It has only taken about a decade but we finally have some more copies of the great SIGRBLOT album Blodsband (Blood Religion Manifest)!!
This was quite an early arrival to the distro in 2003 and a massive favourite here. Copies came directly from NF, here is their original description for the release:
Efter sex års tystnad presenterar Nordiska förlaget äntligen Sigrblots debutalbum. Tolv domedagskväden, dränkta i det mörker som råder i vår omvärld. Krigiskt raseri varvat med fosterländsk folkmusik sammanfogas till ett kontrollerat kaos. En unik form av extrem metall som kanaliserar rå ilska och sorgsen vanmakt. Det är den sargade nordiska folksjälens klagosång som ljuder, med vansinniga stämmor…
The band announced it on 6 December 2003:
After half a decade of silence the debut album is finally completed and released, drenched in the darkness that covers our world. Raw, chaotic metal forged with folkish atmosphere.
Below is the original “Foundation” text written by the band and below that a 2004 interview by the webzine Unchain the Underground.
F O U N D A T I O N
The essence of Sigrblot is divided into two separate parts – the musical and the lyrical side, both being equally significant. Due to the lyrical side being considered controversial by the current norms of the civilization we reside in an explanation will follow below.
The concept of Sigrblot is not a political one in regards to mundane social issues. It is one of a spiritual origin which has its foundation in a worldview seen from the standpoint of blood, ancestry and folk soul. As Europeans we find it natural to take interest in the future course of our people and cultural heritage by debating the issue and expressing our opinion on the matter. The main focus being an obligation towards the derivation from which we have inherited the present and how this is handled. We do not see ourselves as any kind of prophets, gospel bearers or heralds of the ultimate truth. We describe the world around us as we see it and vent our feelings towards the society we are forced to take part of – the task of judging our memorandum is fully up to the listener.
Although the music itself is modelled around various forms of extreme metal, while the lyrical side explores topics common within so called “ethnocentric music” the band in its entirety does not wish to represent any specific musical genre, subculture or carved out ideology.
We are part of a race that is being led down the path of self-destruction. Oppose it – or accept and embrace it as so many others have done. It is not our purpose to preach or pass sentence, in death your afterlife is how you are remembered among the living.
Sigrblot as a band came into existence in the year 1996. Having established contact with Swedish magazine and label Nordland, Sigrblot was offered to participate on a compilation CD titled ‘White Death’ – two songs were recorded and mixed in an equal amount of days in the spring of 1997.
While preparing material for the debut album Sigrblot was approached by Tellurian Battlegrounds Productions in 1998 and asked to contribute with a track for a compilation cassette tribute to Corneliu Zelea Codreanu by the name of ‘Prezent!’. Being much inspired by the writings and deeds of Codreanu and the Iron Guard, the band accepted.
In late 1999, it was decided that the band had enough material to begin recording the debut album – a process which was worked on in periods until completion in the winter of 2003.
The original CD included a FORTRESS cover: Commie Scum. This was not included on the vinyl, which instead had a 15 minute bonus track Endtime Communion. In the 2009 CD re-release the cover has been replaced by Endtime Communion. Here’s the cover:
19 February 2004 interview from Unchain the Underground webzine by Al Kikuras:
It is not often that a band manages to breathe new life into a genre that has been raped in every conceivable way by countless bands doing little more than treading familiar waters and offering nothing new. Sweden’s Sigrblot have streched the boundaries of black metal to new limits, incorporating haunting atmospherics, elements of modern classical and more without losing sight of the blasting black metal that is at their core. With a lyrical concept as extreme as their music, Al Kikuras saw it fit to interview Sigrblot and gain some insight into their music and the ideals behind it. The results (Sigrblot’s first interview since 1997) follow.
On your site and in the band bio you stress that Sigrblot’s concept is of a spiritual rather than political origin. What really differentiates a spiritual “agenda” (for lack of a better term) from a political one, in your opinion?
When trying to define the essence of Sigrblot, the term “politics” sounds much too mundane and hollow. As stated in our biography, the spiritual origin of Sigrblot has its foundation in a worldview seen from the standpoint of blood, ancestry and folk soul. Perhaps our views on such issues coincide with various political agendas, but that does not mean we wish to represent any of them in their entirety. Had we presented ourselves as a political band, we would first have to adopt a term defining this political stance – as well as having to assume a standpoint in every aspect of politics. This spiritual essence of ours is not to been seen as an agenda – we simply state our opinions in matters that we feel are important; the task of judging these words are up to the individual listener.
When did you first experience what one might call an “ethnocentric awakening?” I would assume it was a gradual process, but was there any one event or moment that might be considered the point of epiphany that you can recall?
The interest in such matters first arose upon meeting verbal agitators that stressed the importance of issues to which we had previously given no thought. While socializing and debating with such people was an important step in the process, the phenomenon to which you refer as an “ethnocentric awakening” was ultimately facilitated by extensive reading. However, like the “verbal agitators”, the great authors of our race can only point the way towards our Folk Soul; they do not embody its entirety. Ultimately it is an EXPERIENCE of the numinous, growing out of ourselves from a dimension that is beyond all the man-crafted constructs of dialectic, which inspires us and propels us towards the Higher.
Once you have reached a state of “enlightenment”, it really turns your perspective of the world, both past and present, completely around; and it does so beyond the point of revocation. As depressing as this might be, depending on what you consider to be important, having seen the world without the veil of politically correct tyranny forever precludes a return to the shelters of the appalling half-men constituting the main core of our people today.
You express a deep discontent with the current state of society and, specifically, the “path of self-destruction” your race is being led down. In your opinion, what action would be required to change the path being taken?
Well, the main turning point would definitely be a radical reprioritizing amongst our people – of morals, values and an understanding of the spiritual bloodline we share with our forefathers and unborn kindred. Everything we have today has been carved in blood and fought for by generations of kinsmen; how we deal with this heritage is up to us. As long as issues such as folk, culture and nation mean nothing to the common man, we can hardly be defined as a union in racial terms at all, let alone bring along any changes. Raising such concern from a financial stance, as many do, is totally superfluous – this is but another manifestation of this reign of individualism in absurdum that has replaced healthy tribal thinking.
In order to believe in any sort of realistic change for the better, one must have faith in the re-awakening of the soul of Europa and her sons. Having reached the point of today’s degeneracy, is it at all possible to believe in the promise of such a monumental destiny? The big question one must master is whether we at all deserve to keep existing as a people, as a race – or if it’s all for the better that we keep wandering into the abyss, going under without notable resistance. This is one question we channel through Sigrblot, being still in doubt ourselves. What keeps us from engulfing ourselves in utter nihilism is pretty much summed up in the following excerpt from our song “Crisis of faith”:
“In the end I will probably not have changed anything – but rather spit in the shepherd’s eye than to follow his cane.”
While you stress your concept is spiritual and not political, it is inevitable that such a “controversial” view is going to attract attention from sociopolitical groups that see your views as dangerous. Has Sigrblot been targeted by any activist groups in your home country or abroad?
While we have experienced several altercations, on both the physical and verbal level, with various rabble who oppose criticism of the society in which we are forced to take part, this has been of no concern. Such incidents have primarily been in connection with activities not involving Sigrblot. Sigrblot has also been the target of attention by the mainstream media and various ethnic hate groups such as the Simon Wiesenthal Centre and the Anti-Defamation League of the B’nai Brith.
I noticed there is no lineup listed in the CD tray card or on the web site. Why the anonymity?
Sigrblot is more of a concept essence – a way of conveying the questions we raise for debate – rather than being a band in the traditional sense, which is represented by individuals.
What three writings would you say have been most influential in the development of your personal beliefs and philosophies?
Instead of naming three specific works, below follows three authors that have had an immense impact on Sigrblot.
Alfred Rosenberg – A writer of colossal genius who forged a philosophy of the mythos of the blood, a concept represented in several of our lyrics; especially the two parts of “Blood Religion” in which Rosenberg is extensively quoted.
Kevin MacDonald – Kevin MacDonald – A psychology professor, and author of three of the most important books in their field during recent decades; something to be studied by every European with an interest in the forces of historical causation that explain the state of utter decay in which we presently find ourselves. The books in question are, “The Culture of Critique”, “Separation and Its Discontents” and “A People That Shall Dwell Alone.”
William Pierce – The late Dr Pierce has been a great inspiration to us in understanding most aspects of the present situation. Having read many of his writings in various publications, as well as regularly listening to his internet radio broadcasts on American Dissident Voices, it was with great sadness we received news of his death on July 23, 2002.
I noticed a striking similarity in the cover art for Blodsband and images from the World Trade Center attacks. How does the artwork tie in with the your interpretation of the quotes from Richard III above it?
“…whisper the spirits of thine enemies and promise them success & victory.”
“Bloody thou art, bloody will be thine end. Shame serves thy live & doth thy death attend.”
Perhaps the sentiment we attempted to express through the cover can be best explained by this statement of the Baron Julius Evola: “There is a superior unity in all those who despite all, fight in different parts of the world the same battle, lead the same revolt, and are bearers of the same intangible Tradition. These forces appear to be scattered and isolated in the world, and yet are inexorably connected by a common essence that is meant to preserve the absolute ideal of the Imperium and work for its return.”
The cover artwork is indeed a portrayal of the strike upon the idols of capitalist globalism; on the United States government and its armed forces – the bully ring leader of the New World Order. The force of metaphysical decay so embodied by the United States is a much greater threat to us than that of physical immigration or military strife, due to the fact that it is tearing us apart from within; it is an unseen force of destruction hacking away at the very roots of our soul. Standing along this rotting path, witnessing the dissolution of our tribe, we are left with only the fabricated reality offered by the artificial culture of the New World Order. With this illusion serving as a blinding light to the masses, the death of the Germanic entity proceeds gradually, manifesting itself in the contamination that shall be running through the veins of generations to come. It is a depressing reality only to those few who are actually aware of what is going on.
The significance of the quote in question does not really run much deeper than being suiting in regard to symbolism, both in origin and literary meaning. The play, Richard III, from which the quote is derived, is a masterpiece, although its content has no direct connection to the cover artwork. Shakespeare is an icon of European culture at its very peak – an inspiring window upon the more admirable values of our past, which have been sadly supplanted by the pseudo-values and false standards of the New World Order. In its entirety the relevance of the Shakespeare quote to that particular artwork would be to convey a sense of common understanding among those who oppose this influence, regardless of how it takes form; be it through force-fed popular culture and media control, or carpet bombings and cruise missiles. This is not to be seen as a physical alliance; rather, it is a case of mutual respect among different interest groups, all of whom strongly object to the behaviour of the powers-that-be.
In listening to Blodsband, I noticed (and others have commented) that the vocals are pretty low in the mix. Was this intentional and what were the reasons for the decision if so?
This was intentional, what we aspired for was the so-called “wall of sound” effect. It also helped making the melodic parts less “catchy” and more atmospheric.
According to the liner notes, the album was recorded over a period of three years. Was work on the album consistent during that time? That is, did it take three relatively solid years to record or was the studio time broken up?
The recording and mixing process took place during the summer of 1999 and November 2003. The reason for this taking so long was that we wanted to only work on the album when feeling wholly inspired to do so, resulting in extensive gaps between recording sessions. The process of including samples, effects, acoustic guitars, violin and so on took about nine months alone. As we recorded and mixed everything by ourselves, on our own equipment, we could easily pick up where we left off when deeming the time suitable.
Has Sigrblot ever performed live? If not, any plans to do so?
There have been no live shows and there will most likely never be one.
How many members make up the band?
Sigrblot consists of three individuals.
What is the instrumentation?
One individual handles all vocals, another all strings and the third plays the drums. All music is written by Sigrblot in unison, while the lyrical aspect is the responsibility of the vocalist.
How would you classify Sigrblot’s music?
We have not bothered inventing a term or new style for our music as we really feel no need to do so. While most of the music is built on a variety of styles within extreme metal, none of these named genres fit our concept very well.
What styles would you say have been most influential in the development of Sigrblot’s sound?
Determining our own influences is a pretty complex task, especially considering that the material was written over a long period of time. Black metal has without a doubt been the biggest influence genre-wise. Listening to the album, bands that one could mention off-hand that most likely had a musical influence over us are the likes of Burzum, Darkthrone, Bathory, Samael, Isengard, Rotting Christ, Beherit, Grand Belial’s Key, Ulver, Master’s Hammer and Abigor. There are probably several others that could be mentioned here – and these are far from the only bands in the genre we appreciate.
It is obvious that black metal is a big part of Sigrblot’s sound. Most fans of the genre had “gateway” albums that they first heard and sparked their interest in black metal. What were the bands or releases that did so for you?
This certainly differs among each individual that is a part of Sigrblot, but for me – the one answering this interview, I would say that acquiring Darkthrone’s “Under a Funeral Moon”, Burzum’s self-titled debut and Rotting Christ’s “Thy Mighty Contract” had a major impact on my life.
I noticed that nowhere on the web site or in the promo materials do you mention the phrase “black metal.” Is this a conscious effort to distance the band from the genre?
Not distancing ourselves in the definition of condemning it, but rather making it clear that Sigrblot is not a black metal band. The topics with which our lyrics deal are rather far from what black metal is to us; hence, we claim no right or interest in presenting ourselves as a part of it.
What one song do you feel is most indicative of what you hope to accomplish with Sigrblot and why?
Again, a very difficult question to answer. Probably “Sacrament (Blood Religion part I)”, which was the first Sigrblot song ever written. This track forges the various aspects of atmosphere we had hoped to convey, and in amalgamation with the lyrics pretty much sums up the foundation on which Sigrblot stands.
You recently expressed your displeasure with the Sigrblot material on the White Death compilation. What do you dislike about it?
We don’t mind the actual material, but looking back perhaps one should have been in less of a hurry to record the songs. This was the first time we set foot in a studio, it being one with no experience or knowledge about extreme metal resulted in a rather inadequate sound in comparison to what we had in mind. Also, listening to the somewhat limited musicianship on the tracks today it’s pretty obvious that a few more months of practice would have been in order.