SOPOR AETERNUS for The Italian Fan-page

Adrian Stassi: Hello Anna-Varney! So pleased to have an interview with you. I'm Adrian Stassi, the co-founder of the Italian SOPOR AETERNUS Fan Club. First of all I want to give, in the name of myself and on behalf of all the Italian fans that love you, our sincere compliments for your past and present works.

Anna-Varney: Oh, thank you. That's very kind of you.

Adrian Stassi: You already know that you have a great number of Italian fans, I suppose?

Anna-Varney: No, I wasn't aware of that. I do not really know about any of these things, I'm afraid ... - but perhaps it is better this way.

Adrian Stassi: My second question is, as I think, the one that everybody wants to ask after listening to "La Chambre d'Echo" for the very first time: Did you entirely stop doing the kind of music you created in the past in favour of a more - or rather highly - electronically oriented music?

Anna-Varney: Are you joking? Does really everyone fear that I might end up being some sort of shallow disco-queen? Oh, you cannot be serious, can you? But ... well ... I guess, it is kind of understandable in a way. But then again, to be perfectly honest with you, I have not the slightest idea what might happen. Anything is possible, you know, though it is not very likely that it will all suddenly changed by a 180 into that direction. It is only one album, my goodness - or rather two, if you count The Adventures of Ms Penny Dreadful" as well. Is it suddenly no longer allowed to evolve, or simply try something new ... especially when the content and concept of the album demands it?!? I am sorry to say this - and I do apologise, if I might upset you now -, after all it was Joachim Luetke who drew my attention towards this phenomenon in the first place, but it really seems that especially those so-called hard-core fans" are the most intolerant of all. He came to this rather sad conclusion when he observed the fans' reactions after he created the new artwork for a band called DIMMU BORGIR ..., and apparently it is always the same wherever you turn. As soon as a band, or a solo-artist for that matter, comes out with a new release that does not sound exactly the same way as his or her previous albums, die-hard-fans" always start whining: Ah, why is it all so different now? I don't understand what they are doing anymore, why did they change, it all sounds crap. I hate them now ..." - Blah, blah, blah ... That reminds me of good old Rozz (Williams) when he turned to Glamrock for a while, feeling that he needed to try something different from the Deathrock- & Goth impasse, which everyone expected him to do for the rest of his life. So he cut his hair, put on a baseball-cap and suddenly many of his oh-so-devoted fans hated and despised him intensely, even doubted his sincerity concerning his early creations ... - I mean, COME ON!!!

Adrian Stassi: The attention that you pay to the artworks seems to increase with every album ... and now you have even released an entire book. Are the photos your second way of expressing yourself?

Anna-Varney: Perhaps to a certain degree - but actually it is all one, really. The sacred trinity of word (or voice), music & image. Our art has always been multi-layered for that matter ...

Adrian Stassi: Is there a "concept" behind the new album?

Anna-Varney: Oh, please ... come on. What do you think, huh?!?

Adrian Stassi: The last song on "La Chambre d'Echo" - entitled Day of the Dead" - is more like SOPOR AETERNUS as we know it . How come? Did it only happen by pure chance?

Anna-Varney: I cannot really answer this question, as I have absolutely no way on knowing how you perceive SOPOR AETERNUS. All I can tell you is that the album itself certainly is well-structured, and there is an intention behind it all. Actually, this particular song you have just mentioned hints towards the cause of this matter rather well.

Adrian Stassi: "Es reiten die Toten so Schnell" sounds now like a bridge from the old style to this new style. Would you agree on this?

Anna-Varney: Hmm. Yeah ... well ... I guess you can say that.

Adrian Stassi: I spotted some electronic elements like the ones you used on "La Chambre d'Echo" already in the song "Birth-Fiendish Figuration". Is that true?

Anna-Varney: Yes, you are correct, there is an electronic filter laid over the vocals of this particular track.

Adrian Stassi: Are there any other bands that have influenced your new electronic style?

Anna-Varney: Well, yes and no. It is an obvious circumstance - and I have said this many times before - that absolutely everything that we see, hear or otherwise perceive does have an influence on us ... - this way or another, as it simply becomes part of the experiences we gather and store. Sometimes we do things based on a conscious decision, at other times we are merely directed by some subconscious impulse. Period. However, when it comes to the actual process of creation, it is always best to isolate yourself from everything around you, otherwise you just get distracted ... and then there is no hope of ever coming up with anything original - that is, if such a thing is still possible these days anyway. When we are working on new material it is simply impossible to bear other people's music around us ... - we desperately need the silence ... in order to create.

Adrian Stassi: What does the new artwork have in common with the new music?

Anna-Varney: I don't understand your question. As always, the artwork is based on the music, it is one possible expression of its content.

Adrian Stassi: It's an old question, I know, but still I have to ask you this: how about a live concert? Did you get to like the idea of it by now, or do you still prefer to continue with your solitary music life?

Anna-Varney: No changes on that particular front, sorry. Actually, I am even less inclined to consider this idea than before.

Adrian Stassi: I think the music of the new album provides far more positive feelings than the past ones. You do not seem to be "... like a temple built of sadness" anymore?

Anna-Varney: I am afraid, I have to ask you to take a closer look at it ... - please. The trouble" with the universe, if you wish, is that everything strives towards balance. I have to realise this every day of my life: The more depressive and empty I become, the happier" and richer the music gets ... - simply in order to get things back into balance. It is also a question of cause and reaction, you know: the more desperate I may try to create something that other people would obviously consider, or identify as dark" ... the stronger the counter-reaction becomes to receive" the exact opposite of it.

Adrian Stassi: I'm sure that a lot of Goth-clubs will now make people dancing to your new songs. Do you care about these things at all, perhaps even like the idea of it, or not?

Anna-Varney: Well, both actually. I don't really care about it as such, if you know what I mean. But if some clubs really do play SOPOR AETERNUS indeed, if there are people really dancing to songs from La Chambre d'Echo" then this certainly is a nice thought, wouldn't you agree?

Adrian Stassi: What can we expect from SOPOR AETERNUS in the future? Will there be more or less electronic sounds? Will you return to your roots, or switch on an entirely new sound?

Anna-Varney: Oh, you better should not expect anything in particular; otherwise you will only end up getting terribly disappointed.

Adrian Stassi: Let me return to Italy once more before we come to the end of this interview: have you ever been here? Do you like the art we have? I mean the great art in the cities (Rome, Florence etc...)

Anna-Varney: Sorry, I have never been to your country.

Adrian Stassi: Myself, the Fan Club and all the Italian fans pay their respect and send our best wishes and regards to you. I'm proud to have had this talk with you.

Anna-Varney: Oh, please ... - you are embarrassing me.

Adrian Stassi: Can you leave some final words for the Italian fans?

Anna-Varney: Well ... - BE TRUE. Because with every lie you are only murdering some part of the world, as you are only murdering some part of yourself.