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Final Mysteries; an Interview with Clay Ruby of Burial Hex

Clay Ruby

Clay Ruby

.:.FINAL MYSTERIES.:.

An Interview with Clay Ruby of Burial Hex

by S. L. Weatherford

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An important cycle for post-industrial music is nearing its inevitable conclusion in November when Handmade Birds releases Burial Hex’s final singular opus, The Hierophant.  While the project’s penultimate release doesn’t yet convey the finality that will come with the eventual triple-LP, Final Mysteries, one may consider it the ceremonial melting of the wax to lay the seal.  As the project nears a decade of existence, it is easy for anyone who has followed its evolution to see that Burial Hex has remained one of the most consistently diverse and ambitious post-industrial projects of my generation.  It is with that in mind that I am both excited and humbled to have been able to carry on a lengthy discussion with founder Clay Ruby that covered the forthcoming conclusion, The Hierophant, and many other important details.  In addition, we are premiering both the title track from the forthcoming album as well as a remix of that track by Circulation of Light, both of which you will find a link to at the bottom of the article. Enjoy.

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Heathen Harvest: Hello Clay, and thank you for accepting this interview. It has been five years since we last spoke with you at the 2009 edition of the Equinox Festival in London. Obviously you’ve realized a fair amount of new releases in that time, but what have been some of the highlights for you during its duration, both with your music and personally?

Clay Ruby: Shortly after the interview, I had the honor of seeing Peter Christopherson speak at Equinox, which was a big highlight for me personally. Coil was the biggest influence on me as a teenager discovering the post-industrial and occult underground scenes. I was very sad when I heard that this great artist died not long after this festival, but also felt reassured that he had lived an amazing and fulfilling life, and no doubt he went to the other side with a big smile on his face.

After the Equinox Festival, I went on a wonderful tour of England. When I returned home, Nathaniel Ritter and I established our record label Brave Mysteries, as well as The Harvest Abbey, which is an old house where we recorded loads of albums. The classical music store, where I formerly worked, closed for business, and so this freed me up to spend all of my time touring and recording. It was during this time that I finished Book of Delusions, Hunger, The Tower, In Psychic Defense and many other Burial Hex works. This is also the period when I completed Rose Croix (with Nathaniel Ritter), Black & White Art for Man & Beast (with Wormsblood), many great singles and albums with Horrid Red, countless Second Family Band releases, etc. I went on European tours in 2010 and 2011, two and three months long respectively.

A couple months of solitude and recovery from returning home after the latter tour, I had an amazing dream that seemed to be a message directly from the deepest layers of my unconscious mind. This dream seemed to serve as a motivation and catalyst for an extraordinary amount of serendipity in my life. Shortly after this dream is when I began work on The Night 12″ and The Hierophant LP, an album which was finally completed in October, 2013. The entire period of early 2012 to the present has felt like a molting process. This time has been filled with plenty of completions and endings, as well as many auspicious new beginnings.

Clay Ruby

Clay Ruby

HH: Can you tell us more about this dream? What about it struck you so heavily?

CR: Much of the importance of this dream has to do with the circumstances surrounding it. During my 2011 tour, I rented an apartment in Berlin and was all set to move to Germany after the tour was over. I began the tour with this plan in mind and did not purchase a return flight. I finished the three month long tour by playing a grueling stretch of 11 shows over the course of 13 days, up and down Italy. On the evening of the last show, my family contacted me expressing concern about the health of my grandmother. She is the last living grandparent I have and is the matriarch of the family on my father’s side. My parents were afraid that this would be the last holiday season we would be able to spend with her. After much deliberation, I decided to go home. However, this meant spending nearly all of my tour earnings on an extremely expensive last-minute plane ticket from Milan to Madison on Christmas Eve. After the holidays, I realized I was basically stranded in Wisconsin with no prospects of going back overseas anytime soon; so I cancelled my apartment in Berlin and any further concert dates that were in negotiation. Thus began a two month period of hibernation, where I did absolutely nothing. Most of my friends did not even realize I had returned home from Europe. I felt completely lost and alone. I was burnt out from the road, yet also completely disconnected from my life back at home. I was broke, unemployed, completely clueless and uninspired about what the future would hold.

Then came the dream. In this dream I was taking a walk with a woman. Everything about this woman seemed to indicate that she represented my anima, the feminine inner personality as defined by Carl Jung. The anima or animus (depending on your gender) is a psychological archetype best imagined in the way Aristophanes describes an ancient Greek myth, in Plato‘s Symposium, about the original human beings. Aristophanes says these original humans were perfectly round, had four arms and four legs, and one head with two faces looking opposite ways. These humans were so powerful that they rivaled the gods and eventually the gods cut them into two halves, in order to reduce their power. Ever since, the two halves of the original being have striven to reunite. Plato quotes Aristophanes as saying, “And when one of them meets his other half, the pair are lost in an amazement of love and friendship and intimacy.”

My dream was as follows: my anima and I walked along the edge of a gigantic canyon. In the waters at the bottom of the canyon were many exotic and ancient animals (lions, elephants, rhinos, bears, giraffes) who all seemed to be playing with each other, cavorting around in harmony. Throughout this walk my anima and I were communicating, but the communication all seemed to be transmitted between us telepathically. Words were never spoken aloud, but we did laugh vocally several times. We seemed to be able carry on an extensive conversation without having to verbalize at all. Then, she stopped walking, turned to me, looked me deep in the eyes and telepathically communicated that I was still on the same path I have always been on, that everything in my life was exactly as it should be and that I should carry on fearlessly into the future. The whole dream had a warm and golden glow; it was quite amazing. I woke up from this dream feeling entirely inspired and healed. It was as if a fog had lifted and I could finally see where I was and in which direction to go. I have tried to take this golden enthusiasm with me into every aspect of life since then.

HH: You were one of the few artists whom had the unique experience of performing at Stella Natura before it was unfortunately put on hiatus. Many have described the event as life-altering. How would you describe your experience?

CR: I was fortunate enough to play Stella Natura in 2012 as Burial Hex and as a member of Kinit Her in 2013. Both events were amazing. For me, the setting of the festival was the real star of the show, set deep in the Sierra Nevada Mountains. In 2013, I arrived to the festival grounds two days early for some extra time to hike and explore the land more intimately before the crowds arrived. The twisting Yuba River, the endless layers of stars in the sky, the high and imposing mountains, the woodland and wildlife in every direction; it was all so breathtaking and indeed “life-altering”. As for the festivals themselves, I am a huge fan of and/or friends with Blood Axis, Munly and the Lupercalians, Pyhä Kuolema, Changes, Aluk Todolo, Blood and Sun, Arktau Eos, Sutekh Hexen, Waldteufel, Sangre de Muerdago, Circulation of Light, Tuhkankantajat, Fire + Ice, and many more. Of course it was a real joy to be there, in such a spectacular setting, among such good and talented people. It was an extremely unique event; beautifully curated and everyone who attended will carry meaningful memories with them for the rest of their lives.

Clay Ruby

Clay Ruby

HH: In previous interviews, you have often spoken of the music roots behind Burial Hex, as well as how you developed from your previous project, Metrocide. Considering the actual nature of a hex though, the name of your current project would seem to imply that there was, at least for a time, a greater personal importance behind the music that you had begun to create. It would not be difficult for one to perceive the name as something of an audial seal, perhaps a coping mechanism locking something away. Were there indeed more personal attributes behind the name, and if so, what inspired it?

CR: Absolutely, this project was a spell to banish much pain and chaos from my past. I feel that this has been a very real success, and I think you can hear this progression in the music as well. In fact, these days I barely relate to some characteristics of the older compositions within the Burial Hex cycle, because I can barely identify with the man who would create these works.

I believe in capturing the aspects of life that drive us crazy or make us sad or angry, and transmuting them into something useful. Like a demon conjured in an act of Goetia, Burial Hex was a potent mix of alchemy and art therapy which has been powerfully beneficial to me.

HH: I think that many would agree that, even through acclaimed releases such as “Book of Delusions”, “Initiations”, and arguably two of the most exceptional splits that we’ve heard in our time–in this case, with Zola Jesus and Iron Fist of the Sun–your most incredible work came with 2012’s “The Night”. Can you give us some insight into the inspiration behind that track, as well as its brilliant visual accompaniment by Daniele Pezzi?

CR: The origins of The Night relate back to that same dream. For many months after the dream, I felt a deep longing to meet and embrace this personification that seemed to represent my anima. All the while I understood perfectly well that she is not a person at all, but rather an archetypal construct of my own psyche. Nonetheless, waking from that dream filled me with that haunting feeling of someone special slipping through your fingers. As a result, I spent a lot of time marveling at the deep love and connection that one can feel for something so intangible.

This feeling reminded me of the fascination that humans can feel for the night sky, the constellations, the moon, the impenetrable beauty of the heavens. Then, while reading a book of poems by Rainer Maria Rilke, I found an excerpt from his cycle called Nights (don’t bother looking, there are no decent translations online), and was shocked at how well it expressed what I was experiencing. So, Troy Schafer and I put our heads together and started to create music to set the poem to.

Here is the Rilke poem, as I found it, translated by John J.L. Mood:

Night, Oh you in depths dissolving,
face against my own.
You, my astonished staring’s
greatest millstone.

Night, in my glance shuddering,
but in itself so strong;
inexhaustible creation, enduring
beyond the earth so long;

full of young constellations, which hurl
fire from the flight of their border-place
into the inaudible adventure
of interspace:

though by you naked being,
surpasser, I appear tiny—-;
still, one with the darkening
earth, I dare in you to be.

As for working with Daniele Pezzi, he is extremely talented and easy to work with. I have learned to trust his instinct. He usually asks for the lyrics right away, in case he perceives a theme within the work that inspires him, but otherwise he is completely following his own muse. For “The Night”, I merely suggested that he should include some nice shots of the moon, if possible. He also did the incredible video for “Nightly Wreaths (Suite)” by Horrid Red, and he has made a video for “The Most Foolish Son is Always the Oldest One”, the final track from The Hierophant.

HH:  Why have you chosen “The Hierophant” as your title and/or muse for the new album?  Is there an over-arching theme for the entire work?

CR: Yes, I was initially attracted to analyzing this character because it is the Tarot card of the major arcana which corresponds with the number 5 and with the sign of Taurus. The Hierophant has traditionally represented an upright holy man that acts as a bridge or medium between this life and the beyond. The ideas behind this album include analyzing the relative connections between various stages of existence, from physical manifestation to divinity and back again, such as what is illustrated in the maxim “As Above, So Below”. This again relates back to my dream, where the love felt between myself and my anima reinforced and informed my love of life and place within this incarnation. It helped me understand the infinite depth of the love we can feel for nature and the gods and my love of the intangible wonders of life. As Thomas Aquinas said: “The things that we love tell us what we are,” and I felt like The Hierophant was one of the best depictions of the kind of character that results from the earning of this wisdom.

HH:  You utilized a powerful photograph by Spanish photographer Bernat Armangue for the album cover.  Can you tell us how this image corresponds to the album, and why it struck you enough to use it in such a prominent role?  Is there an astral (Taurean) quality at work?

CR: Yes, the use of this image was initially inspired by my interest in Astrology. One aspect of Astrology posits that the position of the stars and planets at the time of our birth have an influence on our lives. However, Astrology can only describe tendencies and trends, it does not predict specific outcomes. We are bound to these tendencies at birth and are continually manipulated by the movement of the heavens in relation to our individual natal positions. Though, how we handle all these unique moments of our lives is ultimately determined by our will. I am a Taurus, the sign which is symbolized by the bull. At the same time I have been very inspired by the myths of Mithras, a character who slayed a great bull and then ascended to rule the universe with the sun god. We have the power to willfully slay the metaphors that rule our lives whenever it suits us. We are not bound by fate to the Zodiac, it is merely a tool to help us navigate through the cycles of our lives. There will be moments when our individual tendencies and characteristics are strengths and moments when they are weaknesses; but as we become more in tune with our true will, we may choose when to go along with our starry predilections or when to adopt another manner. This is again a depiction of the accomplishment of alchemical work to refine one’s will to such a degree that it trumps the propulsion of the heavens.

As for the photo itself, I am an animal lover; and being from rural Wisconsin I have a fondness of cows and bulls. So it was a bit of a sad shock to see this photo of a beautiful animal dead from the sport of bull fighting. I hoped that using the photo to accompany my art could help give the bull’s death another dimension of value.

HH: Perhaps more than the vast majority of relative artists in the post-industrial underground, you have implemented a sincere academic focus on esoteric or occult themes into Burial Hex. What has led you down this path, how has it helped you evolve as a person, and does it bother you that the interest for so many others only seems to run skin deep? Has it forced you to approach art from a different perspective?

CR: It is not for me to judge other people’s experiences with the occult, no matter how seemingly superficial or deep.

I have said in previous interviews, even if I were to list my basic spiritual or philosophical influences, it would not be an accurate representation of how my mind and soul has processed and internalized them. I also do not believe that spirituality and faith can be found in books. Despite being an avid reader, I have found that the most transformative insight one can gather about the nature and divinity of existence is to be found by going outside, hiking, stargazing, rock climbing, fire building, dancing, bike riding, running, practicing Yoga, deep breathing, meditating, sleeping, dreaming and fucking.

However, for those interested in a brief outline of some of the intellectual sources that have made a strong impression on me over the years, I will offer a short list here: starting with a Protestant Christian (Methodist) upbringing and the myths and prose of the Bible, I soon began a life-long love of myths and legends, especially those of the Celts, the Greeks, the Norse, the Russians, the Teutons, the Slavs, the Romans, and any other pre-Christian culture.

In addition to mythology, I am well read in the Hermeticism and Occultism of AO Spare, Lon Milo DuQuette, Israel Regardie, and Aleister Crowley.

This eventually lead to being deeply inspired by near and far Eastern cultures like the I Ching, Taoism, Yoga, Tantra, Sufism, and authors such as Alan Watts, BK Frantzis and the poet Rumi.

As many fans of Burial Hex have already detected, I have devoted much time and attention to Haitian Voudon, as detailed and expanded upon by Michael Bertiaux and David Beth, as well as Germanic Heathenry as detailed and enlightened by Edred Thorsson and Collin Cleary.

More recently I have been enhancing my metaphysical point of view by reading from the Traditionalist and Perennial school of philosophers, including James Cutsinger, Harry Oldmeadow and Frithjof Schuon.

In addition to all of the above, I tend to supplement such subject matter with the musings and ravings of wild men like Carl Jung, Robert Anton Wilson, Julius Evola and Friedrich Nietzsche.

Burial Hex Live at Stella Natura

Burial Hex Live at Stella Natura

To end this rambling enumeration with Nietzsche is quite appropriate because he is a great example of how I may appreciate some of his ideas, and yet remain quite opposed to some others. This pluralist perspective is true for me, regarding every source listed above. I do not become a Nietzschean just because I enjoy reading Nietzsche nor a Hindu because I enjoy reading the Mahabharata. I allow my intellectual curiosity to roam free, taking what seems valuable from any source of knowledge available and integrating it into the wisdom of my own life.

This exploration in the esoteric and spiritual realms has forced me to approach art differently in two major ways. First, that every detail of my work must have some significance. It has never seemed justified to create a sound simply because it “sounds cool”, which has often led to rethinking or abandoning entire sounds and structures that don’t really resonate with the greater intent of a particular work. Secondly, it forced me to create with the freedom of The Fool, which means that I need to listen to my muse first and foremost, and innocently follow along with meaningful inspirations or synchronicities, which leads me down paths that may have felt uncomfortable at first, but that would cause many unexpected and unique results.

HH: Whereas most artists take their inspirations from external sources such as influential musicians, literature, or whatever themes are in vogue at the time, you really seem to–in addition to esoteric themes–dig into your own subconscious to find inspiration. What has inspired you to look so deeply into yourself for creativity?

CR: As I have mentioned, the Burial Hex project in particular was created to explore and banish aspects of myself and my past. Any honest artist creates art, in part, to be able to catch a glimpse of themselves objectively–to hold a mirror up to themselves and attempt to understand or appreciate whatever they can glean from the work. The initial conception of Burial Hex as a chthonic composition cycle was based in attempting to deeply probe myself and draw out the shadow aspects from within. I wanted to penetrate my subject matter and attempt to reach the roots, which is why so much inspiration for Burial Hex is taken from death and the beyond, the unconscious, the past, the depths of the earth, the sorcery of ancient cultures, and from the shadows. An early motto of the project was “from the cemetery to the stars” and a later one is “so close to the end that we can see the beginning”. These are to remind me of the cycles inherent in our existence, that our inner worlds are infinite reflections and perfect examples of the mysteries that we marvel over in the outer world.

HH: Name-dropping influences like Thorsson and Evola has led to turmoil for touring projects many times before. Has Burial Hex ever faced opposition from organized groups like ANTIFA, either at concerts or online?

CR: Well, Thorsson has recently made waves by converting to Zoroastrianism, maybe this makes him seem like less of a threat? (laughs)

Before answering your question, it is only fair that I reveal my own background in politics of far left, revolutionary and anarchist reading. My Grandfather was a politician for over 22 years as State Representative for Wisconsin. As such, politics was a regular topic of discussion around my family dinner table. Through extensive reading, I have familiarized myself with nearly all of the political spectrum. Of course this hobby quickly became a fascination with the extremes of human political discourse and activism. Since my late teens I have collected rare and controversial literature, including political and occult books. This curiosity has led me through loads of perspectives and helped me develop an objective plateau from where it is truly impressive to observe the history of what a man can become passionate about no matter how absurd. However, I am not much of a follower or joiner. No matter how stirring, my reading never leads me to actively pursue politics in my daily life.

To describe my personal political stance is not an easy task because I neither care all that much for the minutiae of modern day politics, nor believe myself to be educated enough in the political sciences to really justify taking a stern position on most issues within the structure of any modern political system.

So, with no politician or political system substantial enough to believe in and very little political education or savvy myself, the extent of my interest in politics remains restricted to my little hobby of reading arcane books about madmen on the fringe of our desperate culture. However, I do not take this kind of reading any more seriously than I would if it were the biography of a serial killer.

The Hierophant

The Hierophant

I have read and enjoyed a biography about Che Guevara and I have read and enjoyed a biography of Francis Parker Yockey, both of them are intense men who have lived extraordinary lives, but I would not follow either of them into battle.

When I take one of those silly online political compass tests, it tells me that I am fall somewhere on the authoritarian left, which makes little sense or difference to me. When people ask me straight up what my political position is, I like to say “Anarcho-Monarchist.”

For a further frame of reference, one political thread that has continued through nearly twenty years of my life is an admiration and love for Peter Lamborn Wilson aka Hakim Bey. I first read his Temporary Autonomous Zone at age 16 and still enjoy his books to this day, he is a real treasure. His writings are a type of political prose that consists of just as much imagination and poetry as it does politics. It is also this same spirit that has led me to reading people like Julius Evola and Gabriel D’Annunzio. What makes these people’s lives and writings so compelling to me is that they are intelligent, bold and radiant people, not because of any of their particular political sentiments.

To answer your actual question, yes, on two occasions. I once mentioned online somewhere that I was interested in Julius Evola, and some cretins who were involved in booking a Burial Hex show in Bristol noticed this and banned me from the venue only one week before the show. The concert was completely sold out via pre-sale tickets and I am not sure if the promoters did anything to warn ticket holders that they banned the headlining act or to refund their money.

I attempted to reason with the promoters but to no avail. I tried to explain that, at the time I was deep into reading Evola’s books on Taoism, Tantra and Yoga, and that there was no disputing Evola’s academic prowess or his finesse with subject matter like this, which was mostly foreign to the Western mind at the time of publishing. I argued for the freedom of my intellectual curiosity and for every individual to have the ability to read and admire an author without assuming responsibility or complicity with every little thing he ever wrote. The promoters merely replied by saying “We cannot allow Fascism in Bristol”. When I hear the word “Fascism”, I think of a system of economics that existed in Italy, Spain and a couple other small countries for a few decades during the first half of the twentieth century. Even within this narrow context, Evola was a very harsh critic of Fascism, even declaring himself “anti-fascist.” Evola was also a radical, severely anti-bourgeoisie, a pioneer artist and poet, a forerunner of Dada and Futurism, a fearless adventurer and mountaineer, well educated, and an invaluable and original philosopher. We should all take a few notes from the pages of Evola. Once again, I do not agree with everything he ever wrote, but at least I have thoroughly read him and can make my own informed opinion about what I do and do not like about the man.

The second example is even more absurd: I was on tour, checking my emails at some underground art gallery in Italy, I was listening to Fugazi on my headphones and minding my own business, when I got an email from a venue in Germany where they had decided to cancel an upcoming performance of mine because they found out I contributed a piece of music for a tribute to Boyd Rice. No matter what you think of Boyd Rice, I hardly see him as a dangerous political figure, so I wrote to them and said I thought this was a silly situation. My correspondent agreed that he did not think this was a sufficient reason to ban me, but that their venue operates on consensus and certain members had voiced dissent, so the venue was forced to cancel.

To clarify, my interest in Boyd Rice has very little to do with his controversial shenanigans or his music, for that matter. Like Boyd Rice, I am very interested in my own genealogy and, over many years of researching it, some professional genealogists were able to prove a connection between my Ruby family line and several lines of European nobility, including ties to the Merovingian Dynasty, King Dagobert II, and on and on through the family of the Grail legends, Parsival, etc. This is the same blood line that Boyd Rice believed himself to be related to and made a lot of pilgrimages, travel diaries and other compelling research about. Fanciful as all this may be, the idea that I had some connection to the storied Grail bloodline made for a perfect addition to the mythos of the Burial Hex cycle. The track that I contributed to the Boyd Rice tribute was a cover of his song “Rex Mundi” (Latin for: King of the World), which obviously has a much deeper personal significance to me than paying tribute to the man who had his picture taken with Bob Heick for Sassy Magazine.

HH: It seems that on your ten year anniversary, the snake will finally swallow its tail, coming full circle to set the Sun on Burial Hex with “Final Mysteries”. Why are you choosing to end the project, and perhaps more importantly, what does the future hold for your musical pursuits? Does closing the book on a ten year cycle hold any specific power or meaning for you?

CR: I actually didn’t think it would take this long, but it was important for me to allow Burial Hex to unfold as organically as possible. As I mentioned earlier, it is very important for me to loyally follow my muse along with meaningful inspirations, some of which have unexpectedly added greatly to the workload. After nearly 90 compositions, I am happy to say that the Final Mysteries triple LP and the fourth volume of the Eschatology:Nightfall C60 series are the only unfinished Burial Hex works that I have yet to realize, but both are far along in the process. This musical cycle will finally be finished soon enough. The specific number of compositions or length of time this cycle lasts does not hold any premeditated meaning for me. I am choosing to end this project because I chose to create it as a finite composition cycle which would have a beginning, a series of arcs, and an end. Very early on, I decided that there would be an LP called Burial Hex in the beginning, a double LP called Initiations, which would occur in the middle, and a triple LP called Final Mysteries, which would bring the cycle to an end.

As for future musical pursuits, I am choosing to attempt to keep this area of my life quiet for now. One thing that has really bothered me about music endeavors, is that every project seems to have a specific character, and I often end up feeling like an actor. Within this analogy, I tend to take my roles very seriously and indulge in method acting to really pull off the performance. However, when the performance is finished I am often left feeling drained, as if I had been possessed. For example, some friends and I recently gave a one-off performance of cow punk (or cattle prog, as we called it) styled cover songs, just for fun, and I swear we all turned into a bunch of belligerent redneck drunks during the two weeks of rehearsal leading up to the performance.  The day after the performance I woke up feeling like “where the hell have I been and what the hell have I been doing for the past two weeks?!” It is fun to do this kind of thing occasionally, but also exhausting and does not leave me feeling as if I have actually expressed myself, but rather became a caricature.

I have been working on some material that is only for myself and my kin, a craft that actually emanates from exclusively within, as opposed to being an “art project” fraught with cultural parameters and references. I hope to always create with the same sense of intimacy that I had during the Burial Hex cycle. However, unlike Burial Hex, I would like to make music that celebrates and observes my present life as opposed to conjuring musical demons to seal or vent the traumas of my past. I would also like to know what it is like to create art without a single care about the public or the scene or the critics or any other external factors. I wish to do this simply out of a love for music and a genuine curiosity in what the results might be.

That being said, I suspect the public has not heard the last of Clay Ruby.

HH:  As you and many others continue to “exit” their familiar posts and start anew elsewhere, the cycle never fades, and there are always new artists stumbling down trodden paths to eventually veer off into their own way.  You’ve played a lot of shows, had a number of very important releases, and traveled extensively, all for Burial Hex.  Do you have any advice for the next generation of artists who will temporarily be filling the void that you and others have left?

CR: Do not underestimate the value of living a sheltered life. Ignore the press and your scene, look within and make music that pleases you. Don’t worry about making friends, making money or getting laid. Do not envy artists that seem successful to you, do not feel like you are in competition with other artists, search your wildest imaginations and make music that stirs you from deep inside.

Do not underestimate the power of home. Of course it is natural to lust after foreign lands and exotic experiences; but no matter how far you roam, in the end we often find the deepest inspiration in the places we came from.

HH: Thank you for the incredible music over the years, and for approaching your art with a sincerity and perseverance that is increasingly scarce today.  It goes without saying that Burial Hex has become one of the rare modern pinnacles of the post-industrial underground, and the absence of the project will be all too noticeable in the years to come.  Do you have any final words for your fans and our readers?

CR: Thank you Heathen Harvest for many years of support. Thank you Sage for your sensitive and compelling questions during this interview. Thank you so much to all my fans and friends who took the time to appreciate my work, I hope that you continue to find years of enjoyment from what remains.

“The Hierophant” Premiere

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