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Another interview of this issue is the Greek Black Metal DEVATHORN Hydra. They were particularly impressive with their debut "Diadema" album from 2007, but also with their second "Vritra" album ´15. Greek Black Metal is something as specific as Norwegian or Polish one, but in this case the typical Greek BM melodic or elements of their culture or mythology do not come to the fore. DEVATHORN are more furious with interesting dark aesthetics in harmony, creating their own tracks and not afraid of a more modern approach to the genre. The five burning souls, which also include two current Acherontas members, namely Saevus H. on guitar and Hierophant on bass, the second guitarist is Arkhus A. also known from Impenetrable Darkness, Althagor on vocals and Mechblastess on drums always come in larger time intervals with surprising materials. The last time DEVATHORN made it known was “Zos Vel Thagirion” split, where they performed two songs together with Czech Inferno and there is a lot to listen to! But let's leave the facts and let's go to the interview itself. Answered by guitarist Saevus Helcath.

Would you say you perceive Devathorn´s music as a metaphysical? Do you think your work is more than just twinkling on a strings, hitting the drums, preaching the lyrics with vocals or channeling the feelings?
The process of creation towards the material of Devathorn, on a  lyrical and musical aspect is an act of direct channeling from the very cores of our Inner Self, surpassing the esoteric factors and plain artistic endeavors. The instruments and gear are mere tools that serve the cause, an act deeply esoteric and spiritual to the level of a metaphysical communion with the aspects of Daemon. Although we are very selective and careful in utilizing the proper recording equipment, delivering our sound in total is not only a matter of gear and amps. The divine spark and the soulful, dedicated work is what truly sets an musical result on fire.

Have you perceived or can you perceive music (in general) also from a different perspective than metaphysical one? Or you just prefer such music that opens up these feelings?
Music itself, as we perceive, is bound on the metaphysical level since it is a Gateway per se, a magical action of transforming the Will into tangible aural waves. There is nothing more sacred than the act of channeling and materializing  the otherworldly vibrations that form and coagulate within, into music and art in general. Whether it is possible to create music without “feeling” is not of our interest, as we always strive to stand honest and firm towards this goal, a vital part of our expression.

Do you have at writing or playing the feeling as if you touched spiritual spheres, deep gaps or space horizons and how does it manifest itself in you? Do you experience shivers, inner tingling, touching the cosmic strings?
The process and the outcome of this experience is not possible to be described by words, since it is totally mental and otherworldly. It can be mirrored and discovered upon our work though, where the listener is granted access to the powerful feelings and vibrations that occurred as the material was being channeled to this plane. The music is the key and our work denotes the pathway to the netherworld out of which our works have derived. The receiver of the Opus can choose whether to remain just a mundane observer of the aural waves, or to dive deep into the esoteric corridors of our Art.

Spiritually you are influenced by various old cultures, civilizations, their mythology, religions and so on. Do you try to bring their harmony or the typical (musical) elements of these cultures into your music? You come from Greece, do you think you are affected to some extent, for example, by your culture, or these things are only related to the development of classic Black Metal from the late 80's to the present?
Our very work is a syncretism of numerous traditions, cults, myths and civilizations, all mold and brewed under the prism and guide of the Draconian Current. Within every tradition we retract the cord of Ariadne towards the word of DRAKON and through the eyes of the Draconian Adept every myth and system has parallels that lead to truths beyond this universe and dimension. Our very cultural roots themselves have also been a tremendous influence to our work, being the spiritual and philosophical base to extend towards the magical systems of the East, the West and the South. Within every inch of civilization there is a seed of the Current, from secret Witchcraft cults of Old England, to the theocratic empires of Egypt and the nomadic tribes of Tuareg, it’s force and power are present.

Where does the most original musical inspiration come from for Devathorn? Would you prove to dip into the depths of your inspiration, whether it's Metal or non-metal recordings? How do you perceive atonal, classical, Jazz, or ethno music?
It should be noted that our source of inspiration is verily rooted into foreign musical genres than metal. The classical composers of the renaissance and the later waves of classical music, acid Jazz, Goa-Trance, electronic, ambient and neoclassical composers, traditional music from various cultures and noise conductors across the world form our spark of inspiration in many levels.

Dreams are often associated with something mystical, as if the second world into which we enter in a certain phase. How do you perceive dreams, rather in terms of Freud as the deformed and hidden desires of a person, or dreams can be more than just a psychology?
With all due respect to the Freudian analysis of the dream and his view of the symbolisms, where inclined to follow and be devoted to the approach of Jung towards the matter, as his theoretical and practical work pushed the physical and metaphysical exploration of the subconscious to new levels for the human kind and it’s potential. The true awakening of the Self derives from using his Dreams as a katoptron, a mirror turned inwards to the sub levels of the conscious and the depths of the Soul.

Are you trying to analyze your dreams or write them down? Have you had an interesting and unusual experiences in this area? Has your dream been so scared you woke up frightened, sweaty and confused? What are your experiences with sleep disorders such as sleep paralysis, insomnia, and what about lucid dreams or astral travel?
The dream workings on a spiritual and magical aspect have always been a distinctive practice towards our personal tread on the Path, a very important part of realization and advance. Although, it is a very personal and discreet matter to discuss and uncover openly, as it is an aspect of our practice and an ongoing strife. We would prefer for the listener to search for those vibrations within our Work.

Could you say your dreams have some influence on Devathorn's work? Would certain dream have to inspire you to write music, lyric, or is it just happening, but only subconsciously?
Not only subconsciously, as stated before, but in a very powerful way, our esoteric dream work has strongly influenced our musical result. The searing voice of DRAKON is deeply rooted within the dream-born experiences and reverberates dynamically  across our work.

Death is one of the most exciting and mysterious topics a person can face. There are so many interpretations and observations across cultures, religions, mythology. How do you perceive death personally? Are you its worshiper, or rather an observer? Have you ever been so close to death you have not been hoping to come back? What effect does death have on Devathorn's work?
As G.I.Gurdjieff noted, “Death must come before rebirth. But what must die? False confidence in one's own knowledge, self-love and egoism. Our egoism must be broken”. Death is the final frontier, a barrier and a source of magical and spiritual power, as well as a twin-bladed knife that can both destroy and create. There is a ton of ignorance across the esoteric circles, numerous standpoints and perspectives, ridden from fear, existential crisis and false sense of control and knowledge. The aspect of the magical death is where the adept is reborn each time stronger, where the mundane perspective paralyzed by fear demonizes death and purveys a putrid stance of advance against the physical death. The modern civilizations strive to hide death under the carpet in order to express stability and wellness, whereas the traditions of the past viewed death a part of the cycle, welcoming its fruitful perspectives to become stronger in life and rebirth.

I have ever read or heard somewhere that there is a place, perhaps a gate that is actually the same, wherever we come and go. What do you think? Have you ever tried to imagine the gate of death? Since it is a passage from a "place" to another "place", something like that could hypothetically exist...
This is not just an hypothesis but a vital viewpoint of the entrance to the Tree of Death and the anti worlds of Ilan-Hizon. The gateways to the Qliphotic spheres can be viewed as such a Gate, terrorizing the mundane mind and mindset, being a passive to other dimensions of the soul and time. As stated earlier, such is to be stated on this subject too, as the Qliphotic Tree is the Ark of the Draconian Path and Current, being an otherworldly magical and spiritual concept, alien and dangerous to the untrained and uninitiated, but a tremendous source of power and inner evolution.

Recently, it has become a pretty bizarre event. One Mumbai man, specifically Raphael Samuel, sued his parents for giving birth to him without his consent, while having a good relationship with them and according to his words, living a happy life. If you hypothetically stood before the choice to decide whether to exist or not, what would you choose? Do you think the perception of the Indian about its own existence has a philosophical basis?
The gift of life can be viewed as a curse or a blessing, depending the standpoint of the viewer. There is no right or wrong into such matters, as the objectivity is sacrificed to the factors, circumstances and situation. Philosophically, realistically and spiritually, life is what you make of it, a continuous test of will and potential in every level.

Recently you have a split album with Inferno band. This cooperation seems to be very positive in the underground. How do you perceive creation of this Czech band?
The impact of “Zos Vel Thagirion” was very powerful and still grows within the hearts of the followers of our Circles. “Zos Vel Thagirion” is a magical formula strongly connected with the sixth Qlipha of the Tree of Death, the realm of Tagaririm and the cortex of Sol Niger, a milestone and crossroad of the Draconian Current. Within this embodiment of atavistic, animalistic, imperial, catastrophic and recreational forces, the abode of ZSVTH reigns. From within this context we began building the release part by part, creating a newborn entity that sanctioned our joined forces to the task.  The cooperation with the  infamous horde of Inferno was a very proud moment for Devathorn, as we have been great admirers of their work since the early years of their creation, and the seeds of this conjugation are now ripe for the listener to reap.

How would you compare Black Metal to other Metal genres? What do you think this genre has, what else genres cannot offer? Do you think Black Metal is the most extraordinary and spiritual link of Metal as such?
Black metal is a very powerful gateway to the spiritual inner world of the individual, along with many other similarly charged musical genres that serve the higher purposes of Art. There are many genres that can bear this potential of forming a gateway to the Other, yet few analogically to the totality of the modern musical production and scene within metal and music in general. It is needless to distinct, but apparently proven that even Black Metal when not viewed as an esoteric conduct and connection to the inner flame, is empty and sterile, devoid of the fiery spark that ignites the channeling of the Inner Void.


Saevus Helcath                                      
29.3.2019  Mortuary
Principles of Chaos