This interview was published in Dutch originally in 2013. It was conducted in autumn that year, at Selim’s house. In March 2014 he had passed away. I published it here in my own translation, as done later in that year for Wyrd’s Flight. For posterity, for remembrance, for a fire that never truly goes out (and websites where this was originally published do). For me personally, this is the defining article I wrote. Nothing will ever top this I think, in intensity of experience and impact on me and my life. The light never falters.

Pictures kindly provided by Brendy Wijdeven and Paul Verhagen

The Devil’s Blood is no more. The band that gained worldwide fame under the rule of bandleader Selim Lemouchi suddenly called it quits early in 2013. The record ‘III: Tabula Rasa or Death and The Seven Pillars’ was released, but after that, this chapter was closed. A few months later, a new band appeared as a support act for Ghost. Selim Lemouchi & His Enemies. Lemouchi later played a gig for the Eindhoven home crowd on July 13^th in Café Oude St. Joris.

Now the debut album ‘Earth Air Spirit Water Fire’ is ready to be released. Time to check how things are going, so on a Sunday afternoon we ring the doorbell at the Lemouchi residence.

Imagine the house at the end of the street. You know, on the corner, the odd one out. The one house where the curtains are not proudly opened wide to let people look inside. It was different from the Dutch stereotype in that way. There were stickers on the door, depicting various band logos. Inside the place was crowded and filed up with books, records and cigarette butts. In between all the stuff a huge dog is walking up and down, well mannered but quite shy. One wall is covered in traces of blood and in the corner is an altar set up, just like everyone has seen in the documentaries and interviews. Contrary to what many people have assumed based on my interview, there was no gloomy atmosphere, no foreboding feeling to the words Selim spoke to me. His home was a regular terraced house, on the corner of a regular street that just housed an extraordinary person who was very welcoming and friendly.

Since we were raised with the right manners, we thank Selim Lemouchi for making the time for us. Today the musician has enough time: “It’s Sunday, the last day of rest before we really have to start working towards the seventh of December. We must start building up for the show at TAC (Temporary Art Centre), so it’s really time to act now. Sugar or milk?” Lemouchi goes into the kitchen to make some coffee and continues talking enthusiastically. While the coffee drips from the pot, Czech black metal makes sounds on the background. Sitting down on a flight case, Lemouchi continues his story: “I want to offer people more during the release show than just another rock show. Everything needs to be perfect. The music is not the most important, I’d almost say. They used to have better words to describe that, a complete experience, a happening. Music should never become a mass product, no ready made music that gives away all it has to offer on the first play. I want music that sticks to you. If I don’t experience that myself, then it’s not good enough. That’s how I always worked with The Devil’s Blood, I didn’t care what others thought of my music, as long as I liked it.”

He continues: “With the Devil’s Blood, I would always work with the same mould, I had to let that go of that on the new record. The formula went overboard and I decided to let the inspiration go it’s own way, letting it flow out, so to speak, and choose the direction it wanted to go. That has been a huge step, alongside opening up to others and work together. Robbie Geerings (Alabama Kids, mostly known from record store Bullit) even wrote two songs for this record, namely ‘Deep Dark Waters’ and ‘Next Stop, Universe B’. We produced the record together.”

Were these ready made moulds and formulas perhaps the reason for The Devil’s blood to quit, that is the question. “No, I think that within one form you can do endless variations and have an enormous spectrum of possibilities. All music already exists, I truly believe that. That means that one can go anywhere within certain parameters. All the records we made, I’m very proud of. I just think that with this way of working, I said everything I wanted to say. It was time for a change.”

‘Earth Air Spirit Water Fire’

On ‘Earth Air Spirit Water Fire’, the musical journey of Selim Lemouchi continues. There is a new sound and a changing group of musicians who surround him. “I keep wanting to change things. At this moment in time I listen to plenty of black metal. Maybe that is the next kind of record I would want to make. For ‘Earth Air Spirit Water Fire’ I took it onto myself to not hold back, not to limit myself with goals and targets. It was mainly experimenting, letting in others and collaborate on music making. That was the biggest challenge for me after being in full control for seven years. I try to steer the others, motivate them, but also to learn from myself as much as I can.”

A cup of coffee is placed in front of me on the stuffed table. It’s a mug with the Tasmanian Devil on it and the text reads ‘100% Animal’. Lemouchi drops down on the couch and grabs his phone to let me hear a bit of music. “When Robbie (Geerings) moved in here after Bullit closed, I handed him a guitar. He hadn’t touched one in years, but was he just sitting on my couch, doing nothing? I wasn’t having that. So this is what came out, which made me think: we can probably work together!”

Lemouchi  was sometimes named the dictator of The Devil’s Blood. Is he now more the manager of Selim Lemouchi & His Enemies? “That’s a good description actually, I think of myself more as a director or producer though. I tell people about my ideas and let them work with those in their own ways.”

The next step in his journey wasn’t a casual step forward, it evolved. First there was the  EP ‘Mens Animus Corpus’ (Mind, Soul, Body) was released. A title that seems to be more focussing on the ‘I’ in relation to its surroundings. “That is very true, that record was the first step outwards, it’s like a bridge between how I used to work and the new way; I didn’t feel like letting go of the reigns yet, I needed a sense of control. I recorded demos until I felt it was safe to hand over the music to others, which was still very difficult for me. But I did it and and took this new course I’m on now. From element A in the music, you need to get to element B and there’s only one right path. You have to find that, otherwise it doesn’t make sense, it’s not what it potentially could be and that’s the inspiration you need to unleash, for yourself and others.”

The hard path

Lemouchi blames himself for the difficulty of the path he chooses when making his music: “I demand the best from myself and I’m painfully honest towards others about their input. I expect the same hunger and critical position in return from them as well. Some people have a hard time with this attitude, the current group of musicians I work with as well. At the start, we’d almost get into fights in the rehearsal room. Now everyone knows what I want to achieve and the drive and motivation I have and expect. The music must be great, emotions and egos have to be put aside to achieve that. This is just as true for myself. I think a band loses its quality, when people stop telling them ‘No’. When the keenness and challenges fade. I want to avoid that, but that’s not easy. Artists have to unite creativity with their narcissistic side. Of course, all of it has to do with money as well, but money is something I never really understood much of anyways. My role in this band, is to challenge others and hone them into critical musicians. That way, the band is bound to produce great things. Maybe the choice for the name ‘His Enemies’ has something to do with that, the hostility towards each other now and then. The art is the most important thing in the end.”

Art needs inspiration, but the question that inspires Lemouchi will obviously not receive a standard answer. He gives some examples: “I listen to a lot of music, music is something that’s as broad as you can imagine, when you let go of categories and genres. Take what I am listening to right now, for example (Master’s Hammer from the Czech Republic is playing, red.): I read that a lot of the inspiration for this band comes from Bathory and other classic black metal. It was a review that totally missed the point. My thought was that the writer was incapable to hear the Czech folk influences in the music or the classical influences. People limit their framework of reference and that annoys me. Music is like a spider web, everything is connected and all inspires everything else. Without the Beatles there would not be any Pink Floyd and without them none of the bands that followed and so on. Don’t limit yourself to a genre or a scene by locking yourself up in it.”

“When I’m making music, I only listen to my own music, nothing else. When I have something and record it, I just get into that for days and delve into it. I listen to the recordings a hundred times over, until I think its perfect or I’m utterly sick of it. Then I start writing my lyrics and fill in the gaps in the music. I don’t even know what is popular right now, I only focus on my own music. Of course I do listen to things now and then, I have a list of songs that I think are the best…” The mobile phone comes up again and a series of band names are read out loud: “Jethro Tull, Czech band Root, Coil, Thin Lizzy, Beatles, King Crimson and Black Sabbath… and so on. I listen to this when I feel my own obsessiveness is making me go insane, but even then I have to force myself to let go and listen to something else.” The term ‘Occult Rock’ doesn’t say much for Selim Lemouchi: “I once wrote that in one of those boxes on iTunes for The Devil’s Blood. I love those boxes that you fill in with style names and inspirations… The term fitted with The Devil’s Blood and our sound at the time. Later they asked me what I thought of the occult rock scene, but I don’t know of any scene. Is Occult Rock a scene? It’s not like we and other bands that get this label meet up and hang out at shows, most of these bands don’t interest me at all or I’ve never heard of them. Ghost did make some good music, but the comparison between us and them? Nah, I don’t see it…”

Many books are being read by Selim for ideas and inspiration, but sometimes he reads nothing at all. Lemouchi describes himself as a peculiar reader. “I like to read on the toilet, I always keep a pile of books there that I read randomly. Lately I’ve been reading a lot from the French poet Rimbaud. I enjoy reading the Compte de Lautréamont, who wrote extensively on cruelties. Of course I read plenty of books on theology and theosophy. I started reading ‘An Antarctic Mystery’ by Jules Verne again and I’m reading ‘The Dark Tower Saga’ by Stephen King. I’ve always been able to draw a lot of inspiration from those books. ‘Bloody Meridian’ by Cormac McCarthy is also a great book, which takes place in the early days of the United States. Like you’d expect I read plenty of religious books, grimoires and books on archeology. The Bible and the Koran keep providing ideas and inspiration as well. It’s always good to read books in which others try to find the truth. You should always rely on your own ideas, but those of others can definitely stimulate you.”

 

This inspiring mode works the other way around as well, as can be heard on the record ‘Earth Air Spirit Water Fire’, which is presented on the 7^th of December. An album where Lemouchi inspired the band with his ideas. Lemouchi asks the first question about the album himself: “When you listened to it, did you hear one album or five pieces?” I answer it’s double, the songs are very different, but it feels like one. Some songs remind you of Pink Floyd or doom metal, others are more dreamy and kraut rock inspired, enthusiastic he replies: “I recognise that. For myself, I only listen to the full album in a file of 43 minutes, which I got after the recordings. I have the separate mp3’s as well, but it’s the whole that feels good. The peculiar thing is though, that these are indeed very different pieces of music, written separately, that form a whole. The album feels like the time between sunset and sunrise, the night. Some songs, like ‘Chiaroscuro’ and ‘The Deep Dark Waters’, are simple by design, with just one riff. These songs have a very narrative style and are basically quite simple, containing just one guitar riff that is reshaped, bent and repeated. They never get too complex, too stifled with extra stuff. ‘Next Stop, Universe B’ sounds dreamy. It seems like a very simple song, but it keeps changing although it’s hardly noticeable. It’s like the song ‘Just Dropped In’ by Kenny Rogers, never the same; if feels logical, but it’s completely irregular. It’s almost like we let go of the standard structure of a song in that one. Robbie (Geerings red.) hated it. If I couldn’t write a normal song, he asked me. That told me it was right where it had to be. We fought a lot over that song, but it really became a very good one.”

Having arguments with people is definitely a side of Selim Lemouchi, very different than the friendly spring of words today would seem to be. In his terraced house in Eindhoven he is calm and patient. It is as if he becomes someone else. I confront him about his two faces. I wrote about his friendly side and his artistic side in my review. “Yeah, I read that, but I think I have more than a thousand faces really… No, I think you were right. The friendly side may be a mask, a screen; I present myself as nice to be able to work in this society. On stage, with my music, I become a predator. I leave the herd behind and I see a red glow in front of my eyes. I think that’s where I open up, I show myself, because there I have to be in full control and everything must be right. I’m exactly where I should be and do what I have to do. Everyone else around me is required to do the same. The normal values fade away in those moments.”

Lemouchi looks away thoughtfully, he is not entirely happy with that darker side: “I keep working on it, that’s part of the task of collaborating with others. However, I need to express myself sometimes, even when I don’t want to. I can’t control that. There is a side of control and order to me, but also the creative, chaotic side. Those are intertwined and I’m still looking for the right balance.”