that I witnessed in Poland a few years ago. Two obsessive fangirls chasing after a musician friend of mine, and they ended up turning on me for giving them sensible advice (to basically leave him alone and have some self-respect). I used a similar theme to Destiny because of the last lyric on part 1. Again theres a dark humour about it. Part 3 is the morse code piece 'Committed to ignorance, you let the lying dogs sleep', which is a play on words.

There is Morse code in the track. Could you tell me what it says?

DP: Committed to ignorance, you let the lying dogs sleep.

Please explain the two song titles - Automata and Autonoma.

DP: I used Automata in the mechanical sense, people following without thinking. And Autonoma is the passage into becoming autonomous, independent and de-programmed, so to speak. Thats why it's a long monotonous piece of music with a pleasant climax. It requires a bit of thought to understand and feel it, which I know will go over a lot of peoples heads. But I'm not going to dumb-down my creations to cater for ignorance.

Did you travel to Australia to record the guitars and vocals with Mark Kelson?

DP: Yes I flew to Melbourne for the vocals and guitars. I had to anyway, as I played a lot of the guitar on the album. But I couldn't have recorded any other way than to be in the studio with Mark and go through all the parts. We worked really well together, Mark is a great sound engineer as well as a singer/guitarist. I'm proud of the way he approached this album because he is a writer himself and I know it won't have been easy to sing someone elses words in someone elses style when he is used to his own natural way. He did great and he knows what the album is all about. He has been making music for a long time and has witnessed similar things that I have.

What feedback have you gotten from the people you've given The Brink? Have Vincent and Danny heard it?

DP: Most of the reviews have been positive and a lot of people from the old times have written to me and told me they felt nostalgic after listening to it. I like that. The only negative ones have been the journalists writing that I'm "taking ideas from Anathema". Which, again, is perfect irony because they were all my ideas in the first place. In fact the musical shift from death metal to the Alternative 4 album was more or less down to me. I don't think Vinny or Danny have heard it yet but Vinny has been helping me to promote the tour online and stuff. I'll pass them copies whenever I see them next.

What's your dearest memory of the time with Anathema, and the most terrible one?

DP: I think it has to be the first European tour that we did in 1994. We were headlining with At The Gates and Cradle Of Filth supporting. It was wild, like a bus full of juvenile delinquents with a free bar every night. We were all young and (mostly) irresponsible. The most terrible one was the disrespect that I felt at the time that I was quitting the band. I had just written the majority of the 2 albums that made people stand up and take notice of the band, yet there was only really Danny who appreciated that. Well he had no problem giving me the credit for it. We were surrounded by some horrible parasitic people at that time and I just felt so hard done by.

And with Antimatter?

DP: With Antimatter it was the Lights Out album and the tour that followed it. The gig in Istanbul was magic and people were singing along to all of the songs, even from Lights Out that hadn't been released there. That was a great night, and a huge contrast to Greece where they were just shouting out requests for Anathema songs. The low point, again, was when I quit the project. Mick wasn't happy with the way things were going, and I was doing all of the work so I didn't feel that my efforts were valued. Its difficult when stuff like that happens between good friends. It was sad to walk away from a project that I built up, but in the long run it was great for me to get away from it all and 'cleanse' like I mentioned before. That ended up becoming the point in my life where I made a huge spiritual shift and shed away an awful lot of negativity, both internal and external.

What are your favorite Antimatter songs?

DP: Of my own compositions its Flowers & Reality Clash. From Mick its Psalms & The Art Of A Soft Landing.

What's going on with ÍON? Do you plan any new releases?

DP: I will work on the third album when the time is right. Its a concept about 'the travellers rest', generally touching on the need to refresh and recharge. Expect a lot of drawn-out ambient passages. I'm looking forward to getting into this when I'm ready.

What do you remember from your last visit to Bulgaria? There are legends being spread that you forgot your jacket with all your credit cards, then a guy sent it to you...

DP: Ah Ivo! Good man, he invited us back to his house to drink gallons of red wine and I mistakenly put his jacket on when I was leaving. It wasn't till I woke up on a train to Serbia that I realised I had left my jacket, phone, and credit cards at his place. He kindly send it back to me though, and I returned his. Bulgaria can get wild can't it? And, for all of my talents, saying 'no' to a party isnt one of them.

You have so many great projects, and yet people still introduce you as "that guy from Anathema". Does this annoy you?

DP: Yeah, as I said before it has been the bane of my career. I could write 'Revolver' now and people would still do the same. I have considered releasing music under a pseudonym and I may well do it in the future. At least for the 'social experiment' aspect.

Why did you leave Anathema?

DP: It was something that was on the cards for years. I was carrying the band, both musically and in every other sense. The guys got very lazy after Darren went and I was left to deal with everything. Danny went through a difficult period in his life around the time of Eternity and I stood up and took the musical reigns while he wasn't so creative. Thats how I ended up writing lyrics on his tracks, as he didn't have the energy or motivation at that time. I was always living in the hope that the guys would start to take more responsibility, but it never happened. Then around the time of Alternative 4 we were having big problems between us. A lot of it was a lack of communication, which we were all guilty of. And there were problems between all three of us, not just me versus Danny, which seems to be the accepted version of the tale. As I said earlier, we were surrounded by real parasitic people who were giving each of us their own 'advice' to basically play us off against each other and take advantage of whoever ended up leaving or being fired. We were very close to splitting up and then a family tragedy struck for the brothers. It was then that I put it all into perspective and told Danny and Vinny to sort out their differences and continue the band, and I decided to pursue another project. That was a pure gesture from me out of goodwill and decency. I'm glad I came away with my head held high. But after that I was shit on from a great height. I was stopped from making music, silenced in the press, and lied about and defamed in big magazines. I had my royalties stopped (illegally) and I was in a dark place for a while. I didn't deserve that at all. Then a couple of years later I bumped into Danny in a club and he helped fix a lot of the problems. He made sure that I got paid again and apologised for the band making me the scapegoat for their own chaos and guilt. I also bumped into someone who was close to Vinny at the time who told me "WE didn't mean to hurt you, WE had to do what was best for the bands image after you left". She used the word "WE" which confirmed that she was involved in influencing a lot of that shit. And I wont even mention the name of the guy who unsuccessfully replaced me. He was the ringleader and his departure coincided with me being friends with the guys again. Well, that was no coincidence. Anyway, neither of these people had anything to do with our music or the band. But they managed to force their way in. There were many of those kinds of people around us like vultures. We were young though, and still learning about all this. And the important thing is that we sorted it out long ago and we get along better than ever.

Do you ever regret it?

DP: Not at all, but if I was ever in that position again I would never allow people to defame me like that. There would be legal action for sure.

If you had stayed, do you think Anathema would've changed their sound so drastically?

DP: Well one of the things we were discussing was the use of instrumentation. I wanted to write more piano-based stuff and bring in a female vocalist, use more ambient sounds etc. While they wanted to be more guitar based and heavy, as they famously said during the Judgement interviews. Its funny the way things turn out.

A lot of people say that Anathema has become Danny's solo project, and its only subject is his spiritual path. People want him to give more space to the other members so that subjects can be more diverse. You say Danny is a great composer but actually John and Vincent are brilliant too. Don't you think they should compose more?

DP: I think thats unfair for people to say that about Danny, because without him they would have struggled to write even one album since I quit the band. John and Vinny have their moments but Danny is by far the creative force in that band. It took seven years for their last album to be released, it would surely have taken longer if Danny had have sat back and waited for the others to write anything. At the same time though, I was in the studio with them at their last session and Vinny worked for three days solid on the synth sounds and production side of things. So his work ethic is a million times what it used to be, though composing is a different matter. Its not something that can be forced and not everyone has the ability.

Do you like the positive energy in Anathema's music today? Isn't it too poppy?

DP: I really like their last album. There have been some great tracks on previous albums, but none of them were complete 'albums' to me. WHBWH is a solid album from start to finish. Its not something I would create, or a style that I would be into playing, but it is purely them. It sounds like them and they haven't be afraid of the critics while creating it. That really shines through on the album too, along with all the positive lyrics. Fear should never play a part in creating art.

Danny stopped drinking and smoking 6 years ago - have you ever thought of following his example? Or do you think suffering is what makes good music?

DP: I don't smoke and I take care of what I eat. I also sorted out my unhealthy habits a while ago. Drinking is not a problem for me, it doesn't put me in a dark place nor do I have an addictive personality. I can take it or leave it. But some people can't and I respect Danny for taking responsibility and steering clear of alcohol, especially when you consider that he is surrounded by it a lot of the time. I think when suffering shows through in music its us, the listeners, who relate to it and have that feeling that we're not alone in difficult times. For example I love The Boatmans Call by Nick Cave, which was written during a break-up. I can relate to that and thats why it is special for me. Theres also plenty of good music that doesn't really mean anything, but I cant imagine getting close to something like that, other than for nostalgic reasons if it reminds you of a certain time/place/person.

Everyone knows that Anathema wouldn't be what it is without you. What do you think makes the old Anathema albums so special that people still keep missing them, and want this time back?

DP: I don't think many people know what I did for the band, at least the new wave of 'fanatics' as a lot of it was hushed up at the time of my departure. I was also written out of the band biography by their record label a long time ago. But its true that a lot of people miss the old albums. I think that we did something special back then with the use of melodies and dynamics and so. Also the lyrics were very honest and direct so people related to it. A change of instrumentation is difficult for some people to perceive, and also the whole 'metal' thing. I have had quite a few people telling me things like "I wish you were still in the band, so they would be heavy again and not trying to sound like Pink Floyd", and I feel funny trying to explain to them that it was my fault. I wanted to sound like Pink Floyd , I introduced the guys to Pink Floyd, and I didn't write a metal track since A Dying Wish (which is also very Floydian).

You say that when you were in Anathema some of the demos turned better than the final versions. Which ones?

DP: The stuff that we demo'd for the Eternity album really. They weren't sonically better but had a much better feel to them. We didn't record that album very well and allowed too much instrumentation to go on. Me and Danny should have taken more control over things but he was having a hard time at that point, and I'd never been in that position before as the principal songwriter. So I didn't know how to keep things in order without coming across as a musical dictator or something. Though by the time Alternative 4 came around I had little room to compromise and I kept everything tight and minimal.

I've always been intrigued by the cover of Alternative 4 by Anathema. What is this creature? An astronaut? An angel? What is reflected in the space suit?

DP: It is actually a religious statue that was scanned into a computer. Then used a space helmet visor from one of the moon landing shots. I went to Tim Spears house, the guy who did the artwork, and it took us about an hour to do. I had a few different ideas for the cover but this was the one. As most of the album is about trust, I wanted to use a sinister, thought-provoking image. I was reading a book called Alternative 3 which is about colonising the moon and also touches on the moon landing pics being fake and that. I combined that with religious imagery and came up with that cover. I remember that Music For Nations didn't like the cover, and originally removed the wings and tried to change the 'alternative 4' font, because they thought it didn't fit. I was stubborn though and made sure that they fixed it. They also changed some of the lyrics and punctuation which I had originally typed into their computer in their office. Crazy stuff!

"I remember a night from my past when I was stabbed in the back" - is there a real story behind those lyrics?

DP: Theres a real story behind all of my lyrics. Most of that album is about trust and betrayal, and this was one of those moments.

The end of the song Alternative 4 always makes me laugh - why did you choose this weird accent? And how did German fans react when they first heard it - the holocaust is a very painful subject to them.

DP: We were laughing too, it was intentionally humorous for us and Vinny is a great impersonator. We wanted to make it sound like 1930s style or something. As for the use of the word holocaust, it has nothing to do with Germany or the 2nd World War. I was actually referring to Armageddon. I really don't see how people could connect that song to the nazi atrocities. It wouldn't make sense at all.

Do you have any idea why Les Smith left Anathema?

DP: I do actually, but its not my place to say. Les worked a lot for the band, though more in a managerial role than a musical one. He should be respected for that, as a lot of things just wouldn't have happened if he hadn't been there to sort them out.

Both you and Danny want to do soundtracks. What is so special about cinematic music? Which movie would you make a soundtrack for?

DP: I'm not actually a big fan of movies but I love the audio/visual thing. I'd love to do the soundtrack for my own movie. I actually have an interesting plot for a film that I don't think would work as well in book format. And I have been asking some film students that I know, for years, about working on something together. It will come when the time is right. Its a great concept and a very positive message.

What are your top 5 most personal albums?

DP: Nick Cave & The Bad Seeds - The Boatmans Call
Lisa Gerrard & Patrick Cassidy - Immortal Memory
The Beatles - Help
Pink Floyd - The Wall
Pink Floyd - The Final Cut

Where do you feel at home?

DP: Ireland is where I have felt more at peace than anywhere else. Liverpool will always be home though. Recently I have taken time to get in touch with old school friends in Liverpool and reflected on times that I didn't give attention to till now. It has been comforting in a way.

After all this years - is it so, so, so terrifying to lose control?

DP: I don't know now, it has been a long long time. But it is unnerving to see my friends losing it, which has happened a few times recently. Thats where my healing research comes in useful.

So are we or aren't we just a moment in time?

DP: We are actually, in this human form, which is what I was writing about. Though destiny can't die, and freedom is not only a hallucination ;)

Is everything energy? :P

DP: It must be. I'm not arguing with Einstein, or that woman who wrote The Secret.

If the doors of perception were cleansed, would every thing appear to men infinite?

DP: Love and magic

Love / One

Действие n

Тъмно. На стената е облегнато голямо огледало. Ния и Дара влизат. Сядат на пода една срещу друга.

Дара (чуди се дали да каже): ...отчаяното желание да споделиш халюцинацията си със света...
Ния: Няма как, душичке.
Дара: Ето това е трагичното.
Ния: Защо да е трагично? Виж го от друга перспектива. Това му е забавното. Играта на различните халюцинации.
Дара: Но... но, то е толкова красиво, Ниичка, искам всички да го видят! Хахахаха, искам всички да ме прочетат!
Ния: Ама всеки си има едно такова красиво в душата - няма нужда да им показваш своето.
Дара: Ама ти си в моето, Ниичка, ти си вътре.
Ния (усмихва се): Не ме товари с тази отговорност, Дара. Не ми давай тези крила.
Дара (плаче): Ама те... те не тежат, душичке!
Ния: Защо тогава ми ги даваш?
Дара (смее се): Хахаха, лети сама, а?
Ния (усмихва се лукаво и поглежда към огледалото): Яяяя! Я-я-я-я-яяяя!
Дара: Не, не, не, не!
Дара: Хаааа!
Дара: Дали сме луди?
Дара: А не, бе! Прибрахме се вкъщи след работа, изгасихме лампите и седнахме прегърнати пред огледалото.

It's calling / killing me.
And in my darkest moment, fetal and weeping
The moon tells me a secret - my confidant
As full and bright as I am
This light is not my own and
A million light reflections pass over me

Взехте ми небето

Небето те изяжда
Не небето над NY
Oнова, сивото, огромното
Над Берлин
Където ангелите не са руси и високи
А човеци
Глупави маймуни
Не знаят ли тези ангели
Че Раят има достатъчно,
че да ни погълне

Защото с Aurica бяхме деца заедно и откривахме света, без да се познаваме - пишехме си писма на немски в продължение на 4 години - тя в сивия Берлин, аз в пролетна София - всяка вечер по 13 страници, на лунна светлина и планинска сянка и после тя не пожела да се срещне с мен в Берлин. Прати ми тази снимка.
Направи ме човека, който съм и не пожела да се видим. Въпреки че трябваше да се пазим една друга от порастване. Както и да е, простих й. Не мога да не я обичам. Тя е моят ангел.

Историята е епична. Писмата са изгубени. И ме е толкова страх да посегна към нея, защото не искам да се упражнявам върху нея, разбираш ли? Искам да я напиша съвършено.

Всичко е самовнушение

(Тъмна стая. Само по тавана се разливат светли езици в извънземни форми.)

Дара: Не съм го събудила, нали?
Ния: Не. Той не спи.
Дара: Не спи ли?
Ния: Не, разбира се. Ти губила ли си някога близък човек?
Дара: Не.
Ния: И да спиш, пак е болка. Видях как майка ми загуби своята майка... и беше непоносимо.
Дара (започва да пише): Проблемът е, че всичко, което напиша, изчезва!
Ния: Ама ти нищо не си написала!
Дара: Написала съм.
Ния: Не си!
Дара: Не, ето, написала съм, тук трябва да пише: „Виждам.”
Ния: Нищо не пише. Пиши!
(Дара пише.)
Ния: Дара, химикалката ти не пише! Да ти донеса ли друга? Да ти донеса ли молив? Молив по-добре...
(Носи молив)
Дара (пише):
„Майка ти е умряла и това оцветява пътя ми / му. Нямам право да мисля за това. Нямам право да пиша това. Дали е емпатия? Или егоизъм? Къде са границите, където двете се сливат? Думите изгряват на листа като в картина на Anathema. Всъщност това е първото, което ти споделих. Колко различен беше тогава, колко безсмислен и неопръскан със символна кръв. После дойде и си играеше с обицата ми и това пак беше лишено от смисъл. Но вече не е. Защото майка ти е умряла и аз чувствам това...”
(Започва да плаче. Никой не реагира. След минута хваща молива и отново започва да пише. Смях.)
Ясен: OK, back to normal now… Поплака си, но трябва да се пише. Чшшт, чшшт, чшшт...
(Смях.)
Дара: Звучим ли вече като в албум на Porcupine Tree?
(Мълчание.)
Дара: Всъщност няма откъде да се върнеш, защото...
Ясен: Защото си си у дома?
Дара: Защото си си у дома. Смъртта го направи красив. Ето. Всичко е самовнушение. Само че някои самовнушения са по-внушителни от другите. Като във „Фермата”. Трябва да му го напиша!
(Взима телефона.)
Ния: Не! Дара, дай ми телефона! Не, не, не. (Взима телефона) Ако бях на негово място бих прибегнала до физическо насилие!
Дара: Добре, мамо... Не си много добра майка.
Ясен: Е, нали отглеждате дете – вие трябва да знаете какво е да си майка...
Дара: Точно това е! Не знаеш. Дават ти едно парче месо в ръцете и ти казват: „Оправяй се!”
Ния: Дават ти една черна кутия и не знаеш какво се случва. Пъхаш вътре някакви жакове и пробваш, експериментираш кое ще подейства...
Дара: Искат от теб да ръководиш живота на някого, при положение че дори не знаеш как да ръководиш своя!
Ния: Кой иска?
Дара: Животът иска.
Ния: Животът иска да ръководиш живота?
Дара: Да, както ние водим Ана за ръка...
(Мълчание)
Дара: Всъщност, Ния... Въпросът е, че това, което има значение за мен, няма никакво значение за него.
Ния: Остави го. Той е във своето си нещо. Няма как да влезеш в него, няма как да построиш мост към него. Той е сам.
Дара: Защо трябва да е сам?
Ясен: Абе, остави човека на мира!
Ния: Не можеш да му помогнеш.
(Мълчание)
Дара: Това е големият спор... Дали е или не е сам...
Ясен: Имам ли шанс да си хапна от тая манджа?
Ния: Моля те.
Дара: Ръката ми е много странна. Сякаш не е моя, сякаш е пластмасова...
Ния: Я я размърдай.
(Дара раздвижва пръсти. Смее се.)
Ния: Ти ли я движиш?
Дара: Не.
Ния: Кой я движи?
Дара: Ти. От ръката ми тръгват безцветни нишки към теб.
Ния: Хммм... Дали мога да те накарам да направиш каквото искам?
Дара: Опитай.
Ния: Мммм.
Дара: Ния!
Ния: Ама не исках това!
(Смях.)
Дара (гледа към Ясен): Пръстите му имат очи..
Ясен: Слагала ли си патладжан или бамя вътре?
(Смях.)
Дара: Аз пиша с ръката, която вижда...
Ясен: Тя не е ли моя?
Дара: Твоята ръка е моя. Ния ръководи ръката, която има очи... Забелязали ли сте колко е красиво това горе? (Гледа към светлините)
Ясен: Да, това горе си говорих няколко пъти с него. Дори го рисувах.
Дара (пише): Дори го излъгах...
Ния: Не го е излъгал, рисувал го е.
Дара: Не, той каза, че го е излъгал!
Ния: Рисувал го е, спри да пишеш – сега лъжеш, като пишеш.
Дара (пише):
„Виждам как дишаш. Виждам как гръдта ти се движи нагоре-надолу като клонка живот. Всичко е разпиляно и ти го събираш бавно и методично към светлината. Страх те е да останеш насаме със себе си, искаш всичко да документираш. Страх те е да влезеш в себе си, където никой не пише, където другите не пишат, прекалено светло е, извънземно е. Извън земята. Това е, което искам да ти кажа цяла вечер. Ние сме извънземни, защото сме били пръст, на пръст сме станали и сме били извънземни помежду. Без земя, без майка, без пръст под краката.”
(Ясен става. Дара става и го прегръща. Прегръдките са космически. Сливаш се.)
Ясен: Как хубаво стъпи на краката ми.
Дара: Така стъпвам на краката на Ния, така стъпвах на краката на Румен, така стъпвах на майка си на краката, защото няма как да стъпваш сам и после стъпките ти се впиват в чуждите и винаги животът ти е в нечии стъпки.
(Мълчание.)
Дара: Ния, това е проблемът. Че ние пишем някакви лични неща, които засягат други хора... И когато ги пишем, ги засягаме...
Ния (смее се): Лично?
Дара: Да.
Ния: Вие всъщност се страхувате от собствената си душа. И бягате от нея чрез други хора...
Ясен: Те пишат за себе си.
Дара: Не, ние сме другите. Разделението е самовнушение... Ния, дай ми телефона.
Ния: Това е толкова нагло. Да му напишеш, че да скърби по майка си е самовнушение. Ти наистина не обичаш майка си.
Дара: Не.
(Затваря очи и потъва. Пише наум.)
„Всичко свърши. Край. Затваряме кепенците. Шоуто свърши. Прибираме парчетата живот, в които крещи светлина... които ни гъделичкат, докато спим и пропукват съня. Всичко това е такава поза. Не мога да те разбера, докато не си представя своята майка умряла. Всичко притъмнява, притъмнява, притъмнява... Все по-тъмно. Всичко спира. Сгъвам се на точица. Вътре в земята. Гади ми се.”
Дара: Ния... Не мога да си представя, че някога съм била в утробата й.

godspeed

...infinity sweeping and falling away from you in all directions a dream you keep having where you are falling slowly or fast there is no bottom never has been or will be you will never land...

...all radial sound waves eminate from machine's busted heart like thin, infinite pink lasers or else sometimes like mile high cloud of bees or burred ton sinking...

...Babylonian Triangle of Captivity (are lights, triggered motion detectors activate nine grid sweep by roboticised surrveilance cameras and rapid deployment of cranky armed response team, fluorescent lights buzzing you are really very hungry and the buzzing parts puts this pain in your skull like geothermic plates scraping against each other, you are having a bad day you cannot see what he is typing into his computer but the thing beeps twice when he enters your name)...

...signal source = heart rusted machine blown, tubes ruined, torn gears, jury rigged wiring is faulty; shoots sparks (blue), smoke (black), flames (white) and buzzes uncontrollably...

...the things we endure, soon they are distant bad memories: we spent the last of our money on taxicabs + beer, stayed up all night hatching plans...

...tape loop so long it was rocketed thru atmosphere by wigged-out soviet cosmonaut - one edge rapped around a distant japanese weather satellite, other edge mounted on junked ¼ inch tape machine with misaligned heads; spinning satellite acts as a captain, tape loop moved over heads of tape machine at speed of satellites orbit x speed of earths orbit; playback is sporadic, tape loop so long it will take three lifetimes to hear its entirety...


[Regret] F#

[Fear] ∞

[Desire] A#

[Hope] ∞



1. continuous self-doubt...

3. inescapable police car/anxiety continuum

a. lack of money, resources... (helplessness)

Interview with Katatonia

How do you combine creativity with fatherhood and touring? Do you need discipline to pull it off or is inspiration something that cannot be forced?

Anders: Well, it depends on what I compare with. It's definitely not like in the past where I wrote all the album's music effortlessly by myself and honestly I don't know if I ever will be in that situation again. These days I rarely get the time to write at all, I'm always busy and that doesn't really leave a lot of room for motivation. These recent years, or especially 2007 and 2008 was probably the worst creative period I ever had. I wanna change that around now, so I'm trying to keep some guitars close at hand around the home, to be reminded and to have the opportunity to grab one when the inspiration shows up. I also have a small homestudio setup that allows me to write and record all my ideas, but the power has very rarely been on. Hopefully this will change too. I don't want to force myself, but I probably need to, if something is gonna come out of me at all. I need a big kick in the ass and a few more hours on the clock!


Jonas: This is something I have chosen. It works fine. Sure, I'm away for a long time occasionally but I also spend more time with my kids when I'm home since I have free time then.


Jonas, what kind of music do your sons like?

Jonas: I have two sons, one is eight and one is two. Both of them seems to like music very much, right now it's Eurovision kind of hit songs that are popular.

Do you sit down to compose music or do you wait for inspiration? 

Jonas: It differs from time to time. Sometimes the best idea in the world just comes without warning and sometimes I have to sit around playing guitar all day to find something ever so small that is worth working further on...

Night Is The New Day really surprised me because it’s the most harmonious and homogeneous record you’ve ever made. It’s a huge leap. How did this happen? Does it reflect your maturity as people in real life?

Jonas: I guess so, I haven't really thought about it. We get different sources of inspiration all the time. Stagnation is not an option.

When you listen to the album, does it take you to any particular place or time?

Jonas: Well, just the room where I was struggling with the songwriting. Unfortunately, I'd like them to resemble a much more beautiful place. But I think it is not for me, but the listener!

When and where do you write lyrics?

Jonas: Usually I collect parts, things I write when I'm home. Then I finish everything in the studio.

Do you do a lot of re-writing? Is editing your own lyrics hard?

Jonas: Loads of re-writing! It's kind of hard but I know that it will be worth it in the end!

How do you find the balance between simplicity and cliches?
Jonas: Im not sure I have found the balance, haha. But I hope that I have an inner censorship that prevents me from using at least the worst cliches.

You’ve said that the bird in Unfurl represents death – is this song about addiction or letting go?

Jonas: Could be both actually.

Were there any direct experiences that inspired Deliberation?

Jonas: Not really, just a lot of serious thoughts boiled down to something quite abstract.

Are you excited about touring with Opeth in the States? What do you think of Heritage?

Jonas: I think the album is great. It is the kind of music Opeth have been leading up to since their beginning. I am really looking forward to the US tour. Fantastic times are going to be had.

What do you think of Mike’s sense of humor?

Jonas: Well, he is a funny guy. Personally I think the music of Opeth is more serious and live shows would be more in line with the bands outlook if he didn't want to be the new Jerry Seinfeld all the time. But he knows my opinion on this and apparently he doesn't give a shit. Haha.

We know you like Jeff Buckley and Radiohead, what other non-metal bands inspire you?

Jonas: Sun Kil Moon, Red House Painters, Talk Talk, Massive Attack... and much more.

What are your top 5 albums? (No exact order)
Jonas: Right now... Sun Kil Moon - Admiral Fell Promises, Tool - Aenima, Morbid Angel - Blessed are the sick, Red House Painters - Ocean Beach.

Anders: It's easier to point out top artists, or top songs, but top albums... That's just too hard! I guess the most personal top album of all time to me would be The Cure's 'Disintegration', so I'll leave it at that.

Anders, what’s in rotation on your mp3 player right now? Have you discovered any cutting edge bands lately?

Anders: I've been cranking Morbid Angel's 'Illud Divinum Insanus' a lot for obvious reasons. The new Autopsy record as well! Other artists on rotation would be Sun Kil Moon, Rebecka Karijord, Fair To Midland, Lisa Miskovsky, Whitesnake... I keep my playlist very mixed and versatile, so there's always something for each mood and situation.

Is there a band you can’t stand and why?

Anders: Oh how much time do we got here haha! The first one that comes to mind is Godsmack! They do a great job at being terrible to both my ears and eyes.

What’s the song that describes your mood right now?

Jonas: Lars Danielsson - Berlin.

Anders: Any tune about sleep, getting way too little of that these days. i need a nap right now!

I think every Katatonia fan has one nagging question: what’s up with the EPs? :) Do you put your best songs on your EPs on purpose? Are they a reward for tru fans?
Anders: They are! I think ep’s are great collector items! The editions are usually really small and limited and there’s only space enough for a couple of songs, so you can promote maybe a main single off the album and then put some remixes and/or unreleased songs on there that just makes it really special to own. For some reason the songs we decided to put on our EP's have become fan favorites, but it's not intentionally, it's just some odd tradition that seem to repeat itself.

Do you have any Easter eggs (hidden messages) in your albums that no one has discovered?

Anders: There's been a few enigmas about the artwork on a few albums with some symbols and some text that people raised their eyebrows over. Nothing we planned on revealing or commenting on though. We like to keep things obscure.

When you write songs is there a moment when the songs start writing themselves?

Anders: Yeah usually that happens when you're really caught in the flow and reach the creative peak. It's a lovely feeling when you have the "luxury" to even trash ideas and sift through lots of left over material instead of waiting around for any material to even appear. Everything we write goes through a filter process, or even a couple of them, so we're very hard on ourselves. Every piece of the song has to be there for a reason and talk to us, so once we connect, the stream is steady.

What about Travis Smith – what’s your collaboration with him like? You obviously inspire him, but does he inspire you? How did you pick the cover of Night Is The New Day?

Anders: Yeah we've been working together for 11 years now and he's done every Katatonia album artwork since then. It's always intriguing working closely with Trav because we spin off each other's ideas. It's like walking a ladder, where I might get stuck he knows how to take another step and vice versa. I think we're a great team. We're actually working together right now on the new artwork for our upcoming DVD.

What’s the weirdest dream you have ever had? Are there any songs you’ve dreamed of?

Jonas: I usually don't remember my dreams, and the weird ones I remember are too complicated to tell, haha. I can use parts of interesting dreams in lyrics but it's not very common.

Anders: I kinda have bizzarre dreams every night. They're reminiscent of weird and hard to get David Lynch movies and mostly out of context. Sometimes I wish I could record these dreams and watch it again when you wake up, sometimes I don't!

Does Katatonia have a therapeutic effect for you? As Anders put it in an interview: "channeling the negativity" out of your system?

Jonas: Yes sometimes it's a real relief to immerse into the world of creativity and forget about all the bollocks in the real world.

Anders: Yes that would be fair to say. I'm pretty sure I would be a quite introspective, socially withdrawn and negative person if I didn't have Katatonia cause I wouldn't know any other rewarding method to release the demons. I think it's a very delicate thing, a very sensitive decision to have all your own emotional and uncomfortable states of mind as the direct source and also fuel for creating music/art. But this is what we chose a long time ago and thus who we are.

You speak of the void your music creates and your lyrics have phrases like “I am nothing”, “dark night of the soul”, “repeating cycle of light/no light” which remind me of Eastern philosophy – non-duality and enlightenment teachings. Are you interested in them, and do you think this void mental state is actually liberating?

Jonas: I would love to look further into a philosophy like that because it would work well with me. But I definitely don't have the enthusiasm to study... Void mental state is good sometimes.

Do you still think that labels will become obsolete with the expansion of internet? A lot of big bands like Radiohead and NIN sell their new records directly online which makes it much easier to support them.

Anders: I think record labels are a dying breed. Technology is advancing fast and much of the record label industry don't keep up and they're not just one step after, they're far behind! If or when the artist gets the sole control and power to promote themselves and the finances to allow them to fund their own touring, a record label would be the last thing they'd need in the equation, but we're not quite there yet.

Everyone has a ridiculous dream they haven’t fulfilled yet. What’s yours?

Jonas: I want to have my own house with an escalator leading down to my own subway station in the basement. It's something I have dreamt about for many years.

Anders: You know what, that would be go sharkdiving! Getting down the ocean face to face with a great white been a dream ever since I was a kid. I need to make that happen!

gy!be - static

...and so the path through the great corridors
these are corridors unto his perfection
that is which the prophet and the oarman summoned has penetrated
that through this great sea of blackness
that i penetrated through these corridors
and i went through that last segment
where i went through these dark serpentines
i passed through that corridor
where they sat
where they are
and when you penetrate to the most high god
you will believe you are mad
you will believe you've gone insane
but i tell you if you follow the secret window
and you die to the ego nature
you will penetrate this darkness
oh yes there's many a man or woman
that's been put in the insane asylum
when this has happened to them
and they're sitting there today, people think they're insane
but they saw something that's real
and they see it when they're on drugs
the only thing is they see it
not through the light of god, and the way i show you
i show you to see it through the light of god
and the understanding of god
because when you see the face of god you will die
and there will be nothing left of you
except the god-man, the god-woman
the heavenly man, the heavenly woman
the heavenly child
there will be terror under this day of night
there will be a song of jubilee waiting for your king
there will be nothing you will be looking for in this world
except for your god
this is all a dream
a dream in death

and so i went through that window
and the tower of hell and the great serpentines of the highest order
and i went through that when i showed you chart
the question is asked and learned and someone who....

waking life

The term "lucid dreaming" refers to dreaming while knowing that you are dreaming. The "lucid" part refers to the clarity of consciousness rather than the vividness of the dream.

Usually lucidity brings with it some degree of control over the course of the dream. How much control is possible varies from dream to dream and from dreamer to dreamer. Practice can apparently contribute to the ability to exert control over dream events. At the least, lucid dreamers can choose how they wish to respond to the events of the dream. For example, you can decide to face up to a frightening dream figure, knowing it cannot harm you, rather than to try to avoid the danger as you naturally would if you did not know it was a dream. Even this amount of control can transform the dream experience from one in which you are the helpless victim of frequently terrifying, frustrating, or maddening experiences to one in which you can dismiss for a while the cares and concerns of waking life. On the other hand, some people are able to achieve a level of mastery in their lucid dreaming where they can create any world, live any fantasy, and experience anything they can imagine.

Knowing you are dreaming simply allows you to direct the dream along constructive or positive lines, like you direct your thoughts when you are awake.

- Що да не бъдеш щастлив с някоя жена, бе тати?
- Защото... тя говори.
- И аз много говоря. Непрекъснато заливам хората с информация.
- Да - информация. Не им обясняваш колко е солена солта!


***


- И някой философ, не помня кой точно, казва, че целта на живота е пълният покой - това дори не е блаженство, защото е неоцветено от каквито и да е емоции.
- Ами, че това е смъртта.
- Да, аз като ти обяснявам, че в смъртта е истината, ти не ми вярваш.
- Едва ли има някой, който повече да ти повярва, моето момиче.

:)

And it's my job to be embittered and constantly proving the mystery

all the love

We fear the things
We do not understand

The powers

Of good
And evil

Of the world

The past
The future

The promises

The folly
Of those who died

For nothing

Leaving their wives
And their children

For love

The only thing
That makes us human

Теологията на въображението в творчеството на Уилям Блейк

–        Исус - рече той - той е единственият Бог.

Но след това добави:

–        Както и аз, както и ти.[1]

Така младият журналист Хенри Краб Робинсън предава част от разговора си с поета и художника Уилям Блейк. Това е типично за Уилям Блейк изказване – кратко и ясно, почти афористично, но въпреки всичко двусмислено. Интерпретацията на вярванията на Уилям Блейк винаги е била нелека задача, но може да започнем с разбирането му за „Христос” като символ на човешката способност за въображение. Думите му към Краб Робинсън говорят, че той не само е вярвал, че божествената същност на Исус Христос съществува редом с всеки човешки индивид, но и че истинският спасител на човечеството е въображението.

Блейк има предвид една много специфична форма на „въображение” – форма, която съдържа нашето съвременно тълкуване, но обхваща и идеята за онази област на ума, която днес наричаме подсъзнание. Според Блейк Исус е ключът на нашата култура към предсъзнателната енергия на въображението:

I know of no other Christianity and no other gospel, than the liberty both of body and mind to exercise the divine arts of Imagination. Imagination, the real and eternal world of which this vegetable universe is but a faint shadow, and in which we shall live in our eternal or imaginative bodies when these vegetable, mortal bodies are no more. The apostles knew of no other gospel.[2]

Дистанцираното разчитане на дълбоките кодове на религията присъства в цялото творчество на Уилям Блейк. Впечатляваща е способността му да се абстрахира критически от тогавашните религиозни и философски институции. Той съумява да анализира състоянието на въображението в умствената среда, в която е роден, по истински радикален и обективен начин. В много отношения Блейк изпреварва времето си. Явно му липсват определени изрази относно структурите на ума – лексика, която се развива осемдесет, сто години по-късно. За да се справи с тази липса, Блейк изобретява собствени понятия. Той дава множество имена на различни умствени енергии и способности. Тези енергии биват персонифицирани в отделни индивиди, обитаващи града наречен Голгонуза – Градът на въображението. Донякъде може да се каже, че Блейк е ранен психолог, тъй като интересите му са насочени главно към умствените феномени, чиято колективна форма движи събитията в историята.

            Имайки предвид психологическия контекст, не би било неоснователно да заключим, че Уилям Блейк смята религията за човешко творение. За него творчеството възниква от дейността на „Поетическия Гений” – олицетворение  на човешкото въображение:

Principle 2nd: As all men are alike in outward form, so (and with the same infinite variety) all are alike in the Poetic Genius.

Principle 5th: The Religions of all Nations are derived from each Nation’s different reception of the Poetic Genius, which is everywhere called the Spirit of Prophecy.

Principle 6th: The Jewish and Christian Testaments are an original derivation from the Poetic Genius; this is necessary from the confined nature of bodily sensation.

Principle 7th: As all men are alike (though infinitely various) so all Religions etc., as all similars, have one source. The true Man is the source, he being the Poetic Genius.[3]

Вярванията на Блейк преминават от пантеизъм („everything on earth is the word of God & in its essence is God”[4]) през хуманизъм („God only Acts & Is, in existing beings or Men”[5]) в хуманистичен пантеизъм („Thus men forgot that аll deities reside in the human breast”[6]). Или както казва Исус в Jerusalem: “I am in you and you in me, mutual in love divine”; “Within your bosoms I reside, and you reside in me”[7]. Блейк често описва божествената енергия като нещо, което съществува едновременно във и извън човешкия ум: „Man is All Imagination. God is Man & exists in us & we in him”[8]; „God is within, & without! he is even in the depths of Hell!”[9]. Във въображението Бог и човек стават неразличими. Божественото и човешкото въображение не са две отделни сили, а една. За Блейк тази сила е сакралната природа на реалността: „Every thing possible to be believ'd is an image of truth”; „How do you know but ev'ry Bird that cuts the airy way, is an immense world of delight, clos'd by your senses five?”.

Може да се каже, че по един или друг начин Блейк е вярвал, че вселената (или поне вселената, която познаваме) се съдържа в човешкия ум. Това включва не само цялата доктринална структура на установената религия, но и образа или идеята за Бог. Следователно е логично да предположим, че Блейк е бил противник на разпространената по негово време деистична идея за Бога като далечна и външна сила. Според деизма Бог е отдалечен не само в пространствено, но и във времево отношение – след създаването на вселената, Той се оттегля и повече не взема участие в потока на събитията. Деизмът също така твърди, че единственото духовно измерение на вселената е в същността на този далечен Бог, определяйки настоящия свят като напълно материален и оставяйки всичко сакрално в далечното минало. Блейк, напротив, смята, че сакралното време е „сега” или по-точно „винаги” (и материалното и духовното са неразделно свързани „завинаги”).

Може също да предположим, че психологизмът му обуславя аисторичните му, антиреалистични възгледи за християнството. Макар да смята Исус Христос за историческа личност, Блейк всъщност го възприема като живата сила в ума на индивида. Той възприема Библията като код на психологичната действителност, от който може да извлече примери за всички умствени състояния на човека. За него възкресението е събитие, което може да се случи в живота на всеки човек, когато въображението се освободи от оковите на закона на разума. Множеството образи на невъзнесения Христос в творчеството на Блейк символизират именно въображението, поробено от Закона на църквата. Също така Страшният съд може да бъде възприет не като единично събитие в края на времената, а като психологично събитие, което често се повтаря в течение на времето, както и възникването на новия рай и на новата земя (ако човек постигне себепознание).

Възможно е да предположим, че когато Блейк използва думата „Рай”, той всъщност говори за пространствата на ума – пространства, които, разбира се, съдържат и „Ада”. Този „Ад” е изворът на нашите енергии и креативни импулси:

Good is the passive that obeys Reason. Evil is the active springing from Energy.

Good is Heaven. Evil is Hell.[10]

 В този смисъл Богът на нашия свят днес е Богът на Разума, който е откраднал част от Рая, отцепил я е и е „паднал” (възвисил се, както бихме казали днес) в света на Аза и съзнанието. В една от илюстрациите си към „Книгата на Йов” (Plate 11), Блейк изобразява как Йов открива, че Богът, който е почитал, е измама и всъщност е Сатаната. Това е Богът на Разума – Уризен („your reason”, „Ur-reason” или „horizon”) – законодателят, Богът на отмъстителната правда, Йехова. Блейк презира новата възхвалявана „Епоха на Разума”, която се формира около него през 19-ти век. За него творческото въображение е главният принцип на човешкото съществуване, докато разумът посредничи между въображението и външния свят, подобно на егото, което посредничи между желанията и Аза. Но религията е узурпирала естествената роля на разума и нейната роля по-скоро е да потиска и контролира, отколкото да дава „форма” на „идеята”. Когато външните нравствени закони и разумът се налагат върху човешката творческа природа, се получават противоречия. Блейк изтъква християнската догма като източник на подобни противоречия и нарича свещените закони „грешки” в „The Voice of the Devil”:

All Bibles or sacred codes have been the causes of the following Errors:

1. That Man has two real existing principles Viz: a Body & a Soul.

2. That Energy, call'd Evil, is alone from the Body, & that Reason, call'd Good, is alone from the Soul.

3. That God will torment Man in Eternity for following his Energies.

But the following Contraries to these are True:

1. Man has no Body distinct from his Soul for that call'd Body is a portion of Soul discern'd by the five Senses, the chief inlets of Soul in this age

2. Energy is the only life and is from the Body and Reason is the bound or outward circumference of Energy.

3. Energy is Eternal Delight.[11]

Блейк противопоставя енергията на разума: „Without Contraries is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human existence”[12]. Следователно можем да заключим, че за Блейк въображението е енергия, въплътена във форма. Когато разумът отрича валидността на интуитивното познание или когато нравственото подчинение бива подхранвано за сметка на волята, енергията или въображението, творческото взаимодействие на противоположностите бива прекъснато и човек се отчуждава от себе си. „Пословиците от Ада” изобразяват пасивността и угнетеността на въображението от религията: "Prisons are built with stones of Law, Brothels with bricks of Religion"; "He who desires but acts not, breeds pestilence"[13].

Блейк създава цял кръг от митологични фигури, които олицетворяват неговите принципи. Такъв е Лос (Сол (слънце) на обратно[14]), който е реципрочен на Исус Христос. Лос е абсолютната еманация на креативната енергия, той заявява: „I must Create a System, or be enslav'd by another Man's. I will not Reason & Compare: my business is to Create”[15]. Блейк вероятно се отъждествява с фигурата на своя герой - Лос-Исус, но не бива да забравяме, че всички герои на неговия психологически мит са аспекти на самия човек. Лос символизира човека-демиург, който създава вечната вселена. Той е носителят на Urthona (Earth Owner) в падналия свят – един от четирите фундаментални аспекта на индивида: въображение (Urthona), разум (Urizen), емоции (Luvah) и тяло (Tharmas). Изгряващите съзвездия, танцуващите насекоми, планинските дървета и бурите са синове на Лос, те са Виденията от Вечността. Според Блейк природата е проекция на човека, всички нейни форми са човешки. За него всички неща са вечни и извират от Божествената човешкост.[16] Светът на въображението и светът на Божествената вечност са едно. Всичко е част от божественото тяло на Спасителя, който е истинският извор на вечността – човешкото въображение:

This world of Imagination is the world of Eternity; it is the divine bosom into which we shall all go after the death of the vegetable body. This World of Imagination is Infinite and Eternal, whereas the world of Generation, or Vegetation, is Finite & Temporal. There Exist in that Eternal World the Permanent Realities of Every Thing which we see reflected in this Vegetable Glass of Nature. All Things are comprehended in their Eternal Forms in the divine body of the Savior, the True Vine of Eternity, the Human Imagination, who appear'd to Me as Coming to Judgment among his Saints & throwing off the Temporal that the Eternal might be Establish'd; around him were seen the Images of Existence according to a certain order Suited to my Imaginative Eye as follows...[17]

           

Неразбран и отхвърлен от съвременниците си, днес Уилям Блейк е смятан за един от националните пророци на Англия. Блейк трябва да бъде разбиран като главна фигура на нашето време, в което потискащите материалистични догми трябва да отстъпят място на Епохата на Въображението. Защото само чрез въображение можем да оформим света около себе си и да бъдем спасени. Това е пътят, посочен от Христос, който олицетворява най-висшата форма на въображение. За да следваме Исус на въображението трябва да се противопоставим на разумния, механичен и безплоден начин на живот.

ЛИТЕРАТУРА

Bentley, G. E. Jr. Blake Books. Oxford: Clarendon Press, 1977.

Blake, William. Selected Poetry. Oxford: Oxford University Press, 1996.

Blake, William. The Complete Poetry and Prose of William Blake. New York: Doubleday, 1988.

Blake, William. The Marriage of Heaven and Hell. The Alchemy Website. URL: http://www.levity.com/alchemy/blake_ma.html; посетена на 06.02.2008 г.

Damon, S. Foster. A Blake Dictonary: The Ideas and Symbols of William Blake.

Hanover: U P of New England, 1988.

Paley, Morton D. Energy and the Imagination. A Study of the Development of Blake's. Thought. Oxford: Clarendon Press, 1970.

Robinson, Crabb. Nineteenth-century Accounts of William Blake. Gainesville: Scholar's Facsimiles and Reprints, l970.

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[1] Crabb Robinson, Nineteenth-century Accounts of William Blake, 65.

[2] William Blake, Jerusalem: To the Christians. The Complete Poetry and Prose of William Blake, 231.

[3] William Blake, All Religions are One. The Complete Poetry and Prose of William Blake, 1.

[4] G. E. Bentley Jr., From the annotations to Johann Caspar Lavater’s Aphorisms on Man, Blake Books, 690.

[5] William Blake, The Marriage of Heaven and Hell, pl. 16, The Alchemy Website, URL: http://www.levity.com/alchemy/blake_ma.html; посетена на 06.02.2008 г.

[6] Пак там, pl. 11.

[7] William Blake, Jerusalem: The Emanation of the Giant Albion, The Complete Poetry and Prose of William Blake, 146.

[8] William Blake, From the annotations to Bishop Berkeley's Siris, Selected Poetry, 264.

[9] William Blake, Jerusalem: The Emanation of the Giant Albion, The Complete Poetry and Prose of William Blake, 155.

[10] William Blake, The Marriage of Heaven and Hell, pl. 3, The Alchemy Website, URL: http://www.levity.com/alchemy/blake_ma.html; посетена на 06.02.2008 г.

[11] William Blake, The Marriage of Heaven and Hell, pl. 4, The Alchemy Website, URL: http://www.levity.com/alchemy/blake_ma.html; посетена на 06.02.2008 г.

[12] William Blake, The Marriage of Heaven and Hell, pl. 3, The Alchemy Website, URL: http://www.levity.com/alchemy/blake_ma.html; посетена на 06.02.2008 г.

[13] Пак там, pl. 7-10

[14] Обратното писане е от особено значение за Блейк. Той издълбава своите метални плочки с обърнат текст, който напечатан излиза нормално. Обикновено обърнатият текст е послание от Вечните и Безсмъртните в митологията на Блейк.

[15] William Blake, Jerusalem: The Emanation of the Giant Albion, The Complete Poetry and Prose of William Blake, 153.

[16] Samuel Damon, A Blake Dictionary: The Ideas and Symbols of William Blake, 129.

[17] William Blake, A Vision of The Last Judgment, The Complete Poetry and Prose of William Blake, 555.

(c) Теодора Мусева