Yes, I think it is in our very nature to seek identity (be it in culture, music, fashion, whatever), and especially in a very confused and globalized world, heritage and traditions play a very important role to a healthy personal identify development, but in the same time discarding the politicization, backwards mentality and right-wing romanticisms.
Distance may make the heart fonder, and when it comes to Svarrogh this seems to be the case. Multi-instrumentalist Dimo Dimov has been living in Germany for years now, but returns to his native Bulgaria with his main project Svarrogh frequently. It’s not his only project, but perhaps the one closest to himself.
After a long time, this year finally saw the release of the latest record of Svarrogh, titled Aether. A record out of time and out of its time, but that’s in many ways what the band is all about. It’s the 6th full-length in the band’s 20-year existence and a true work of art for those who love pagan metal or folk metal with deeper levels.
Dimov is also a bit of an expert on paganism, but turns out to not be a blind follower of stories from our past. His views are quite critical, in fact, spiced with realism and a sense of wit as I found out. We talked about his work, blending metal and folk, retracing your past and, most importantly, how to treat that past when we think it must have been better back then. Thanks to Dimo for his time and honest answers.
History, Folklore, Svarrogh
E&D: My first question would be, how are you doing and how has this pandemic been for you. Has it affected your artistic endeavours?
Hello! I am doing quite fine, but yes, the pandemic has affected plans for concerts (but not for Svarrogh, as we don´t have a live line-up, it affected the gigs of my other projects Alto Lago and 16 Strings Under) as well as personal travel plans very much. Moreover, the administrative restrictions to combat the pandemic have proven that art and culture is very much system- and life relevant, and not just a “nice-to-have” side phenomenon of society. We need culture and art, otherwise, our lives are reduced only to a very existential, almost survivalistic form of being.
E&D: You released Aether in February, I assume the follow up didn’t go as planned. Can you tell me a bit about his album and its creation?
The album Aether has been a long journey so far. I started recordings in 2009, then followed some turbulent years, Svarrogh also even seized activity – and finally, I decided to mix, master and release it in 2020, and to finally close this old chapter. It is actually quite different than any other Svarrogh album. On the one side it goes back to the folk/black metal roots, but also merges the neofolk/post-folk phase (if I have to use categories), so it somehow closes the circle logically. Overall the production sounds raw, even after having put a lot of effort in the mix and especially in the arrangements of many different instruments, such as the drums and piano. Interestingly, this album contains much less Tamboura which is typical for Svarrogh and has been used extensively on every record since (and also on gigs).
Overall the release is a real relief. My ambitions to be recognized are however not very high and I am not part of a scene or community at all. I just want to do music for myself and when the feedback is good, I can´t complain. Many leftover ideas of the album were channelled 2012 into a side project called Moon Orchard, containing instrumental compositions, but they can be linked semantically and atmospherically to Aether. Because the music industry changed dramatically in the past few years, a digital release was primarily aimed for, however, a limited edition of 100 copies has just been printed and is available.
E&D: What can you tell me about Aether, and the stories shared on that record?
Aether is a conceptual album where everything revolves around a very aetherial, surreal and atmospheric perception of nature and natural mysticism combined with folkloristic motives and the amazing poetry of Ezra Pound creating unexplainable, naturalistic, eerie landscapes (somewhat Nietzschean as well) where you have to sleep with lynxes amid a moon orchard, where elm trees are from iron and marble or where the sun is dragging her stars among time and space – as Ezra Pound stated: “Moth is called over mountain, the stars are not in her counting. To her, there are just wandering holes.” But in the same way, it is also a surreal depiction of Slavic mythology where you have a being like the firebird, where eerie forest creatures are trying to deceive your spaced out cognition and where apples are treated as gold treasures. So yeah, the lyrics are quite psychedelic although I am not a stoner dude.
E&D: On your earlier notion of culture: culture, to me, is a word that embodies much. I think. It’s an organic part of our ‘living together’, but also of where we come from. What is your view on this? And why is it important to you to share, through your art, the Bulgarian/Slavic culture?
Sorry, I was thinking in much simpler terms, in fact, your first argument was right. I mean, culture in its artistic, metaphoric, metaphysical, crea(c)tive and educational form. I didn’t mean culture as anything related to ethnicity or a nation. It is not important, I just view it as interesting to share my views and interpretation of Bulgarian history, ethnography and music, due to nostalgic reasons and to represent (in a way) a kinda under-represented nation, that is not very famous with its true beauties.
And of course, to present new paths of musical expression, by modernizing certain folkloristic elements and even creating some sort fusion with other musical styles coming back to your statement “where we come from”. Yes, I think it is in our very nature to seek identity (be it in culture, music, fashion, whatever), and especially in a very confused and globalized world, heritage and traditions play a very important role to a healthy personal identify development, but in the same time discarding the politicization, backwards mentality and right-wing romanticisms.
E&D: I like your notion of culture. Though I understand how you used it in the first answer, it made me immediately think about how it so much is a part of us organically. How it shapes us and is part of our daily lives. Hence my question. Your interpretation echoes how Einar Selvik often explains his work as not romanticizing, nor reviving the past, but taking lessons and inspiration from it for today. Is that your approach to Svarrogh too?
Yes, I like the explanation also. You have to keep in mind, that neopaganism and any yearning for a past that you have never experienced may come from the inability to cope with the modern world which itself, of course, is a confusing and disappointing (but then please give back your higher life expectancy and central heating). However, this inability reoccurs in almost every generation since the beginning of time. People who are dissatisfied with the present are either progressives or the opposite, and if you put them in a time machine 1000 years back, they will be still unhappy. People seek for peace and liberation, which is something that they don´t have and this is where romanticism and critique to the modern world start. But you can´t hide in your basement and read backwards ideology such as Julius Evola over and over again. To put it in very simple terms, Svarrogh itself, of course, was very different when I was younger and was engulfed by self-given constraints that had to fulfil a sort of neopagan romanticism, but now it matured and it acts even more as inspiration and as a bridge between timeless folklore and modernity. Especially Bulgarian folklore and mythology are very inspiring as they very often blend seamlessly with nature and i want to capture this specific yearning and folkloristic tragic which is rooted very deep in the Bulgarian soul, which had to bear a lot of suffering, hardship and scarceness. But on the other hand, folklore has always a fantasy or dream world aspect to it and acts as a temporary escape from everyday life.
E&D: On Metal Archives, I found listed that you are inspired by Slavic heathenism, Bulgarian folklore and Tengriism. These are topics I know little about. Do you consider this your pure inspiration for your art or is your art a vehicle to share about these topics? And could you tell a little about these things? They are not well known to me and I’m interested in your view on these.
Tengrism is an Altaic, Mongolian religion whereas Tangrism is the naturalistic religion of the Proto-Bulgarians between the 6th and 9th century before Christianization. I was always very fascinated by the first Bulgarian (Danubian) empire which is a multicultural fusion of southern Slavs and Proto-Bulgarians. The difference is that the Slavic pantheon is polytheistic and can be somehow compared to the germanic or nordic one (Perun vs. Thor, Svarog vs. Odin, this, of course, may come from the Varyags) whereas Tangra itself is the ancient and eternal sky (the sky, not the sun plays the most important role) and embodies more shamanistic and ritualistic forms. However, I am not a neopaganist, nor is Svarrogh´s music. As I stated, I use these themes to create atmosphere.
E&D: So, just to get some clarity on this, the original religious views are much more in line with harmony with nature? It’s often hard to see that in the Germanic/Nordic pantheon and mythology, as the stories are now told through the lens of Christian writers. But I do know the Baltic pantheon is really very closely related to nature and the philosophy of it focuses very strongly on balance and harmony with all these elements. Embedded in daily life so to say, of our ancient ancestors. Is that how I should see it?
Maybe, I assume so. I am not a religious nor a very spiritual person, I just think that this earth has such amazing beauties, lakes, mountains, forests, meadows which are very related to our yearning for peace and liberation. Svarrogh also doesn´t have any religious aspect, if any, then rather a symbolist one related to folklore (which has pagan elements). And music can resemble feelings and thoughts which you can find in nature, by a particular atmosphere, for example, the Tamboura, reminding you of shepherds and meadows, guitar riffs which sound and smell like wind, rain or misty mountain valleys. Also, moving to Germany in 1992 as a child, created a sort of vacuum and nostalgia, that I tried to fill with Svarrogh ever since. A big inspiration has always been the Rodopi mountains in South Bulgaria, I really recommend you to visit this place that can be a journey in time. Germany itself offers also amazing landscapes (the Alps, Rhoen Mountains, Black Forest, etc.) and maybe a part of my mentality is already German in a sense.
When we played in Lithuania in 2007, I totally understand what you mean. Baltic people are very rooted in their culture. I just remember the performance of Kulgrinda and their evocation of the son “Saulala Motula, uztekek uztekek”.
E&D: How does the form of inspiration work in your writing and recording process? Where do you start and how do you create music for Svarrogh? I’m also curious how you got into this kind of music and how you transition between folk and metal styles in your work.
Well, I started listening heavy and extreme metal as a kid and tean Viking, pagan and folk metal, when I first heard Nokturnal Mortum´s NeChrist, I was blown away by the fusion of very harsh black metal and gentle Slavic folklore. Now, I know that Nokturnal Mortum are just a bunch of pathetic nationalist idiots, supporting Ukrainian terrorists.
The music for Svarrogh usually starts with the basic song arrangement, chords and guitar riffs and I try to do the combination of guitars, tamboura and bass as polyphone as possible without getting lost in complexity. Tamboura fits very well with electric guitar and adds a very folkish taste to a rock or metal riff regarding the non-metal phase of Svarrogh, the songwriting was much more difficult because it was non–conventional for me and although the musicality was simpler on Balkan Renaissance or Temple of the Sun, you have to play much cleaner, there must be more room and space tones and keep the rhythm section as simple as possible on those two albums, as well as later with Yer Su, the Tamboura was the most important instrument, on Aether it has less focus.
E&D: Yet, I feel there is a clear balance in your sound now and to me, there is also a very natural connection between folk and black metal. How do you feel about that?
Thank you, this has always been my intention, although Svarrogh had a clear neofolk non-metal phase 2006-2010. In fact, I feel that most music styles are very interchangeable if you break down the songs to their baseline (especially in simple chord progressions). It just the different instruments which add colour and define a specific style.
E&D: Also, you have mentioned Nokturnal Mortum and regressive use of tradition by certain entities. Yet, you have founded a pan-European pagan magazine. I am curious about your take on how paganism fits in our modern world in a positive and perhaps progressive manner?
Yes, I found a Pan-European pagan magazine named Svarga in 2009 (but then had to drop it after 3 issues due to lack of time) but I can do that just out of interest for specific themes without supporting regressive ideas or the “conservative revolution”. In my view, there is no such thing as paganism and it wouldn´t fit. I regard that as a very symbolist idea in order to: preserve nature and the environment as well as to be aware of history, folklore and traditions (which would be a big pity if they were lost). But that´s it. Nothing more.
E&D: About traditions, I agree it is a shame we lose them but sometimes they just lose their relevance. I think it is like that with everything. If it doesn’t fit our worldviews, like a quite uncomfortable celebration we have in the Netherlands, it is time to let go.
Let’s put it very frankly: This world is very dynamic and change is very often inevitable. Thus, in a very generalized way, we have the two antagonist powers which drive humanity forward (in some way you can put here Jordan Peterson vs. Slavoj Zizek). So change is important, but we have to be careful that this change doesn´t eradicate valuable things that have a high value for our minds as humans. Also putting a pantheon above your head is just another “holding-to-something”-mindset (but everyone should do whatever makes them happy, I just speak for myself).
Take the Bulgarian Kukeri for example: In the last 20 years, this tradition (the masked rites for the welcoming of spring originating from the Thracians) experiences a boost in terms of social attention and interest. That´s great, and it is mostly accredited to the fact of economic and cultural recovery in Bulgaria.
On the other hand – many paganists (especially in the metal scene) deny (or don’t admit) the influence of Christianity in Europe. So when you want to go back to some pagan fantasyland you forget the fact, that Christianity shaped not only the European continent (in negative as well as in positive ways) but also our society and mindset. To put it short: I am a strong opposer of fanboy-ideology, either this or that like in a football game. Live is too interesting to be one-sided, it is much more of a fusion. By the way, Tangrism was the official religion in pre-Christian Danube Bulgaria (681-865) and of the ruling caste, whereas the Slavic polytheistic religion was not suppressed (there is a theory of relatively good religious freedom in the empire), but pushed away from public life.
What can I say else, I am a geoscientist and not dogmatic about this topic. It´s just very intriguing.
E&D: What do you hope listeners take away from the music you release with Svarrogh? Like, I feel your motivation to create now comes from a deeper drive.
Very simply, I want listeners to enjoy the atmosphere. I don´t have the motivation to persuade others from my worldview.
E&D: Are you much connected to the scene in Bulgaria at the moment? Are there bands you recommend?
Not so much, but I have some good friends that play in bands that i like very much. For example Demonism (black metal), Voyvoda (post-punk), Dimholt (black metal) and Corvus Records from Sofia who releases very interesting stuff. What I can recommend else is: Khanъ (interesting folk metal), Kayno Yesno Slonce, Vrani Volosa, Kayno yesno slonce (atmospheric ambient folk music).
E&D: What are currently your plans for the future (in a virus-free future of course)?
I am working on new material right now, live gigs will be anyway impossible. Also, I am working with my 2 bands Alto Lago (stoner rock) and 16 Strings Under (folk) – there I hope it will be possible to play live in 2021, post-covid tour.
E&D: Do you maybe want to share a bit more about these projects?
16 Strings Under is a side project, mainly based on 2 tambouras, and is basically a mixture of Balkan folk, folk and Americana.
E&D: My final question is: if Svarrogh was a type of food, what would it be and why? ( I have been told this is a difficult question haha).
Uuh that’s though! It would be a roasted goose or something. Haha.
E&D: Is there anything I should have asked but didn’t you’d like to share?
We live in digital times and the physical releases on CD have completely lost significance. Nevertheless, we decided to release Aether on CD, limited edition 100 copies. But from now on we will move to vinyl for the future releases. That is actually growing again, good to see. In this regard, I am super old-fashioned and I don´t think that all music should be digital. Moreover, it is a jungle nowadays and of course, digitization simplified processes of recording (which is good! although analogue technique and tapes have a great sound quality, nobody wants to cut and glue tapes) and publishing, but that generated a flood of music as musicians somehow have a narcissist notion which drives them to share their music. And unlike printed books, CDs are dying, because you would still rather read on real paper (which is good for the eyes), but most of the time you listen to music from your smartphone, Spotify and so on.