Vessel 333: Hvile I Kaos

Photo: Lone Wolf Productions

Gather yourselves prepare to be graced by music that is both painful to listen to yet beautiful admist the chaos that it harnesses. Kakophonix of Hvile I Kaos has taken the time to write some words about Vessel 333.. 

 Vessel 333 is more than just an album track, or even a single for that matter. It basically exists, quite literally, as a Vessel for something that was living inside me for quite some time. Something that essentially fed off my anger, resentment, and pain, bloating those aspects of myself to the point where they literally took on a life of their own apart from me. As such, I felt the need to give the miscreant a place to live other than myself, to the end that I could finally leave what it was feeding on behind and get on with my life.  

In order to do this, I wrote and recorded a piece of music intended to really capture the essence of what tore at me, and then proceeded to ask my friends to submit spoken word samples pertaining to their own experience of suffering. I was pretty pleasantly shocked by some of the submissions. People talked about wishing their family members would die. About constantly wanting to die themselves. About being raped. About nearly murdering their abusive parents. About being betrayed by someone they were in love with. It was fantastic. In the most fucked up way imaginable.

In addition to this, I invited Lurk (Conjuror, Light Being) to record guest vocals for the track. I gave him a simple text, “Don’t You Dare Numb the Pain”, and allowed him to kind of just do whatever he wanted. He ended up throat singing the whole thing, which lent an eerie, otherwordly, demonic atmosphere to the already tortured effort.

Once I had all of this together, I mixed all the voice samples in with the music. The end result is a veritable stew of toxic negativity in all its forms. Hatred. Sadness. Despair. Fear. Upon completion, I made a concentrated effort to transfer what was living inside me into the piece. Away from myself. Forever. And every time the recording is listened to, the thing makes itself known through the music and words contained therein.

 Thus is Vessel 333 made manifest. I hope it fucking hurts to listen to.


Stream Vessel 333 Here

There are a number of things that can be said about Vessel 333 taken off the upcoming album by the unwavering force that is Hvile I Kaos. This track in itself is a flurry of emotions that can be felt through the music and the spoken words. These voices and the pain that they are portraying is an almost tangible essence that is brought together by the mournful sounds of the cello, and the distant phantom tones of the phrase “Don’t You  Dare Numb the Pain” by Lurk (Conjuror, Light Being). Most of the spoken words were done so anonymously but some did choose to be listed. (Tiana Marie and Lauren Davis from performance art group Coven of Ashes, Tattoo Artist Jade Willow, and Necrohorn, vocalist of Ashenblood, Arachnigod)

Yet again Kakophonix has proved to be a master of invoking feeling and passion in his music but Vessel 333 is a bit different. This track left me at a loss for words and I found myself digging into the dark recesses of my mind to grapple with my own inner demons. Feelings of sadness, hate, remorse, and anger are prominent but this is something that the listener needs to experience first hand. It is hard for me to put it all into cohesive words. For a piece of music to be that insanely powerful is all the more reason to give Hvile I Kaos’s work a listen. There is true emotion here and of course everyone can take away from it what they will. The new album Agios O Fotiá is set to be released on October 13th 2017 through Deathwave Nexion and the album release show will take place at the 5 Star Bar on October 14th through Church of the 8th Day and The Elegy Ensemble. Bands performing include Imperialist, Ruines ov Abaddon, Solar Haze, and Morphesia. Again take the time and delve into this track, this one is painful yet beautiful.




Interview: A Descent Into the World of Kakophonix 

Photo: Lone Wolf Productions

I had the pleasure of conducting an interview with Kakophonix of the Cellistic Black Metal project Hvile I Kaos. He was gracious enough to provide me with some insight on his music and other subjects. Deathwave Nexion a small label specializing in the occult is set to release the debut album entitled Agios O Fotiá on October 13th 2017. Some more information on the album can be found HERE. So please sit down and enjoy..

Rather than pushing a dogma or clearly defined agenda, I’m much more in favor of allowing those views, shaped in turn by those experiences, translate into the listener’s mind via the music.

1. Explain the concept behind the new album and how it came about:

Agios O Fotiá translates from “Oh Holy Fire” in Greek. The term “Agios O [insert deity here]” is used in a variety of spiritual traditions to denote reverence or praise. As there is no one specific archetype that the album as a whole corresponds to, it seemed only fitting to dedicate it to Fire. 

Consider the manifold nature of Fire. The blaze of the sun is essential for sustaining all life on earth. The harnessing of Fire was also a key step in our early human ancestors’ ascent along the path to dominance. By the same token, that life-giving source is also capable of destruction on a massive scale. Anyone who’s lived in Southern California for any prolonged period of time knows this all too well. And the sun that gives us so much will inevitably consume the earth it sustains. So it can be said that Fire is the ultimate token of the Gods, both of their generosity and their wrath. Awakening that within the Self opens the door to so much.

All the previous Hvile I Kaos releases have been these little EPs and splits dropped intermittently throughout the years. As this is the first full-length release, I wanted the album to serve as a sonic imprint of my own Becoming. As such, every piece corresponds to a direct experience of mine. Experiences the listener can partake in as well, if they so choose.

2. Where do you draw your inspiration from?

That has evolved a bit throughout the years. Prior releases corresponded to more general concepts. Death. The Flesh. The Abyss. As Hvile I Kaos has evolved, the experiences I’ve had have become much more tangible. Let’s just say my inspiration today isn’t necessarily 100% mine anymore. Despite the fact that I still do write everything from scratch and my ideas are still very much mine, the substance comes from, well, somewhere else. I’m kind of just transcribing what I’m given in a way.

3. You have been signed to Deathwave Nexion, elaborate on how you were approached

I’ve been in touch with some pretty shadowy figures in some deep and elusive circles. So much so that I’m not really comfortable naming names. That said, one such individual recommended I get in touch with the fine folks at Deathwave Nexion as an appropriate outlet for releasing future Hvile I Kaos workings, particularly in regards to the direction things are taking. 

I’ve so far had a great working relationship with the label. It’s not this business conglomerate that just wants to churn out releases to meet popular demand. Rather, the concern is primarily with maintaining the integrity of the creations and the message they carry. They treat their artists with the utmost respect. 

4. Can you touch on your line up for Hvile I Kaos?

The current live lineup for Hvile I Kaos comprises of some of my best friends and artistic colleagues, whose contribution has made the experience that much more rewarding. My conservatory friends Emerson Sinclair and Sam Hernandez have taken up the duties of violin and cello, respectively, to round out the string section. On guitar we have my old bandmate Martin Stacey. He and I both honed our writing chops on a very ambitious album for an older project of ours. 

All of these musicians are extremely creative individuals in their own right, and each have their own working catalog of original music. The chemistry in the band is the best it’s ever been, which does wonders when we perform live. The bassist situation right now is a bit up in the air, but we do have someone lined up to perform at our album release show in October.

5. If you could choose one instrument to master besides the cello what would it be and why? 

That’s an interesting question, particularly given the fact that I started really taking the cello seriously as a teenager when I realized my abilities on the guitar were kind of lukewarm by comparison. I suppose something a bit more exotic or obscure, like the Nycelharpa or the Sitar, could be cool. Anything to conjure up weird and wonderful sounds modern listeners may not be super familiar with. I’d definitely stick with a string instrument of sorts. 

6. What are your current views on today’s metal scene? 

The metal scene as a whole is kind of a broad topic, so I’m going to focus specifically on the Black Metal scene as I’ve experienced it. I’m pretty optimistic about the rise of Orthodox Black Metal in recent years. To me that is the most accurate representation of what the genre exists to achieve. True belief. True experience. True expression. It all goes back to honesty in the end. 

By that same token I’m a bit disheartened by how many current bands I’ve seen claim to be Black Metal that have no legitimate right to that claim. They seem to be under the assumption that creating an image and a “mystique” is the ticket to the cool kids’ table of the “elite”. Trying to seem dark without living the Darkness. And while such bands may have some audiences fooled, they’re certainly not fooling the very real Darkness they pay lip service to. That which does not suffer fools gladly.

7. What is your perspective on the internets impact on today’s music scene? 

That’s really a double-edged sword. The benefits seem to have been that artists can get their music heard without needing the approval of industry bigwigs, something that wouldn’t have really been possible in previous decades. On the flip side, I’m going to be that guy and openly admit that I see illegal downloading as a huge problem. Musicians pour everything they’ve got into their works. If you like an album enough that you just have to own it, you can pay $10 or whatever for it. Rest assured the artist spent way more to make it a reality.

8. Are there any specific bands that you are listening to currently that are worth mentioning?

I’ve been pretty impressed with the most recent Sinmara EP. I spin Uada’s EP a lot, as well as Tribulation’s discography. Also of note is this French band VI, which is a side project of a couple of the guys from Aosoth. Their album really sticks out because of the way they use chords. They have these super grandiose major and generally diatonic harmonies, and then they blindside you with these really gnarly dissonances. The end result is a contorted atmosphere that’s both sacred and profane simultaneously. I can’t think of a better sonic representation of sanctity defiled. It’s absolutely magnificent. And of course, you can never go wrong with the classics like Dissection or Deathspell Omega. 

9. Do you have a creative process, or any rituals you abide by?

That too has evolved quite a bit. Traditionally I’m the most creative at night. Sometimes I’ve been known to record and compose with the lights off, to really connect with the Source uninhibited. Often times I’ll come up with an initial riff or motif and get down some basic ideas, and then let the character of the music determine the conceptual direction of what I’m trying to say and proceed accordingly. Other times the subject matter comes first and I’ll mess around with musical ideas to match that. By the time I record the final product, the message I’m trying to get across is always at the forefront of my mind. During the recording of Agios O Fotiá, that really took over. The ritual aspect of the recording and composing is that inevitable communing with those abstract ideas and phenomena.

Live, of course, our performances are very visibly rituals. The use of the evocation triangle and the arrangement of candles give us a focal point to channel our energy towards. The great thing about Hvile I Kaos today is that the people in the band are all artists I can gel with on a personal level. We all play off one another with a mutual understanding of what we’re trying to put together, and if we’re lucky the audience responds and participates with their own focus and presence. Our last live ritual in Lakewood with Valkyrium was very special in that regard. 

10. What kind of ideologies or emotions do you try to convey through your music?

My views are my own, as are my experiences. Rather than pushing a dogma or clearly defined agenda, I’m much more in favor of allowing those views, shaped in turn by those experiences, translate into the listener’s mind via the music. Everything in there is beyond words anyway, so it’s best to experience it directly. 

11. For someone just getting into your music what song would you recommend?

For a while I kind of considered “The Dying Gasps of a Once-Proud Eagle” off the 2013 self-titled EP to be the quintessential Hvile I Kaos track. In many ways I still do, at least for the band’s earliest period. As far as the more recent stuff goes, I’d say to listen to the entirety of “Beholden: Thy Olde Birch Gibbet”. That EP really flows together as one continuous piece. I think it really represents the best in Hvile I Kaos prior to Agios O Fotiá. Once the album is out, I’ll likely give a different answer. 

12. How did you form Hvile I Kaos? 

Hvile I Kaos came about much like many Black Metal projects. One day in summer 2011 a 19-year-old kid pissed at everything and everyone decided to put his sulking to good use and record nasty, evil music out of his room. Of course, the fact that I play the cello made the end result a bit unorthodox to say the least. And when I went back to Ohio that fall to continue my conservatory studies, Hvile I Kaos was actually an immediate cause for my decision to add a Music Composition major to my Cello Performance program. As a result, it kind of became not only a direct extension of my artistic and personal growth, but also of my education. 

For a while I kind of put Hvile I Kaos on hold to focus on other bands and projects. A decision I now understand to have been a profound mistake. Today I see Hvile I Kaos as the central pillar of who I am as a musician. I have session work and gigs and school and teaching and all sorts of other involvements that come with the territory of being a freelance professional musician. But Hvile I Kaos is the one outlet I consider to be truly mine. That’s never changing.  

13. Typical question but what does your band name translate to how did you come up with it?

Hvile I Kaos translates to “Rest in Chaos” from Norwegian. It’s actually a low-key salute to Jon Nodtveidt from Dissection, one of my main inspirations to form and continue the project (I know he was Swedish, but I just thought it sounded cooler in Norwegian). I’ve always found Jon’s life and music pretty inspiring, primarily because he was one of those exceptional artists who really put his money where his mouth was and lived the Darkness he preached. That influence, as well as that of Selim Lemouchi from the Devil’s Blood, has been something I come back to a lot to maintain the purity of what Hvile I Kaos is all about.

14. What do you do in your spare time to unwind after recording and or practicing? 

Deep down I’m a complete nerd, so I’ll often put on a documentary to chill out. I like learning about pretty weird stuff. Serial Killers. Dictators. Revolution. Genocide. Torture techniques. Ancient cultures like the Maya or the Ukrainian Cossacks. I’ve had this strange fascination with Paleoanthropology and human evolution since I was a kid. I also like reading about religion and spirituality, particularly of the more fringe variety. I have a pretty extensive collection of books on those subjects.

15. You do session work, describe some of the projects or bands you have worked with. 

As a session cellist, I’ve had the distinct privilege of playing on some very special upcoming releases. Namely, my friends in Imperialist, Wolvhammer, A Hill to Die Upon, Curse the Gods, Martin Stacey, and Osi and the Jupiter are putting out some fantastic new music soon. All of these projects are visceral and honest reflections of the beliefs and experiences of the individuals behind them. Keep watch for what is to come. 

16. What are your plans for the future?

I’m going back to school this fall to finish my Master’s program in Cello Performance, so that’s going to be largely taking center stage. Hvile I Kaos is going to stay pretty active. I’m going to continue to work on new music, and we’ll be taking the shows that make sense for us. Of course, the Will of the individual and the progression of Wyrd play off each other in ways I can’t predict, but I’m going to stay open and keep my gaze fixed.




Featurelust: Agios O Baphomet- Hvile I Kaos

Photo Credit: Lone Wolf Productions

Kakophonix the mastermind behind Hvile I Kaos has been unwavering in his effort to deliver his own brand of Cellistic Black Metal to the masses. October 13th will see the release of the first full length album entitled Agios O Fotiá which translates to “Oh Holy Fire” in Greek. A small label that specializes in the Occult entitled Deathwave Nexion is going to see the release of the album, which has its well deserved spot on the labels roster.  Thereafter on October 14th a release show will be held at The 5 Star Bar in Los Angeles where Hvile I Kaos will perform with Ruins ov Abbadon, Imperialist, Solar Haze, and Morphesia. This show is being put together by Church of the 8th Day and The Elegy Ensemble and is sure to please, as it is rounding up some very prominent musicians in the scene.

Now if you have kept up with The Metal Wanderlust in the past Hvile I Kaos may be a familiar name and this is not the first time we have featured this unique and talented artist, and hopefully not the last. The single Agios O Baphomet is nothing short of another momentous offering, which is an adaptation of an esoteric chant attributed to the Order of the Nine Angles. Slow brooding layered cello work mingled with guitar draws the listener into an arcane journey, masterful and beautiful. Black Metal riffs transport the being into the fires evoking a presence portrayed in the notes and movements of the song. Quoting Kakophonix himself he states that the tracks on Agios O Fotiá each carry their own esoteric spiritual meaning. If that is an indication as to what there is to expect, this album will be nothing short of spectacular as Kakophonix is a master at portraying emotion and feeling through his music. Open your mind and ears once again, there is a fire burning on the horizon and it’s insatiable flame is to not be quelled. 



Hvile I Kaos: The Live Offering

The beauty and atmosphere that is Hvile I Kaos was transposed into a live performance and it compelled me to express my thoughts. I have already reviewed selected works by said project but for those who do not know, Hvile I Kaos plays Cellistic Black Metal and while it is not the norm, Kakophonix uses the Cello as his medium to evoke the chaos within.

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Cellistic Black Metal Tyranny- Hvile I Kaos/Angmar 

The veil has been lifted and here I am once again sharing my thoughts on Black Metal Cello project Hvile I Kaos, with whom I have had great pleasure in doing so. Mastermind Kakophonix has joined forces with Angmar another prominent Cello player to release “Cellistic Black Metal Tyranny”, a four song split that can be described as pure imperious cellistic black metal bliss. Keep on reading!

Beholden: Thy Olde Birch Gibbet-Hvile I Kaos

Over the years I have come across numerous bands that transcend the genre and leave me questioning different aspects of my life. But what if my life was ending due to poor decisions, and I knew the path that would be laid in front of me. What would I feel? That is really hard to say but whilst listening to the sound of “Beholden:Thy Olde Birch Gibbet”, the latest offering from Hvile I Kaos I had an idea.

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