LADY MORPHIA: INTERVIEW FOR “BLACK MAGAZIN”, MAY 2000.

 -  Your first fulltime CD has got a big amount of good reviews, but probably most of your listeners don’t know that much of you. Therefore please have some words on the history of Lady Morphia.

 LADY MORPHIA effectively began life in 1996 with the release of our first cassette.  However, this tape was in fact the first practical realisation of ideas I had been toying with since 1991.  It is possible to trace the roots of LADY MORPHIA back to a project I began with a school friend in that year.  He was very much into thrash metal, whilst I was a big fan of gothic, new-wave and post-punk music.  I often like to think that, with this combination of styles, we pre-dated the current vogue for “dark” or “gothic” metal.  Anyway, I was involved with a couple of different groups following this, none of which did anything more than practice and write songs.  In March 1996 I purchased a four-track machine, which finally allowed me to record my ideas.  Moreover, the fact that I now possessed multi-track capability - albeit limited - meant that I could play everything myself.  After a period of working within a “democratic” band framework, this was an absolute godsend!  Once I had finished some songs, I asked Chris if he would be willing to play drums on the refined versions which I planned to issue commercially as a demo cassette.  He agreed, and LADY MORPHIA was born.  LADY MORPHIA came into being primarily as an outlet for my own creative ideas, and as the personification of my inner self.  It remains a forum via which I can articulate my thoughts, emotions and obsessions.  To date our discography is as follows: Tales from the Surgical Ward (MC, 5 tracks, 1996), Ideology and Emotion (MC, 6 tracks, 1997), Pangæa (MCD, 5 tracks, 1998) and Recitals to Renewal (CD, 14 tracks, 1999/2000).      

-          Why did you chose this name; what is its meaning?

The name “LADY MORPHIA” comes from a poem by Robert Graves entitled Surgical Ward: Men. 

Graves began writing after the First World War, and this particular piece seems to conjure up images of wounded soldiers being given Morphine in order to take their pain away.  However, the poet endures painful reality rather than succumb to the “scorpion kiss and dark gyrating dreams” offered by “Lady Morphia”.  The release from suffering which “she” promises is a false hope, and facing up to the harshness of existence is, in the end, preferable.  His will, and thus his spirit, triumphs over her wiles.  I found this idea intriguing, not to mention highly commendable.  I was, of course, well aware of the ambiguities inherent in the phrase.  That too was something about it which I liked very much.  LADY MORPHIA carries multifarious meanings on a variety of levels.  It has surreal, dream-like connotations.  It hints at a femininity which contrasts nicely with the often masculine tone of the music (which is unsurprising given that the nucleus of the group is male).  It conveys a sense of equilibrium which is  elucidated more clearly in my lyrics.  Furthermore, our moniker implies a desire to go beyond the mundane and the banal.  This is an attitude which is vitally important to us.  All of these meanings are applicable to LADY MORPHIA, in addition to the way in which Graves originally intended the expression to be understood.  Indeed, there are probably many more meanings which could be read into it.  People can therefore interpret the name in whatever way they want.  I thought long and hard about using a different moniker before the release of our first demo.  However,  I felt strongly, incomprehensibly drawn to the phrase “LADY MORPHIA”.  I could not escape it.  I simply had to use it.

-          Are you content with the outcome of „Recitals to renewal“?

I think that Recitals to Renewal is easily our strongest work to date.  It is the purest expression of LADY MORPHIA so far.  It comes nearest  to achieving the sort of results I have always aimed at.  I am also of the opinion that it works rather well as a whole.  This unity was somewhat lacking in our previous output.  I must be pleased with it, because I haven’t grown tired of it yet!  Every time I listen to it I am impressed by the atmospheres it evokes.  It still sounds fresh and exciting.  For me, a highly spiritual aura permeates the entire album.  We both felt this during the recording sessions.  We could sense that something very  “magickal” was taking place.  The songs assumed a  power and life-force all of their own.  Some of them even had the feel of invocations.  For instance, when I was singing Brothers, laying down keyboards on Palingenesis or reading the lyrics for The Retreat into the Forest, Ernst Jünger’s spirit seemed to be in the studio with us.  It really was an amazing sensation, and  a remarkable time.     

Nevertheless, I am not 100% content with Recitals to Renewal.  If I could record the album again, there are aspects I would change.  I would add or remove instruments and sing certain parts differently.  I would also mix some of the tracks in a different fashion.  I might adjust the artwork slightly.  However, despite my reservations, I believe it is probably best to leave the album as it stands.  I have never been absolutely satisfied with anything I have ever done, and I hope I never am.  Chris and I are always learning, evolving and improving, not to mention gaining better equipment and so on.  Each work should therefore be a progression from the last - hopefully in every respect.  The desire to improve with each subsequent release is one of the many motivations that drives me on.  We are constantly moving forward, which is as it should be.   

-          „Recitals to renewal“ means „descriptions which should be remembered“ in German. Which ideals should be remembered?

I do believe that some ideals should be remembered, but your interpretation of the title only covers part of its significance.  I would have thought that Rezitationen zu Erneuerung might be the best way of rendering the title in German.  However, even then I am not sure whether the German transmits the full range of insinuations which may be inferred from the English.  “Renewal” carries manifold emphases.  It should be noted that the word does not necessarily have to imply the return of past values, although in some spheres I would see this as constituting part of the process.  At times the term may be applied to spiritual matters; at others cultural; at still others personal; at others to particular approaches to life.  It might also hint at cosmological-universal matters.  For example, the idea of a time-transcending palingenesis.   For me “Renewal” refers primarily to a revival and a rebirth - and overall to the resuscitation of life.        

I would rather listeners made up their own minds as to which ideals I think are worth “remembering”.  The lyrics surely provide some signposts towards my feelings on this.  

-          „Recitals to renewal“ is dedicated to Ernst Jünger and it contains several references to the much discussed author. What does his works mean for you and how did you got in contact to his work?

Jünger means everything to me, both in terms of his work and his person.  I first came into contact with his oeuvre some years ago via an English version of Auf den Marmorklippen.  Luckily for me it was a fine translation by Stuart Hood, which loses almost nothing from the original German edition.  My interest in the book initially stemmed from my obsession with twentieth century European history, and especially that of Germany from 1914 - 1945.  It was in this context that I first heard of Herr Jünger.  Reading the book was a deeply spiritual experience, as well as an unprecedented intellectual one.  It was simultaneously an epiphany and a confirmation.  I was transfixed, and finished the volume in one sitting.  Absolutely every aspect of it fascinated me.  I read all the novels and essays by Jünger that I could find, and discovered more about the man and his life from biographies and interviews.  I was not disappointed.  To my mind, Ernst Jünger was the greatest author of the past century, and probably even of all time.  His work touches parts of my soul that nothing else reaches.  His use of language and imagery is remarkable.  Equally, his ideas are always utterly compelling.  The way he lived his life is another source of my admiration for him.  He lived completely as an individual, and always remained loyal to his inner being.  He epitomises the indomitable nature of the pure, independent spirit.  Long may his memory endure.   

-          You used a longer extract of one of his readings (Das Sanduhrbuch) as some other quotations of Jünger, too and in my opinion some of your texts are orientated to texts of him. If so, is „Recitals to renewal“ to be understood as a concept album?

This is certainly a part of the story.  Jünger’s inspiration is deeply ingrained in many of the album’s facets.  It would have been a very different work without him.  It might even have been impossible.     

-          In Germany Jünger has been discussed a lot, in France he is loved. What does he stand for in UK?

Jünger is generally unknown in the UK.  The “reading public” is almost totally unaware of him.  He is only widely discussed in academic circles.  Even then, he is considered in the context of German history as frequently as he is in terms of his literary output.  On a side note, it is interesting to contrast the reception Jünger receives in France with the reactions that greet him in Germany.  I read about the hysteria which accompanied the bestowal of the Goethe Prize upon EJ.  I found it sad, but also quite amusing... .

-          The booklet comes along with three great paintings, which remind me of Hugo Höppener alias Fidus. But as far as I could see, they aren’t from him. Can you please have some words on the painter and the feelings you connect with these paintings?

You are correct.  The paintings that appear in the booklet are not by Fidus, although they arguably share a similar sense of symbolism.  The full-colour pictures are by Arthur Rackham, a British artist who lived between 1867 and 1939.  The illustrations I used were from his interpretation of Wagner’s Ring tetralogy.  The other drawing depicts the Germanic gods at the ordering of the world.  Unfortunately, I know precious little about this composition.  It is certainly German (possibly south German).  At a guess, I would suggest that it dates from circa 1850 - 1920, but I cannot be certain.  All three pieces are highly emotive.  They evoke feelings of heroism, sacrifice, (re)birth, renewal, triumph, loss and splendour.  They encompass the essence of being itself.  In short, they touch on themes central to the album.  Additionally, the paintings reflect the cultural soil in which the majority of Recitals... is rooted.  They have an intense spiritual depth and a uniquely European aesthetic.  They are beautiful.

-          „Recitals to renewal“ sometimes remind me of some folk tunes of Death in June and much more to Strength through Joy. Can you have some words on musical (and cultural) influences?

Of course, Death in June lie very close to my heart.  Douglas P.’s music means more to me than that of anyone else.  I would say that DIJ have been far more than an influence.  Rather, they are a vital inspiration.  I love listening to Strength Through Joy as well. Nevertheless, I am convinced that LADY MORPHIA has its own idiosyncrasies and approach.   This imbues our corpus with a certain originality.  Furthermore, I believe that our sound is too diverse to merit the singular label of “folk”.  Naturally, numerous songs use acoustic guitars as their basis.  But, we also have many other methods of working.  After all, half of Recitals to Renewal features no acoustic guitars whatsoever!  We embrace noise, experimental, ambient, neo-classical and martial music in addition to “neo-folk”.  Besides the acts already mentioned, further musical inspirations and influences include Christian Death, Der Blutharsch, Sol Invictus and NON.  There are obviously innumerable other artists working within this “scene” whom I enjoy.   Classical music and opera have a role to play too.  In this field I prefer the likes of Wagner, Ligeti, Gorecki and Mahler.  I find march / martial music to be exceptionally atmospheric and uplifting.  This is particularly true of “vintage” recordings.   I also harbour a fondness for Jimi Hendrix and The Police. This admission provokes horror from some people... .                

“Cultural influences” covers everything, doesn’t it?  It could refer to one’s spiritual beliefs, national or ethnic background, best-loved books or favourite films.  Some of these areas have been discussed in the questions above.  In the realm of religion I respect Christian tales, imagery and iconography, but I lean towards a more balanced view of spirituality.  For me, Northern and Central European pre-Christian religions are especially compelling.  They have had a profound overall effect on me.  They seem to make more sense in terms of equilibrium, and in their attempts to personify the “life-force”(s) of the universe.  This means of personification holds yet more appeal due to the cultural milieu in which it is based.  I have already mentioned my deep interest in European history.  Indeed, I am currently studying for an M.A. in the subject, and hope to commence a Dr.Phil. later this year.  Aside from Jünger, Friedrich Nietszche has exerted a vast influence on my Weltanschauung.  I am also intrigued by authors like Oswald Spengler, Arthur Moeller van den Bruck, Yukio Mishima, TS Eliot, Robert Graves (of course!), Aleister Crowley, Ted Hughes and  William Gibson.  There are too many historians to mention, but I find the work of Richard Overy, Ian Kershaw, Armin Mohler, Klaus Hildebrand, Detlev Peukert, Nicholas Goodrick-Clarke and Roger Woods to be particularly good.  On the artistic front, the entire Symbolist movement and certain Pre-Raphaelites do a lot for me, as does classical art.  Rackham, Thorak, Waterhouse, Fidus, von Stuck, Millais, Kolbe, Delville, Brecker, Bouguereau, and Toudouze hit the right spot.  So does some Otto Dix and George Grosz.  My favourite films are bit of a “mixed bag”.  They include all work by  Leni Riefenstahl, Blade Runner, Apocalypse Now, Europa! Europa!, Nösferätu, the James Bond series, The Tin Drum, Big Trouble in Little China, Metropolis, The Night Porter and a marvellous 1970’s TV serial called The Professionals.  However, not all of these relate to LADY MORPHIA. Perhaps the most single important cultural inspiration on me is the physical and spiritual homeland of myself and my ancestors: Europe.  

-          Two songs of Lady Morphia are entitled „Heimat“ and „Commonwealth“ In my eyes this is a contradiction. Do you agree? What means native land/fatherland for you?

I don’t see any contradiction at all between these songs,  just as I don’t see any true contradiction in the totality of LADY MORPHIA’s work.  There is only equilibrium.  To regard Heimat and Commonwealth as contradictory presupposes a rather literal interpretation of both compositions.  They have a more spiritual character than this.   In my opinion, at least!  In no way do the two pieces negate each other.  In fact, I would argue that one complements and balances the other.  As it happens, Commonwealth has one of the few sets of lyrics which I can comprehend almost completely.  Often the writing process is so subconscious that even I am not sure of what the words mean.  However, I wouldn’t want to nullify the interpretation that anyone else might make.  It could easily be just as valid as mine.

As has already been alluded to, I most definitely see myself as European.  Ethnically speaking, I am very much a European.  I am of mixed Polish-Italian parentage, with historic roots in Austria and Western Poland / Eastern Germany as well.  I was born and brought up in England, into the traditions and milieu of this country.  This gives me even more reason to be a pan-European!  However, despite these physical-geographic considerations, I believe that the question of “instinct” or “orientation” is infinitely more important.  The psycho-spiritual “connection” with - or “feel” for  - one’s Heimat is crucial.  I would also like to point out that my sense of being European does not preclude an interest in other cultures.  I am deeply moved by, for instance, Oriental civilisations.  I believe in respect for different ways of life and peoples, but it is still Europe that has shaped and given birth to me personally.  I definitely feel part of the Spiritual Nation of Europe.  I am among those who feel intrinsically European.  They have a sense of oneness, a Congruity of Being with the living, dead and yet-to-be of the continent.  This can take many forms, but it is most of all an “instinct”.  It is a very internal, deeply held “sense”, and not something that can be adequately reflected in terms of semantics.   For me, culture and being are things that one carries inside oneself.  They are always inextricably a part of you, no matter where you are in the world.  I would suggest that, externally, this feeling of Eurocentricity is reasserting itself through a renewed interest in art, culture, history and indigenous religions on a pan-continental scale.  The mood of “being European” is definitely re-awakening.

-          In contrast to „Recitals to renewal“ your MCD „Pangaea“ is much more aggressive and one track is really gothic like. What triggered the change to the new pure sound?

There were no premeditated changes on the road from Pangæa to Recitals to Renewal.  Any metamorphoses which may have taken place were due purely to natural progression.  The two recordings are separated by just over a year.  As such, the album has a more mature sound.  It reflects that period of evolution.

With regard to Mysteries I Now Accept, there were personal reasons which demanded its inclusion on Pangæa.  These additionally relate to why it is the most ‘gothic’ sounding song we have ever recorded.  (All the other ‘rock’ orientated tracks I have ever written possess a punkier edge than this one!)

-          As far as I know Tesco is the distributor of „Recitals to renewal“, but there seems to be no label. I would swear that you’ve got a lot of offerings after releasing this wonderful piece of music. Where is the next CD to be released?

Thank you for your kind comments!  The next LADY MORPHIA CD should be released exclusively via TESCO.  If all goes according to plan, this should be ready by early 2001.

-          I heard of a 10“ which is to be released on Eis + Licht. What can you tell us about this collaboration and its forthcoming outcome?

We hope to issue a limited 10” on Eis & Licht in the Autumn.  Since I am a great lover of vinyl, this is something which I am looking forward to very much.  The record will probably feature about six tracks.  I think it will be a work of contrasts.  However, that is all I want to say about the content at present.  It is impossible to guess what the end result will be.  I am sure that this project will dictate its own path once we enter the studio.

-          Any other future plans?

LADY MORPHIA will almost certainly appear on a couple of compilations in the near future.  Other than that, I think preparations for the 10” and the second album will keep us busy for a considerable time. 

-          Please list some of your last bought records and your all time top 5.

Records I have purchased recently include the new Allerseelen 7”, Forseti’s Jenzig 10”, Weltbrand by Turbund Sturmwerk, Death in June - Operation Hummingbird, a compilation of military music from the Federal Republic entitled Drei Lilien, drei Lilien, Ostara’s Secret Homeland,  All Things Strange and Rare by Sol Invictus, and the Der Blutharsch / Ain Soph split single. 

It is really too difficult to list an all-time top five.  Nevertheless, I think the following works would definitely have to be in there: Death in June - Rose Clouds of Holocaust, Christian Death - Atrocities and Der Blutharsch - The Pleasures Received in Pain.  Two more spaces just isn’t enough!  

-          Any last words?

I would like to thank you for an intriguing interview.  Similarly, I offer my gratitude to all those who have supported us thus far.  Our Spirits Swallow the Sun... .

In Amicitia,

Nick Nedzynski.

25/5/2000.