Among the many releases hurled into the world via Germany’s renowned Iron Bonehead Productions, you would almost miss out on Ophidian’s ‘Descent into the Labyrinth’, which appeared only on cassette tape last summer. And that would be more than a shame, because this one-man band has a lot to offer, especially for devotees of the classic Greek Black Metal sound. But while Ophidian clearly honours the ancient Greek (Black Metal) Gods, it still has something to offer itself in terms of its own take on the genre. Specifically about this musical and cultural background, I spoke to the band’s spiritual father Ion Ariifatos…
Hi Ion Ariifatos, I bid you welcome. As you might have seen already, there’s always space for my beloved sound of Hellenic Black Metal. Let’s start with that, what does the ancient Hellenic Black Metal sound mean to you?
Hi Felix, and thank you for the invitation! I am glad we share the same passion for the Hellenic sound. Hellenic black metal wasn’t the first subgenre I came in contact with. I stumbled upon it much later, during my musical journey. It was around 2017 I got hooked for good. One autumn night, an old friend introduced me to Thy Mighty Contract. It felt so out of this world yet so familiar! So now regarding its sound: although the mediums used to craft the Hellenic sound are relatively primitive, the end result is nothing less in terms of creativity and imposingness than any other black metal genre. The simplistic yet majestic synths, the strong palm-mute guitar riffs, the surprisingly creative bass lines that punch right in the face, the primitive vocals and the characteristic drum-set make a combination that just gives me the shivers and gets me excited every single time, like it’s the first. It’s a musical direction so simple yet expresses so much!
You have described Ophidian in relation to Greek Black Metal with the words that it “explores the corridors that have opened up only to whomever has been initiated in the emotions, thoughts, philosophies and cults that are touched on this particular subgenre”. Take us with you into these emotions, thoughts, philosophies and cults… What are these in your perception?
Hellenic black metal throughout its history touches very specific lyrical themes, that have nothing to do with shallow, futile, and weak-minded worldviews and cultures. It is music of the few for the few, if not from a classical elitist point of view, then at least as a matter of taste. Cultures, religions, worldviews in general are mere reflections of an individual’s self-perception in accordance to their interaction with their societal surroundings. No matter where you are born and raised you most likely adapt to the societal standards which are imposed to you. That means that, for an individual to support or even compose this art, they have to be built different. One consequently must have by birth totally different thought patterns, urges and worldviews than the surrounding collective. I call it ancestral memory. Corridors within the mind found beyond the limitations of the current (intended) collective programming. Looking for answers of questions only few ask. Knowledge, emotions stimuli that are not offered by the mainstream cultures. So, these emotions, thoughts, philosophies and cults I refer to are mere pathways of expressing thoughts, feelings and concerns that are only to be understood by those few. Those called to explore. Whoever sees to this art more than just metal, knows what I mean.
If we continue a bit on this subject, you have also used some metaphors to describe your growth as a musician (at least I think that is what you meant). Your words, again, intrigued me, you called it “self-initiating process of almost alchemical nature” to continue: “The apprentice first knows only of ambition. After ambition comes fear, and after fear knowledge and realization and therefore true power”. Without wanting to take all the magic from your words, can you elaborate a bit more on that artistic and philosophical journey?
This album is a very personal creation. As living entities, we cannot avoid change, rather if it is destructive or creative in nature. With the word ambition, I mean the intention to reach perfection. To become the best possible version of one’s self. The true self, nature intended one to become. The path towards this state of existence is unknown in the beginning of this journey. Pain and fear are essential aspects all sentient beings experience with or without the intention to engage into this process. How one learns to tame and use them to his benefit is “knowledge and realization and therefore true power”. Consequently, Art (among its other more mystical qualities) imitates Life.
It seems like you’ve done a lengthy and meticulous study of the Greek classics. Your music is worked out to the smallest detail, even the humming keyboards and passages of spoken text give an appearance. But despite this apparent thoughtfulness, the whole thing sounds very spontaneous and energetic. Can you tell something about the creative process behind this EP?
I started composing these songs back in 2019, starting with the track called The Initiation. This song gave birth to the whole vision. All the other songs followed shortly after, with Twilight of Serenity being the last one composed in 2022. As you know, this period was not easy for any of us, but it gave me more time to contemplate and concentrate on myself and my art. I had all the time in the world to think of the smallest detail, even some human errors heard in the tracks are intended. I want the listener to feel and think like this album is an actual 90s creation with all its flaws and beauty. I tried to be as faithful as possible, but also wanted someone to distinguish my playstyle and compositions from the rest of what the scene offered until now, not in terms of competition but as a decent addition and contribution to the Hellenic black metal armada. I wanted to create something that, I as a Hellenic black metal fan, had not yet heard, but always wanted to hear from my favorite bands.
What I particularly liked about ‘Descent Into The Labyrinth’ is the rawer sound that really carries you to the early days of the Hellenic sound. It clearly is based on the first recordings of Varathron and especially Rotting Christ. Lots of other bands do have similar melodies and riffs, but they lack the brooding atmosphere of these ancient recordings. The authenticity of your EP is striking, how did you manage to get so close to the original sound, production-wise?
Ask and thou shalt receive! Many circumstances led to this result. I would say I had the most qualified teachers on that matter to whom I am very grateful. I also did extensive research on the instruments that were used in the 90s scene. As you can hear from the album I learned a lot. Soundway Studios also gave their best and had huge patience with me during our collaboration and this shows in the end result.
Another important aspect in Greek Black Metal are the staccato-sounding programmed drums. I have recently heard a number of bands that pay homage to the primal sound of Greek Black Metal in a similar way, but still chose to include ‘real’ drums. These completely miss the mark as far as I am concerned and compromise on authenticfanity. I am really intrigued by that story of studios being too expensive to record ‘proper’ drums and in the process creating a whole cult and a sub-genre that still lives on some three decades later. How do you view this phenomenon?
Did you know that all snare, tombs, and kicks, were written on midi and hi-hats, rides and crashes were recorded physically? A guy in a metal bar once told me. I was stunned, as I could not comprehend why the drums sound natural and artificial simultaneously in almost all 90s releases in the Hellenic scene. The same Synthesizers and Amplifiers were used for all bands which produced their music in the infamous Storm Studios. It is ironic how practical difficulties of the time, led to the creation of a whole new genre and musical culture. I mean the snare of Non Serviam, is so distinguishable, a die-hard fan will notice immediately. I am still surprised to this day about how all this turned out to be so catchy and addicting, to become a monolith in the black metal scene. I mean now there is even foreign bands that play in this style.
The EP’s final track, ‘Twilight Of Serenity’, is worth mentioning separately. Not so much because it is necessarily the best song on the EP, but because it has an almost dreamy and lingering character. This actually fits a bit more with a later period of Rotting Christ, from the second half of the 90’s. I think it’s a wonderful closing track. How do you personally view this song in the musical constellation?
To be honest, at first, I was hesitant to add this track to my first release as my play style differs from the other songs, indeed. It is also more atmospheric and I will agree with you that it gives vibes of 1997 Rotting Christ or even I may add it reminds me personally of the vibes of early Elysian Fields. I decided to keep it though as a closing track because it fits to the album’s entity and overall message, but also works as a perfect teaser of what is to come from Ophidian in future releases.
Looking back on the overall genesis of ‘Descent Into The Labyrinth’, did it become what you had in mind? Is there any particular aspect of the music you are particularly proud of?
Time passes by swiftly with each track, which means to me, that I did a good job on structuring them. I feel like this album is a decent example to introduce myself to the scene and to show what I have to offer as an artist to the underground. As an artist there is always the urge to fix until perfection, but I am sincerely trying to resist it, as it sterilizes such raw releases from human flaw. I still have much to learn, as evolution is a never-ending process, but I feel that I am on the right path.
Ophidian came, at least to me, out of thin air. Before Iron Bonehead Productions announced the release of the EP, there was nothing that warned us for your coming. How did this came about? You just started writing and recording music and sent it out to Iron Bonehead Productions to see if they were interested in releasing it?
Iron Bonehead was my main target for this release I have to admit. But not my first collaboration in general. I also released another EP called Doctrines of the Fallen for another one-man project of mine called Codex Daemonicum, Via Regain Records back in 2018. If you are into Satyricon, Marduk Inquisition give it a try.
Iron Bonehead is a label that released significant Greek Bands, as well as other bands I hold dear, like Bölzer or even underground releases like mighty Saritap. It’s worth a listen! They were the first label I contacted for this album and the first to respond so quickly. The rest is history.
I recently asked another Greek band exactly this question, but I’d like to put it to you too: if you had to choose an album from the vast canon of Greek Black Metal, which one is your ultimate favorite and why?
I am between Non Serviam – Rotting Christ and Adelaine – Elysian Fields. I can’t decide. Huge dilemma…
We are quick to talk about ‘the big four’ when talking about Greek Black Metal, but underneath the obvious Rotting Christ, Varathron, Necromantia and Septic Flesh is a whole world of more obscure gems, both old and new. Can you take us through your favorites or personal collection?
All-star band Thou Art Lord, is a must, as well as the forementioned early Elysian Fields with their majestic album Adelaine. Agatus, Zemial, Tatir, early Kawir and lots more. One of the most daring albums I would say of that time, would be Unspeakable Cults from Deviser, as it is more experimental compared to other Hellenic releases of that time.
In my opinion Bands like Caedes Cruenta and Cult of Eibon revived the 90s spirit for good and opened the path even for bands abroad to follow the Hellenic path like Haan Valar, Heosphoros or Draconian Key. I find it fascinating how the Hellenic sound has spread beyond its natural boarders. It’s not just a local tradition anymore, and I urge the current local community to cherish that instead of putting on the elitist mask.
In just about every question so far, we have talked about Greek Black Metal. Besides this, what else inspires you musically and non-musically? You mentioned recently that you’ve started focusing more on reading. What exactly do you focus on and what have you been reading lately that is worth recommending?
I’m a huge Inquisition, Marduk, Satyricon fan. They are my main influences but I listen also to a lot of Death Metal bands, also those who dare experiment more, like Gorguts, Ulcerate or Akercocke. I draw inspiration also from history, archeology, ancient religions, mythology, modern and ancient occult views, HP Lovecraft. I think some of the topics mentioned are obvious inspirations judging from Descent into the Labyrinth.
Now, regarding the books I read: it’s been two years since I started focusing more on ancient Hellenic philosophy specifically on the teachings of Plato, Socrates, Plutarch and Proclus. I studied the old and new testament again, this time from an ancient Greek point of view, and see only lies and misleading ideas for Pidgeon hearted slaves.
In the brief conversation we had leading up to this interview, you were able to inform me that a split release is in the works with the more than fantastic Haan Valar. Can you share some details about this already?
I am really excited for it! I was thinking of contacting them after the release of my album, but days later they reached out to me. One could say it was meant to happen. I don’t want to spoil too much, and especially not the works of mighty Haan Valar. They recently sent me some material. I can say with certainty that they have surpassed themselves with their new compositions, and I just can’t wait for the release of this collaboration. my side of the split will be more Thou Art Lord – like. I believe this will be one of the darkest releases Ophidian will offer. We expect to be ready early 2025 for Iron Bonehead to release this addition in your collection. Stay tuned!
Okay, that’s it for now. Thanks for your time and the interesting conversation. In good tradition, I would also like to give you the opportunity to end the interview with your words…
Thank you! I am truly honored with your invitation and the intriguing questions, Felix. They actually made me see my art and general approach under a different light. The Hellenic Black Metal torch is still burning bright. This art was, is and will be for the chosen few. Hails from Athens, Hellas!
