Interview with Ruïm (Blasphemer)

What can you tell us about the genesis, the creation and the actual recording of RUÏM’s BLACK ROYAL SPIRITISM – I.O SINO DA IGREJA?

I´d say the idea to do a solo-record came early in the pandemic. We were all locked in and the ability to travel was minimal, so instead of waiting for borders to open and travel restrictions to ease, I decided to get started on something that I could do from home, that also could be a channel for the feelings and emotions that started to build up under this confinement. It was good for me to do this as I forged something brand new where I can make all necessary decisions and also have full control over at any given time. You know, I’ve had so many shows and tours cancelled over the last 10 years because of people’s priorities, something that always bugged me, especially since perfoming arts, meaning recording and playing shows, are my sole source of income at this point. So, yeah, it feels good to take more and more control over my activities. Musically speaking, I decided to do something similar to what I did in the beginning of my career with Mayhem, perhaps to close the circle once and for all. Part of the reason why I came to this conclusion or whatever, is that I received a digitized version of an old cassette a friend of mine had purchased in an underground metal shop in Oslo somewhere. This cassette featured some older riffs intended for Mayhem from around the pre-Grand Declaration of War era of the band, and while listening to this I figured this to be the perfect getaway for my expressions and also a way to put a final exclamation mark on that journey. RUÏM is that exclamation mark, if you understand what I mean. Anyways, its crazy to think that this particular tape from 98/99 is one of the reasons why we are talking now. From there on the hard work started, my drummer CSR was “found” through a Parisian friend of mine who suggested him, and the initial rehearsals eventually started in the fine city of Dijon, France, where César lives. After a handful of rehearsals and about 6 months after we initially met, we started to look for options on where to record, and the choice fell on Drudenhaus Studio in North-West France, with engineer and owner, Benoit Roux at the helm. We entered the studio in December 2021 and by April 2022, most of it was done apart from some vocals that had to be re-recorded here in Almada, Portugal, at Soundscapes Studio, engineered by a friend of mine, Jorge Lopez Fernandes. I can add that it was a lengthy process, as it is a debut album and I was always trying to avoid the “common” early mistakes every band faces on a first offering.

The lore and rituals of linha da esquerda, how did you get in touch with them and how did they shape your personal perspective of life?

The second time I was introduced to this path, and the one that got me into this, was after a Tarot Reading actually, not too far from where I reside. Some amazing and disturbing things unfolded in the reading and I underwent a heavy ritual (I wasn’t actually present, but it was done on my behalf) to reset some energies that had been sent my way. You know, in the music and art related business, whether it be musicians, poets, painters and what have you, can be a very troublesome path. You´re always exposed and if you are successful and good at what you do, people tend to have very strong opinions about you. There is a lot of jealousy and rivalry and some artists and fans can go to great lengths to “get a piece of you”, if you know what I mean. Some of them even dabble in magic and know how to use it. Most, probably about 98% are fools and don’t know anything but the last 2% do know what they are doing. Being in the Black Metal scene since the early 90´s and playing in the most notorious band ever for over 13 years, being in the limelight and performing and meeting thousands of people with interest in the dark arts, I mean, it’s obvious. There’s a lot of strange people out there, that is a fact. And a lot of people who doesnt understand the laws of karma. Anyways, a small digression here, but to get to my point; After the session or the reading I was invited to a house of Worship to further cleanse my energies, a path I undertook and felt great about.

Can you share your personal thoughts on the visual aspect of the album, the artwork and so on?

Beautiful and eerie is what comes to mind. It’s a perfect illustration that combines the music with the visuals IMO. It also connects to the actual album title, O Sino da Igreja. For me this album title serves as a warning of things to come, a threat from the outside, or perhaps even inside, something that comes to take over. In the middle ages the church bell was also used to warn the inhabitants of villages etc of the very same thing, of invaders and outside threats, so for me the artwork and the music is tightly knit.

Which are the main concepts behind the brazilian witchcraft and the Umbanda tradition?

Well, its hard to summarize like this but essentially it is dealing with mediumship, trance, rituals and offerings involving everything from herbs, leaves, especially prepared and energized foods, hymns accompanied with atabaques etc etc. It’s all about evolving as any spiritual practice should be about. Not blindfolding and injecting fear to the masses.

Are you planning any live activity to support RUÏM’s releases?

Not at this point. I will most likely bring this into a festival setting for very exclusive shows in 2025, after the recording of album nr 2.

What kind of music are you into outside the metal area?

Actually, I’m not really that much into metal at all. There are a few exceptions naturally, such as Celtic Frost, Darkthrone, Bathory and a few others on the extreme side that I can listen to once in a while and for classic rock/metal my favorites are bands like Kiss, Priest, Sabbath and Rainbow etc. But yeah, I usually don’t listen to metal at all and I don’t consider myself a metalhead either, if you understand what I mean. For me that’s not a particularly flattering expression or categorization anyways. I’m more into music from the late 60´s through 70s prog rock and quite a bit of 80s stuff. I love The Who, such an amazing rock band in my opinion. Other bands I frequently listen to include The Doors, Pink Floyd, Mike Oldfield, ELO, Jethro Tull… Stuff like that.

You have a damn unique way of playing guitar and composing music: how did you achieve such a goal, which are your main inspirators in this field?

Thank you very much for the compliment. Much appreciated. Well, it’s kinda hard to explain this part of myself as I can´t see myself from the outside to the same extent that others do. For me, everything I do musically, the choice of tempo´s and notes, chord progressions, it all feels very natural. I guess what I am trying to say is that I possibly hear music a bit differently than other people. Not saying that I am correct and others aren’t, just that it’s different. And of course, I was, and still am very thorough in my way of composing. This is for me the most valuable and important part of any song or musical work and I do take a lot of pride in that aspect. You know, I started jamming out in my bedroom at the age of 12 or so, trying to master the art of riffing. The first song I learned was Creeping Death by Metallica, then it went on to more speed picking and complicated things, like rehearsing Beneath The Remains, some Death albums, etc. and I continued on perfecting this learning curve. My guitar heroes and main inspirations when I was younger, were James Hetfield, the Priest duo and perhaps even Ace Frehley and following this, Ritchie Blackmore and Tony Iommi etc. Now, at this point, I’m not sure I have that many inspirators left. I just try to perfect my vision, really.

Which are your best and worst memories of the days with Mayhem? How was, in the beginning to replace such a legendary figure such as Euronymous?

Best days were around WLA, for the chaos-parties and then GDOW for its musical expression and musical growth and all the stuff the band achieved around that time. Worst; after OAC I’d say. It became evident that my mind had grown out of the band and I wasn’t happy one bit. Towards the end of my days in the band I literally drank 3 bottles of Red Wine even before going on stage. That’s a sign of being miserable right there. Regarding the 2nd part of the question: In the beginning none of this bothered me, actually I took pride in it. But I guess once I started to develop other senses I realized what a deep and dark pond Mayhem really is and I started questioning myself whether I was wasting my time or not. Just the thought of going onstage and playing Freezing Moon or Deathcrush for the 250th time was getting to me. Man, I hated it. The truth is, everyone in the audience, bar a few naturally, are there to listen to the old classics of this band, that is a fact. It’s the same thing with any band, really, any older band who has a back catalog that is considered legendary and yeah, I get it. I absolutely do. But it was not for me anymore. And I guess right here lies the answer, I realized I couldn’t compete with the past because the dead are more important than the ones who are alive, somehow, no matter how good the more present albums were.

As for Vltimas, may we expect something in the future?

Yes, expect great things early 2024! New album underway.

Any Italy related memories in your personal life and one final message and greeting to your italian fans?

You mean like that time when Maniac decided to walk straight through the window, instead of taking the door at a Pizza restaurant in Milan? Or the whole band being arrested at the airport in Zurich on the way to the very same gig in Milan, being escorted out of the plane in handcuffs while everyone else was ordered to remain seated? Being thrown out of the hotel we were supposed to stay in over the weekend because we trashed  the entrance upon returning to the hotel after dinner? There´s quite a few good stories man, but maybe Ill save them for my book, hehe. But I tell you one thing; I absolutely adore Italy. I love the Mediterranean vibe, the history and culture. Beautiful country and I hope to return soon. Grazie mille.

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