Heathen Harvest: I would like to begin by discussing your musical past. At what age did you become interested in making music? And how did you begin to pursue this interest?

Markus Wolff: My grandfather Georg gave me a plastic drum when I was perhaps three so that started me drumming. I think I inherited my musical interests from him, because he played violin and mandolin. My mother played zither for a while but then gave it up. My father didn't play anything but had a keen interest in all kinds of music, from classical, prog (Pink Floyd, Guru Guru, Kraftwerk), to disco. He also took me to see "Once Upon A Time In The West" when I was like 8, and the Ennio Morricone soundtrack just blew me away (I still have a tape of it that my uncle made for me at that time). My subsequent first musical purchase was Abba "Arrival" which I also still love, especially the title song. Even though I had some bongos, for a while, I just played with pencils or whatever was handy on sofa cushions or boxes. Once in America , my interest in music intensified, I met Simon, who I later founded Crash Worship with and who already played drums and at some point we started playing percussion together. But I started with vocals, first in Simon's hardcore band Blood Lake for like two weeks, and then later on very early CW studio stuff. At that point it turned into a more 'serious' pursuit.

HH: You are widely known for your previous participation in the now decommissioned band Crash Worship. Can you discus your participation in this earlier musical entity? How did you become involved with Crash Worship and what was your role in the band?

MW: Am I really? In short, CW was an intense 10 years of my life that would take an entire book to properly explain. And if all goes well, that's what will happen, and we will chronicle the whole phenomenon in book form; it's in the first stages anyway and could take years...

 

Simon Cheffins and I founded the band, named after a song by our previous project, Klutch. Soon after, JXL and Jeff Mattson joined, followed by Fat Jack sooner or later. Many other line-up changes followed until Adriana 'Dreiky' Magana joined as third drummer and completed what I feel to be the classic line-up of CW. For the first few years, I did most of the graphics, one of my favorite aspects of the band. Much of it involved collaborating with Simon, who did screen printing and added another dimension to my designs. We completed numerous stickers, posters, shirts, etc. over the years - enough stuff to fill a whole museum.

So I was basically drummer/percussionist and artist. I also ran our little label/mail-order! Alarma! For a while, did some booking in the early years, wrote some quasi-manifestos for the early cassettes, that sort of thing. It was always an all-encompassing operation. If I wasn't working on something for CW, I was thinking about it while having to do something else. I even made bronze bird head daggers modeled after a design I drew for the band. It was endless.

Musically, I was very influenced by the early 'true' industrial groups like Throbbing Gristle, Non, Z'ev, and early 'post-industrial' bands like Last Few Days, 23 Skidoo, Psychic TV, Coil, and Zos Kia. What impressed me most of that whole 'movement' though were the wealth of underlying ideas, and I think that's what still influences me today, creating layers of meaning within the music, texts, and visual designs. By the later 80's when CW started, the whole Wax Trax! Records scene had hijacked the name 'industrial' and I hated that shit with a passion (still do). I think we had a vision of a more organic music, sometimes 'danceable' but not slavishly chained to technology or trends. At the beginning, we were very open, letting everything come through. Later, at least the drumming part of the band had become a finely honed craft, a discipline.

Other members of course brought their own set of influences to the set. I remember we listened to a good deal of Krautrock too, and even did a Faust cover for a week or so. The other covers we did were by Charles Manson (on Triplemania II) and the King of Mambo, Perez Prado. A great song called "Caballo Negro" which we started recording for a 7" but never finished... Well, that's enough for now; you can see I could ramble on and on...

HH: Though Crash Worship only released a couple of albums in the bands life time Crash Worships concerts where phenomenal events that often dissolved the boundaries between audience and performers, convention and radical self expression. How did the band evolve into such a power house of emotional and psychic release while playing live?

MW: Depending on who in the band you would ask, it would be explained as either an evolution or devolution, an exercise in carefully applied audience manipulation or a full blast of mystical cosmic snot that snowballed into a tidal wave. Who knows exactly? We tapped into something quite primal and powerful and just had to see where that would lead us.

HH: And lastly, how did Crash Worship eventually end?

MW: Well, I left along with Dreiky and Jeff after the second European tour in 1996, shortly after which I moved to Portland . Simon, Jack, and JXL kept the band going for a while longer but most people I talked to back then didn't think it was as good anymore. I saw them a couple times in those years, notably with the Master Musicians of Joujouka in SF, which was just an incredible show, all in all. Credit probably goes to Simons drive for setting up that dream show. Most of us are now doing worthwhile projects on our own or with others: Jeff aka Strangebone has his one-man organ project (e-z-organ.com), Simon leads the Extra Action Marching Band which just did a tour of Europe this year, Dreiky sings in Morricone Youth (the name says it all!) JXL has something up his sleeve called Fantasy, Ryan Jenks has a project called Sixes and so on.

HH: Your current musical project Waldteufel is very different from Crash Worship stylistically. It can be said that both musical projects seem deeply rooted in self expression, non conventional musical exploration and a very specific heathenish spirit. How do you understand the connections and differences of these two projects and your relationship to them?

MW: At first, I definitely conceived of Waldteufel as a clean break with the decadence of CW, a 'pure' embodiment of my Nordic spiritual path, and musically very different. With the passing years and a more relaxed perspective on CW, I have started to reincorporate aspects of that project into Waldteufel as I find them appropriate. Even the first Waldteufel single had a song that was just vocals and percussion, and I've found my way back to that minimalism again in recent years. Certainly, at its root, Waldteufel has grown to explore aspects that can be seen as the "dark side" of Northern European Heathen Tradition, that can be seen as more "Dionysian" than "Apollonian" in nature, and hence closer to the spirits that CW conjured. But I think overall there is more of a balance in Waldteufel which also has a strong Solar side that finds expression in many songs.

A big difference between CW and Waldteufel was the absence of any strong cultural framework within the former project, something that I missed as I became more intensely involved in a search for my own cultural and spiritual roots. The most important aspect of culture that I envisioned within Waldteufel was the cultivation of German as the sole language used in the lyrics. This is still the one rule that I started with that I won't break (with the occasional exception of using ancient languages like Gothic on the "Eines Gottes Spur" 10" and Latin on the upcoming "Sanguis" 12"). The other rule was to use acoustic instruments only...oh, well.

HH: What transpired for you musically between leaving Crash Worship and initiating the creation of Waldteufel?

MW: I put out the first 7" in early '96 before I left CW (it was recorded in the Fall of '95) so of course, the ideas for Waldteufel germinated and came to fruition while I was still attached to that project.

HH: How long have you and Annabel Lee been working together musically and how did you first come about collaborating?

MW: Well, we haven't worked together musically since she and Michael moved eastward a few years ago, although I would love to work with them again as time and circumstances permit.

I met Annabel in San Francisco through her stint in Amber Asylum. Annabel and Kris played with CW once in SF, and I once sat in for Steve on the drums for a casual AA show. Somehow we all met, and it became apparent that we had things in common, an interest in German culture and things heathen. This was in '94. Then, in September of '95 I spent some time in SF and we recorded the songs on the first Waldteufel 7" "Der große Rausch" ("The great Intoxication") in Kris Force's studio. Steve von Till helped mix as I had very little hands on experience in that domain. Later, after Annabel had moved up to Portland we slowly continued recording, which resulted in some compilation tracks, and then culminated in the first full-length album "Heimliches Deutschland."

HH: When composing the music of Waldteufel how do you and Annabel work together? Are the songs composed in tandem or worked on individually? Do you both compose the songs or is it exclusive to one of you?

MW: Annabel and I worked together on most of the songs. Most often, I would come up with an old poem or lyric, or a melody, present it to Annabel and then we would work on arrangements. Sometimes, I would record vocals and drums and then she would arrange and record the strings etc. As noted in the booklet, she also wrote a few pieces herself, notably one of the most beautiful moments on the CD, "Von Saat und Ernte." One of the ultimate highlights of that period is the version of "Wolfsstund" on the "The Pact...of the Gods" compilation CD. Michael, Annabel, and I worked together, rehearsing in my living room for a concert at the Wave Gothic Treffen in Leipzig that ended up falling through, and together came up with a nice energized version.

Besides being in Blood Axis, Annabel occasionally records as Alraune. I highly recommend interested parties to seek out her tracks on the "The Nitha Field,” "Cavalcare la Tigre " and "Infernal Proteus" compilations (all three comps. have Waldteufel on it as well, just as a motivational tip), its fantastic music.

For just over a year now, Tyrsson Sinclair has been my main collaborator. The modus operandi remains the same, though; I bring ideas to him, we work on them together or I start recording, then he overdubs and so forth. Now he's starting to write pieces for Waldteufel by himself. His recording debut was the song "Wir Rufen Deine Wölfe" on the comp. of the same name. He also appears on the song "Sonnenhirsch" on the German "Flammenzauber IV" festival comp. which was released in tandem with our show there this last Spring Equinox, as well as the upcoming "Sanguis" 12" and other recordings.

HH: Michael Moynihan also appears as a guest musician on "Heimliches Deutschland" the first Waldteufel album. Michael is of course well known for his and Annabel Lee's project Blood Axis. Blood Axis has received an enormous amount of criticism from radical leftists that claim Blood Axis is somehow communicating a Nazi or Fascist political message. Did this unfounded controversy ever cause you hesitation when considering working with Michael Moynihan?

MW: No, because I've been in touch with Michael since the days of Coup De Grace in the 80's and know that he's up to no good! Somehow, it seemed only natural that we would end up working together if we ever lived in the same city and that perspired when I moved to Portland . After Blood Axis had done their one-off Swedish show, offers came in for more shows and the idea for the Indo-European Tour of 1998 materialized. As allot of practice was required to meet Michael's vision, he ended up asking me to drum and Aaron Garland to play bass since we had the time to practice together on a regular basis. On this tour, we also played three very short sets as Waldteufel, near München, in Stockholm , and Brugge. After the tour, we all played in Witch-Hunt which was initiated by Michael and Annabel as an outlet to play an assortment of traditional Celtic and English folk songs (a very limited CDR of one show was released when Blood Axis played in Portugal in 2001). So it was just obvious to have Michael guest on the Waldteufel CD as well. Over the years, Michael has been an inspirational influence on me again and again (as has Annabel), so no, there was no hesitation.

HH: The music of Waldteufel is deeply rooted in folk traditions and folk music. Do you draw inspiration from any one traditional folk music source or culture?

MW: Well, it's kind of funny you should say that because I don't quite feel that way. Tragically, there is very little authentic folk music surviving in Germany today. Even over a century ago, allot of songs and dances were written and refined for the growing tourism trade and lots of other material has been lost over the centuries due to religious zealotry and other reasons. Germany is not blessed with vibrant folk music scenes like the lucky areas on the fringes of Europe - Ireland , Scandinavia , Portugal ...so for my purposes I just make it up. Certainly, the waltz has been a strong influence, Carl Orff's music, but really, being the untrained musician that I am, I go in the direction that my intuition takes me, to what strikes me as evoking the sacred, or whatever I intend with a given piece of music. Lately, that intuition has led me into some truly interesting territory, which hopefully will come across to the listener.

Re: drawing inspiration from folk culture: I listen to and am inspired by a variety of music's, from Austrian, Swiss, Swedish, Lithuanian, Rumanian folk music's to further a field ethnic music from Tuva, Korea, Tibet to Sufi music from Marocco, Turkey etc. Unfortunately, allot of these musics will also soon cease to be living traditions...

HH: Can you please discuss the theme of "Heimliches Deutschland" for the English speaking audience and what your goal was as a musician?

MW: It is foremost a conjuration to awaken lost memories. I really cannot explain the motivations behind the record any better than Nick (of the UK "Neofolk" project Lady Morphia) did in this insightful review: A German expatriate living in Oregon , USA , Heimliches Deutschland clearly and proudly displays Markus' interest in the mythology and history of his birthplace. The very title of the album conjures forth connections with Stefan George's concept of a geheim or secret Germany . ...the songs presented here opt for an approach that stretches back into past millennia rather than centuries. ... The entire album exerts an effect akin to a kind of shamanic ritual, especially on numbers like "Wille" and the mesmerizing, nigh-on Wagnerian "Wolfsstund,” as Wolff and his comrades conjure forth mental images of mighty mountains, windswept heaths, and shaded groves. One cannot help but be dragged into this primordial world of Gods and wolves, joining in the round-dance which celebrates eternal recurrence.

Indeed, the sounds and words contained on this CD appear first and foremost to the primeval, awakening some long hidden archaic essence within the soul of the hearer. ...

This is more than a soundtrack for "secret Germany ." It is a dialogue with the soul of the land, and with the living, dead and yet unborn spirits that inhabit it. It is a key to unlock the flame of that ancestral spirit which resides within us all. Nick Nedzynski, Judas Kiss (UK) issue 9.

HH: Can you give us some insight as to the meaning or inspiration behind some of the songs on "Heimliches Deutschland"?

MW: I have put together a little leaflet with the German translations of most of the songs on the CD, which is still available from me by writing the email address listed in the CD booklet. But since this is an in-depth interview, I thought it would be best to include the lyrics for interested readers to ponder. The text for "Am Wodansmal" will be finally translated soon and be included on the Waldteufel website waldteufel.net So I'd rather present the lyrics than putting forth any longwinded interpretations on my part.

 

 

 

 

 

ALL NINE WORLDS

Silvery grey clouds hide the glowing splendors of the stars,
yet drunken we want to follow the glittering torches of the night.
They are the leaders of souls, the keepers of the power of fate.
They that never cease to wander on the firnament and engage in the cosmic struggle.

And we eat the seeds of the fruit and gleam the might of the soul;
Intoxicated, we are joined together in the cosmic circle.
We guard this knowledge in steady, quiet watchfulness.
The riddle is solved, and now our last hour has come.

And so we ride towards Valhall
And storm through the whole universe,
Across all nine worlds.

I dream the dream of submerging, lost in the vault of stars,
Golden fire bursts through the fog of the black world.
Flooded by rays, the exalted one carries thoughts out into space.
The mysterious Disir, they predicted the beginning of a new age.

___________________

CONSECRATION OF THE LUMINOUS CROSS (Lichtkreuzweihe)

Beyond the trees, high on the mount,
The Tree of Life towers, greeting the morn.
Enveloped by twilight, it endures up there
Far removed in space and time.

The loftiest favored by the blessed light,
Upholder of justice and
Symbol of life's eternal green web,
Sacred Earth's place and essence.

Born of the light, and destined to shine,
We emerge from the long dark night.

We arrive from many a confused path
And want to return home towards the light.
From the hardship of our search and the awareness of the struggle,
From the famished need and the might of our desire,
We carry in our hearts and loyally guard
Sacred fire's last spark.

Upwards swinging, breaking through darkness,
Shining bright in the night of the world.
Long ago lost, but now reborn
You have brought divine goodness to men.

Shine from the North, pure victorious gleam.
Unlocking the spirit, lending us knowledge,
Blessing our hearts once again
Tree of Light, surround us with your brightness!

___________________

The Irminsul once connected heaven and earth,
As the true upholder of spiritual might.
Which today banishes and blesses anew;
The column has been erected once again!

Once the bull was sacrificed to it,
At the foot of the structure rising up high,
The order and thus the Od upheld
Through the blood on the column!

Born out of the ancient seed,
Chosen as the holy symbol
It shows the way North,
To the light of the Tyr star!
To the radiating Tyr star!

Like Tyr's weapon opens the mouth
Of the threatening wolf of confusion
The good tidings take their course
As long as Midgard's right persists.
(I am the sword)

Arisen from the ancient seed,
Cast into a powerful culumn,
It points the way northwards,
To the exalted God Tyr.
To the radiant brightness of Tyr!

___________________

THE WILL

A word exists that breaks through gates,
That pushes on through any fog,
That runs down all and any walls,
And knows neither shield nor bounds.

A word exists that defies and triumphs,
And bends any lance aside,
A word that storms peak after peak,
Until at last it storms heaven itself.
A word that is bold, strong and still;
It is: The Will!

In the dark of the night don't shudder and fear,
Reach for the stars,- the will is might!
The dreams of the night come to fruition only for the enflamed,
Grab the stars,- the will to might!

___________________

What shines there by moonlight from yonder woods?
Hear it roar closer and closer.
In dark rows it descends,
And deafening horns sound in the night,
Filling the soul with dread.
And if you mask the black figures, they'll say:
That is Wodan's wild, daring hunt!

What approaches so swiftly through the dark, gloomy woods,
And roams from mountain and mountain?
It breaks free from its nocturnal hiding place,
The hounds are howling and the whip it cracks.
And the deathly pale rogues are fleeing.
And when you ask the dark hunters, they'll say:
That is ...

What rages in the dark of the cold, bleak night,
And why are the jaws snapping?
Wild-hearted beasts are clashing in battle.
Spring's glowing spark has awakened;
It blazes in bloody flames.
And when you ask the black riders:
That is...

Who breathes his last breath by the light of the moon,
Pinned down by howling wolves?
Death twitches on Winter's face,
And the circle of seasons it closes,
For Wode's appetite is sated!
And when you ask the black, masked ones:
That is...

The Wild Hunt, the sacred Hunt!
It rages between the clouds and the pines,
Thus, you who we frighten do not despair,
The land is fertile and morning dawns,
Even if it was won by dying!
And from ancestor to grandson it will be retold:
This is...

___________________

I climbed up far on the rocks,
Where the sun offered me its purest rays.
Far beneath me, I saw the valleys
Where men live, full of fear and want.

And those who fear, worry, live below,
Because they are overcome by darkness.-
I want to raise my arms toward the sky
"O great sun: See, I am your child!"

___________________

At eleven, the wolves come...
At twelve, the building collapses...

And I contain all of the past within me,
I contemplate the present moment,
New Ages I form and create.
The Wolves are coming, the wolves are coming!

You crystalline well-springs of Death
Let me drink and sink
Into the colorful twilight
That the universe has swallowed up.

Brother Death, rise up from the dust and earth
Join our meal as an honored guest
All of living is dying
All dying is becoming.

Eternal Recurrence, eternal return.
Splendor is followed by ruin,
Gold pales and fades to Steel.

HH: Waldteufel is sung entirely in your native tongue of German. This places your work into a distinct category of neofolk artists who have expressed a commitment to only sing in their native language. What influenced your decision as to what language you chose to sing in?

MW: German is my native tongue and my birthright, and just a simultaneously very poetic and very concise language. It was a natural choice. Although I applaud those artists that choose their native language, like Sangre Cavallum, Forseti, and Orplid, I also enjoy the efforts of bands like Novy Svet and Allerseelen to sing in different languages. It really just depends on the overall approach and delivery. Unfortunately, allot of European bands' attempts at singing English fail miserably.

HH: The first Waldteufel album "Heimliches Deutschland" was not only sung entirely in German but the lyrics and booklet where also printed in German. Are you ever concerned that such strict adherence to the German language might alienate English speaking listeners that cannot understand the lyrics, credits or content?

MW: I'm sure that reaction exists, but allot of people are also grateful to be challenged. I often look up words and try to decipher song titles etc. when I receive CDs by foreign bands. It's fun! Americans especially are so lazy because they're used to everybody else speaking at least some English. But at the last Waldteufel show, I was pleasantly shocked to hear at least four people mention they were learning German. You see, we'll win them over one by one!

HH: Was "Heimliches Deutschland" written and produced mainly for the German speaking market or was it your desire to reach as wide of an audience as possible?

MW: I knew there was some international interest in Waldteufel beyond Germany , from numerous other countries in Europe and some interest from here in the States, but that played no role in any choice regarding "HD" or any other Waldteufel production. "HD" was of course mainly conceived as an 'ode' to my homeland but that hasn't stopped numerous folk from other territories from appreciating it. Naturally, most of "HD" has gone to German speaking countries, but allot of that also has to do with the amount of avid underground music buyers in general.

HH: The "Heimliches Deutschland" album was produced by Ultra! Records in Atlanta Georgia . Can you tell us about Ultra? Has Ultra released other prominent neofolk artists?

MW: Ultra! has done only two other music releases aside from the Waldteufel CD and "Berghoch am Walde" 7": the "Nitha Fields" compilation CD with Blood Axis, Fire & Ice, Alraune, and Allerseelen. Ultra! is now busy publishing the annual book sized journal TYR, to which I also contribute. The second installment includes a CD comp. including allot of the usual suspects, and a few unusual ones. Waldteufel contributed a song called "Sonne golthi-ade" with lyrics by Runic initiate Friedrich Bernhard Marby written in 1925. The next Ultra! publication is On Being A Pagan, a groundbreaking work by the French author Alain de Benoist, to be followed by TYR III.

HH: Waldteufel recently had a new 7' vinyl release titled "Berghoch am Walde / Perchtentanz." Can you explain how this release fits in with "Heimliches Deutschland"?

MW: Oh, this single is not so recent, and pretty much deleted. It actually preceded the CD, and previewed one song from the CD, and also includes the song from the then deleted "Nitha Fields,” both in different mixes. Visually, I took the chance to present vintage photographs of the annual Questen ceremony, which is the subject of "Berghoch am Walde.”

HH: Can you explain the theme or some of the content of "Berghoch am Walde / Perchtentanz"?

MW: "Berghoch am Wald" was written in the 20s after Herman Wirth witnessed the Questen ceremony in a tiny town in the Harz region of Germany . Together with other researchers, he interpreted it as a misplaced Summer Solstice ritual (it is now observed at Whitsuntide). “Perchtentanz" was simply an expressionist instrumental. On my end, it was loosely inspired by alpine tales of the Perchten processions, which is related to the Wild hunt tales and myths. Obviously an ongoing obsession... This song was part of the Waldteufel set of the early European shows.

HH: Does living in the Pacific Northwest inspire your creative process? How much does experiencing nature influence your work?

MW: I moved up here from So Cal for various reasons, but one welcome one was the landscape and the actual existence of four seasons. The Northwest is comparable to large parts of Northern Europe in its climate and beauty. We go out to nature as much as possible, as there are countless places of wonder up here, many very close to Portland . So, yes, the experience of nature certainly is an influence.

HH: How has the music of Waldteufel been embraced within the United States as compared to abroad in such places as Central and Eastern Europe ?

MW: The response has been comparatively small, but nonetheless dedicated. I've met some very worthwhile individuals through the music, which is always a gratifying aspect of this sort of 'public' activity.

HH: Have you found it difficult finding support and recruiting musicians to work with within the USA ?

MW: Not really, the right people have come my way at the right time usually. For this last concert, we even managed to get together folks from Olympia , friends of mine who I've helped on a project called Alethes (soon to release a CD called "Aletheia" on Glass Throat Recordings). In 2003, I organized a concert for Allerseelen here in Portland and we got over 80 people which is not bad for this town. So, in general, it's not a problem.

Some of the most outstanding support I have received has been from great labels such as Ultra!, Beta-Lactam Ring Records, and The Ajna Offensive.

HH: Is the neofolk music scene in America comparable to the neofolk explosion happening across Europe?

MW: Well, even in some European countries like Switzerland , audiences for this kind of music remain relatively small, but the audience is definitely much larger in Europe, especially in Germany . In fact, there is no such scene here, especially for "Neo Folk", a genre term I hate anyway and which is now hilariously being applied to people like Devendra Barnhart...I mean lots of people turn out for acts like Laibach or Death In June, but Forseti would sadly have a hard time filling a club here.

HH: The music of Waldteufel really straddles two musical worlds. The music is at once much grounded in traditional folk yet also entertains a wide margin of experimentation and non conventional musical approaches. Examples would be some the vocal layering and chanting that occurs on "Heimliches Deutschland.” How did you go about forging the new with the traditional?

MW: I guess I already answered this in other preceding questions....

HH: Aside from music you also express yourself through writing and sculpture. Can you please discuss these pursuits? Where do you draw inspiration for these outlets and what form does your writing and sculpture take?

MW: My writings either concern art, some aspect of heathen culture, or music. I have two reasons for writing: 1. to research a given area for myself. 2. to share that research with a readership, often because there is really no satisfactory English language information out there. Since completing the Heidnischwerk 'line' of pieces years ago, I really haven't done any sculpture, more drawing and painting, especially this year when I did a neat collaboration with Scott Rautmann of Romulus & Remus on some special editions of boxes for the "Heimliches Deutschland" 2xLP edition. Basically, he builds elaborate wooden boxes which I then painted with motivs equally inspired by folk and esoteric symbology. We did two separate editions of 15 boxes which will be displayed at some point on the Waldteufel website.

HH: You are also known for contributing to the TYR book series and participation in other Northern Germanic traditional and spiritual projects and publications. Would you please discuss your spiritual beliefs and how they pertain to your personal inspiration and creativity?

MW: I am but a student at this point, so beyond what comes through in my writings I prefer not to share too much at this point. Belief and 'spirituality' are definitely fluid constructs that often prevent access to more direct experience. At this point, wonder and spontaneity, as well as silence are my biggest allies.

Certainly, writing for TYR, VOR TRU, and other such publications probably in some small way contributes to the Reawakening, both my own and in a general sense. All these projects somehow complement each other and keep unlocking doors for me, one by one.

HH: Radical Traditionalism is a new movement that is burgeoning in synch with the neofolk music scene which is already very Heathen oriented. What do you understand to be the relationship between these two?

MW: A few people are throwing ideas and concepts out there that are timeless, often eternal, and certainly not new. Whether these 'manifestos' are effecting change or will turn into a "burgeoning movement" remains to be seen. But certainly some of the people are also involved in music and so there is a certain amount of cross-fertilization. Of course, Radical Traditionalism in its ideal sense demands a somewhat greater involvement than simply consuming certain records and having certain books on ones bookshelf. It demands actually understanding the underlying concepts and applying them in ones life.

HH: Are you able to make a sustainable living from your various artistic pursuits?

MW: Not quite yet, but perhaps in the future if all continues to go well.

HH: How has touring as Waldteufel been? Do you feel as if audiences in places such as San Francisco are "getting" Waldteufel?

MW: Well, the shows with ALLERSEELEN were very sparse, 15-20 minutes of just I and support from Aaron Garland on one song. These shows were daunting as I did most of the songs with just vocals and drumming, no backing tape or other musicians, some even acapella. My favorite part was intoning the chant from the 10" "Stärke Uns" and walking through the audience. That was inspirational. I got some enthusiastic remarks after these shows, so a few people got "something."

After Tyrsson joined up, we did a show in Ashland on Samhain 2003 that was fabulous, because now it was two of us and we had a 45 minute set. Tyrsson plays electric guitar, bass, and accordion. A great beginning. After that, we did two shows with In Gowan Ring in Portland and Astoria before heading to Germany with a perhaps overly long 90 minute set. In Germany , we enjoyed the collaboration of Andreas Ritter of Forseti, as well as Sonne Hagal. A few songs of our show will appear on a DVD of the Flammenzauber Festival due out soon on Steinklang Records, Austria . It will also include In Gown Ring, Changes, Ostara, and other acts that performed at the two day event.

But the most ambitious and in my mind successful event was on Samhain a few weeks ago, where we played an event called "The Language of the Wild Hunt" in the oldest church in Portland, a magnificent wooden building aptly called the Old Church. It was supported by a great set from our friends from California - C.O.T.A. - and the excellent local experimental vocalist Soriah, who is known for incorporating throat singing techniques and who played the huge church organ at this show.

HH: Is there another full length album in the works?

MW: For now, final work is being completed on the SANGUIS 12" which will appear early next year hopefully. But yes, many ideas have been swirling around in my head just waiting to be utilized. A new album will see the light next year sometime.

HH: And lastly would you like to share anything in parting?

MW: Thank you very much for the thoughtful questions, Malahki!

"Of what use are we singers...
if no fire spurts from our mouths
no brand from beneath our tongues
and no smoke after our words!” --(Ancient Finnish Rune poem)

"Wenig reden, viel tun und mehr sein als scheinen." --v. Moltke

Waldteufel Discography:

• Der Große Rausch / Wiederkehr 7" (Volkways, 1996, ed. 500)
• Berghoch am Walde / Perchtentanz 7" (Ultra! 2000, ed. 500)
• Heimliches Deutschland CD (Ultra! 2001)
• Eines Gottes Spur 10" (Eis & Licht, 2003, ed. of 900)

Compilation Tracks:

• "Perchtentanz" THE NITHA FIELDS CD (Ultra!)
• "Wolfzeit" CAVALCARE LA TIGRE . Julius Evola: Centenary CD (Eis & Licht)
• "Lucifer" LUCIFER RISING CD (Athanor)
• "Von Saat und Ernte" LICHTTAUFE CD (Prophecy, Eis & Licht)
• "Wolfsstund" THE PACT...OF THE GODS (Fremdheit/Tesco Distr.)
• "Leben" HERMANN HENDRICH CD (Nibelungenhort)
• "Jüngers Subtile Jagd" AUDACIA IMPERAT picture disc LP (Oktagon)
• "Eibenlied" INFERNAL PROTEUS 4 CD & Book set (Ajna)
• "Sonnnehirsch" FLAMMENZAUBER IV CD (Eternal Soul)
• "Sonne golthi-ade" TYR 2 CD & book (Ultra!)

Related (MW played percussion on these releases):

• witch=hunt (blood axis – in gowan ring)
“the rites of samhain”
CDR, ltd. 100 copies (Dominion 2001)

• Witch-Hunt: “Two Magicians”
on “Hand/Eye” compilation
2 CD set (Hand/Eye – Dark Holler 2002)

• Blood Axis: “The March of Brian Boru”
on “Ten Years of Madness” compilation
2 CD set (Achtung Baby! Russia )
on “TYR 2” compilation CD set (Ultra!)

Heidnischwerk Heathen Arts
Markus Wolff Web-gallery
See Beyond The Music" Online Gallery