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CARELIAN SATANIST MADNESS

3/10/22

CARELIAN SATANIST MADNESS

It has now been seventeen years since I created this album, and as much as ever, the Black Metal terror presented on this recording is a fist in the face of all humility and ignorance.

It was and always has been one of the most important philosophies behind my art that no success and no gratification comes to those who actively seek or embrace it. On this album I presented Satanic Warmaster once again reborn, this time without the original guitarist who was kicked out for letting whatever small success we had with the two first albums get to his head, and started acting irresponsibly, which naturally lead to him being expulsed from the project and me having no contact with him whatsoever anymore. With the help of T.H. and Vholm I then created what became C.S.M. This time the result was something much more diverse, freezing, hateful and arrogant than previous works.

I handled all recording and mixing myself, drums were recorded at our rehearsal place, and I played the drums on “Carelian Satanist Madness” and “Eaten by Rats” myself because I didn’t feel like teaching the right approach to the songs to Vholm, so I just rather destroyed the wooden coffins myself. The KORG CR-4 cassette portastudio we used for the recording is still serving well after all these years and for this new full analogue version transfer I used the same recorder I used to record the album. For guitars on the album we just tapped the vein directly through a metal zone pedal for maximum audial cruelty and recorded them in the apartment I used to live in.

With “The Vampiric Tyrant” I wanted to invoke the blood cult and vampiric magic, and bring forth a vision of the Transilvanian tyrant Vlad Tepes Dracul and a forest of human impalements.

The title track, “Carelian Satanist Madness” is the elemental anthem of the TRUE SATANIST. One who doesn’t bow to feeble gods, burns in a fire of spiritual rebellion and claims his throne and fucks this world and stabs all the hearts while doing so. The world burns, the weak cry in terror, the banners of darkness fly and Satan laughs from the stars.

“True Blackness” is a homage to bands like (The True) Mayhem, Sarcofago etc. and lyrically a glorification to the supremacy of Lord Satan and his creative and destructive forces that flow through me and carve sinister runes into time.

Then we get to the favourite of all the hippies, “My Dreams of 8”. As there is only one Devanagari that has walked the earth that would poison hearts even by having his name mentioned, this song was charged with strong magick from the beginning. The resemblances in all struggles for freedom and triumph presented in the song naturally went mostly to deaf ears, and the symbol’s blazing radiance blinded both the racist idiots and the hippie fuckfaces. Pure magick in practice and a song I’ll eternally be proud of.

Total death, total rotten pestilent darkness. “Eaten by Rats” is the glorification of death. Only death is real.

“666” is one of the earliest songs that I’ve made that ended up on a record. I wrote most of the riffs and the lyrics when I was 15 years old in early 1995. Pure Black Metal.

A hymn glorifying the woods around where I grew up, “My Kingdom of Darkness” is my spiritual connection to the nights I spent wandering deep woods searching for a gate to a world beyond. Years have passed by and those forests still breath and the stars still shine.

The album ends with another majestic hail to Vlad Tepes Dracul, “Blessed be, the Grim Arts!” is as it says, a symphony of sadism, torture and misanthropy. No mercy for the human race.

The C.S.M. LIVE recording on the bonus picture disk is from the last “Black Flames of Blasphemy Festival” in Finland, where we played the 10th anniversary show of “Carelian Satanist Madness” in 2015. T.H. joined me, Nattravn, Necroterror and Vitterholm on second guitar, and the concert was a great reminder to the metal hordes of the total supremacy of my true Satanic War Terror.

After I took the publishing rights for “Carelian Satanist Madness” back to myself, I didn’t just want to do a sloppy vinyl reissue of the album, but something much more detailed and worthy. This new verision is a full analogue one, meaning that it has never been through a digital process one way or the other, so the sound waves that the magnetic tape on the four-tracker have captured are presented as accurately as possible. All the frequencies human ears cannot hear, but transmit powers and inject demons are intact. Also even though the credits say the album is “remixed”, there is not much mixing done, as all guitars, bass and drums were mixed down before adding vocals, keyboards and so on, so only vocal levels and such can be somewhat different if you listen closely.

As I’ve said many times before, I always created my music initially for myself, wanted to keep it virile by always re-inventing it and not hiding my inspirations or actual motives. This strength is what so many heard in my music too, and found a similar flame within themselves with it.

I want to sincerely thank those who have supported my work.

IN THE NAME OF SATAN,

Werwolf

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