I discovered Lady Morphia In March '99, when buying the "Pangaea" MCD. I was quite surprised to notice that this young apocalyptic folk band was coming from England, as most of the new bands of that genre are mostly coming from Germany nowadays. Nick Nedzynski proudly released his new album "Recitals to Renewal" a few months ago. And this is an excellent record, I must say. As most of the songs and the pictures it contains,  as well as  its dedication to Ernst Jünger, were beautifully intriguing, I decided to ask Nick a few questions, trying to understand a little bit more the world of that Lady. Nick gave me much more than I expected, talking about his project, Europe, Mythology, Litterature, ...etc  and of course about Ernst Jünger. Now we've all met our Lady of the wild flowers, I'm very happy to give you the opportunity to discover her sister Lady Morphia.
 

- Can you shortly present yourself and your musical career as well ?

LADY MORPHIA is effectively the brainchild of myself, Nick Nedzynski. I compose the lyrics and the vast lion’s share of the music. I also perform male vocals, acoustic and electric guitars, keyboards, bass, percussion, samples and tape-loops. However, there is no doubt that the project would not be what it is without the aid of my brother in flesh and spirit, Chris. Besides offering his skills in drumming and percussion to the group’s sound, Chris records, produces and engineers the entirety of our material. His work in the studio is invaluable. I cannot imagine a LADY MORPHIA release without him, and I trust that there will never be one.
To date we have issued four releases since the band’s inception in 1996. These are: Tales from the Surgical Ward (MC, 5 tracks, 1996), Ideology and Emotion (MC, 6 tracks, 1997), Pangæa (MCD, 5 tracks, 1998) and Recitals to Renewal (CD, 14 tracks, 1999/2000).

- What's the meaning of the band's name, Lady Morphia ?

The name ‘LADY MORPHIA’ comes from a poem by Robert Graves entitled Surgical Ward: Men. Graves began writing after the First World War. Ostensibly, this particular piece describes wounded soldiers being given Morphine in order to take their pain away. However, the poet endures painful reality rather than succumb to the ‘scorpion kiss and dark gyrating dreams’ offered by ‘Lady Morphia’. The release from suffering which ‘she’ promises is a false hope, and facing up to the harshness of existence is, in the end, preferable. His will, and thus his spirit, triumphs over her wiles. I found this idea intriguing, not to mention highly commendable. I was, of course, well aware of the ambiguities inherent in the phrase. That too was something about it which I liked very much. LADY MORPHIA carries multifarious meanings on a variety of levels. It has surreal, dream-like connotations. It hints at a femininity that contrasts nicely with the often masculine tone of the music (which is unsurprising given that the nucleus of the group is male). It conveys a sense of equilibrium which is elucidated more clearly in my lyrics. Furthermore, our moniker implies a desire to go beyond the mundane and the banal. This is an attitude which is vitally important to us. All of these meanings are applicable to LADY MORPHIA, in addition to the way in which Graves originally intended the expression to be understood. Indeed, there are probably many more meanings which could be read into it. People can therefore interpret the name in whatever way they want. I seriously entertained using a different moniker before the release of our first demo. However, I felt inexorably, incomprehensibly drawn to the phrase ‘LADY MORPHIA’. I could not escape it. I simply had to use it.

- With "Recitals to Renewal" you obviously found your own musical way. Is it how the title of the album should be understood ?

This idea was not in my mind when I hit upon the title of the album. Your interpretation is an interesting one, nevertheless.

- The rune elhaz is the rune of renewal (amongst other things). Did you think of using it for the illustration of the booklet ? You put runes on the CD of "Pangæa". How long have you been involved in runes and northern mythology ?

There was actually a conscious decision not to include runes as part of the artwork for this album. Between the release of Pangæa and Recitals to Renewal I became aware of just how many groups were plastering their records with runes. Lately, it seems as if every band has used them! When important symbols like that are overused, they become devalued and begin to lose their potency. They become meaningless. Likewise, the intent of those using them becomes diluted, even with the best will in the world. This was a pitfall which I wanted to avoid.
I am not sure whether ‘involved in runes and northern mythology’ is an appropriate phrase in my case. It conjures up images of group membership, rituals and so on. My take on spirituality is a highly personal one which cannot really be nailed down to a specific position. It is certainly too internalised for me to become involved in societies and suchlike, as are all my beliefs. My spiritual outlook is rooted primarily in my own instinctual conclusions and sense of mystery rather than any limiting dogma. Naturally, I owe a great deal to Northern and Central European pre-Christian religions. This is especially true from an archetypal perspective. These traditions seem to make more sense than monotheistic faiths in terms of equilibrium, and in their attempts to personify the ‘life-force’(s) of the universe. They hold yet more appeal due to the cultural milieu in which they are based. My interest in the runes is similarly idiosyncratic, for which I make no apologies. I am definitely not an expert in this field, and my knowledge does not extend into a practical sphere. Besides, I concur with Aleister Crowley’s dictum that every act is an act of magick. Our thoughts and actions have a ‘hidden’ quality whether or not ceremony is used. Even getting out of bed in the morning has an esoteric resonance! The most important aspect of the runes - at least to me - is their use as signs which embody certain characteristics. Strangely, it is as if the individual runes really do correspond to that which they are meant to represent. It appears to be common sense.
I freely admit that I first became explicitly aware of ‘runes and northern mythology’ via Douglas P.’s output. It goes without saying that, prior to hearing DIJ, I was curious about religious and esoteric matters. My knowledge in this domain was effectively twofold. On the one hand, I found Christian iconography engrossing. On the other, I had read a fair amount of Aleister Crowley. I still find these areas quite absorbing. This is especially true of Christian tales and the influence that religion has exerted upon the art, literature and philosophy of Europe. Nonetheless, after becoming immersed in the images and sounds of Death in June, I felt compelled to investigate forms of spirituality which reflected my own roots. I only really began to discover more about this circa 1997.

- The album is dedicated to the memory of the German writer Ernst Jünger. Is there a specific reason for that choice and what did motivate you so far ?

I knew before we began the recording of Recitals to Renewal that it would owe a considerable debt to Herr Jünger. This realisation became accentuated during the sessions themselves. We could sense that something very ‘magickal’ was taking place. The songs assumed a power and life-force all of their own. Some of them even had the feel of invocations. For instance, when I was singing Brothers, laying down keyboards on Palingenesis or reading the lyrics for The Retreat into the Forest, Ernst Jünger’s spirit seemed to be in the studio with us. It was an amazing sensation, and a remarkable time. Even so, I thought long and hard about how appropriate a dedication would be. For weeks I felt that the album was not worthy of bearing the name of such an immense figure. In the end, though, I concluded that it would have been more disrespectful not to consecrate the work entirely in his honour. Jünger’s inspiration is deeply ingrained in many of the CDs facets. It would have been a very different creation without him. It might even have been impossible.

I believe that Ernst Jünger was the greatest author of the past century, and probably even of all time. His work touches my essence in a wholly singular way. His use of language and imagery is remarkable. Equally, his ideas are always utterly compelling. The way he lived his life is another source of my admiration for him. He lived completely as an individual, and stayed unflinchingly loyal to his inner being. He epitomises the indomitable nature of the pure, independent spirit. He was a truly heroic man. Because he kept his sharp mind throughout his Olympian 102 years, Jünger also bears witness to the triumph and tragedy of our times. This is especially true of his experiences during the First and Second World Wars. On a personal level, I find Jünger’s more philosophical texts to be the most intriguing. I have been especially moved by his concept of the ‘anarch’ as expressed in works like Eumeswil and Der Waldgang. The bravery and nobility of Auf den Marmorklippen likewise made a huge impact upon me. His ‘internalised opposition’ to vulgar tyranny and his emphasis on personal liberty foreshadowed many of the tracts that he would later pen. That said, I see much merit in the totality of Jünger’s oeuvre. This includes his hotly debated early period. His uncompromising portrayal of war in In Stahlgewittern, not to mention the ‘palingenetic’ character and astounding imagery of Der Kampf als inneres Erlebnis, have a remarkable quality all of their own. It is a shame that certain people (who have normally never read Jünger’s books) constantly find it necessary to attack him. His ‘militant nationalist’ phase lasted less than a decade. In an eighty year career this is hardly a vast expanse of time! Besides which, even then he approached life in a totally personal and positive way. For example, he rejected the contention that nationalism should lay claim to control people’s morality. He attacked the Dolchstoß theory and anti-Semitism. His ‘nationalism’ possessed a spiritual depth and open-mindedness which went far beyond the modes of thought normally associated with such ideologies. Herr Jünger retained his pride and rightly felt no need to apologise for any of the things he wrote. Likewise, he preserved his autonomy, remaining admirably aloof from every regime he lived under. His thinking constantly evolved, but there was always the greatness of his ‘adventurous heart’ acting to unite his corpus. There will never be anyone else quite like him again. How could the mind and soul of a poet, philosopher, warrior and botanist exist in one body? It’s astonishing. He will always be the letzte Ritter: the only person to have received both Germany’s highest military award, and its greatest literary prize.Long may his memory endure.

- Apart from Ernst Jünger, which book(s), author(s) did impress you a lot ?

Apart from Jünger, Friedrich Nietzsche has been a consistent source of inspiration. I am also intrigued by authors like Oswald Spengler, Arthur Moeller van den Bruck, Yukio Mishima, TS Eliot, Robert Graves, Martin Heidegger, Aristotle, Aleister Crowley, Ted Hughes and William Gibson to name but a few.

- You used samples of Jünger's voice in some tracks. Do you appreciate the sound of the German language ? And do you understand German ?

I think that the German language his an absolutely beautiful sound. Its phonetics stir the emotions like no other language. It is extremely evocative. In terms of authorship, German seems able to transmit a depth of feeling and precision that is simply missing in English. For instance, when attempting to translate some of Ernst Jünger’s writing, one finds oneself struggling to locate superlatives which even come close to conveying the sense of his work. I understand very little spoken German, but my skills at reading are slowly progressing. I never learnt the language at school, and I have been teaching myself at snail’s-pace during the little spare time that I have. At the moment I am dipping into a load of German sources, ranging from a tome about Fidus to selections from Ernst Niekisch’s periodical Widerstand.

- It seems that German culture and language become more popular to English artists. Recently we could hear a German voice (by Oliver Ruehl) in Ostara's "Operation Valkrie", and more and more there are collaborations between German and English musicians... What's your opinion about it ? Do you know bands like Orplid, Forseti, Darkwood, Von Thronstahl, Dies Natalis, Belborn or Pilori, and all the electronic industrial and experimental ones (there are so many...) ?

The Anglo-German co-operation you speak of is obviously a brilliant thing if it leads to songs like Operation Valkrie! However, it is only evident at the most ‘underground’ level. Most people in England are unaware of all music from continental Europe. They are blissfully happy to keep the blinkers of the transatlantic mutual appreciation society. There are some excellent bands in Germany. I only wish that I had the money to hear more of them. Of the few you mention, Forseti are particularly good
Alongside England, I am possibly more attracted to certain elements German culture, art and history than that of any other region. Perhaps it just makes the right geistig connection for me personally. For instance, the style of German philosophy and authorship, with its esoteric overtones, suits me perfectly. Ernst Jünger, Friedrich Nietzsche and aspects of Oswald Spengler provide a few cases in point. The same goes for German folk architecture, the Jugendstil artistic movement, and so on ad infinitum. Moreover, one is able to trace the way in which that uniquely German strain of romanticism fed into National Socialism, and then was consumed by it. This holds a magnetic attraction from the perspective of historical study. Maybe at the end of the day it is just down to individual aesthetic preference. I must emphasise the fact that this view is by no means held to the detriment of other cultures. I am primarily intrigued by the whole European heritage, and secondarily by that of places like China and Japan. For example, two of my favourite towns are in Italy - Venice and Verona.

- You're now distributed by two German labels, Triton and Tesco. How did this collaboration happen ? Did you also contact World Serpent for a possible distribution ?

Triton contacted me in 1998, after Cthulhu Records passed them a copy of our Pangæa MCD. We sold a few of the EPs to them for distribution, and the same thing occurred with Recitals to Renewal. I got in touch with TESCO upon the recommendation of Douglas P.. I remain most grateful for his advice, since it proved to be spot on! TESCO have done an outstanding job not only in distributing the album, but also at the more general level of publicity, sales and soforth. They appear to be a highly friendly, trustworthy and hard-working organisation. I look forward to the possibility working with them for our next full-length release. I did not contact World Serpent with regard to Recitals to Renewal.

- The beautiful drawings inside the booklet are from Rackham. What did you motivate so far to reproduce them for Lady Morphia ? Who are the other painters you particularly admire ?

You are correct. Two of the pictures reproduced for the CD are by Arthur Rackham. He was a British artist who lived between 1867 and 1939. The illustrations I used were from his interpretation of Wagner’s Ring tetralogy. One depicts Brunhilde’s immolation, whilst the other shows the Rhinemaidens bewailing their lost gold. Both the paintings are incredibly emotive. They evoke feelings of heroism, sacrifice, (re)birth, renewal, triumph, loss and splendour. They encompass the essence of being itself. In short, they touch on themes central to the album. Additionally, the drawings reflect the cultural soil in which the majority of Recitals...is rooted. They have an intense spiritual depth and a uniquely European aesthetic. They are beautiful.
I have a great love for the majority of Symbolist and fin-de-siècle art. This includes the work of certain Pre-Raphaelites. I enjoy the classical aesthetic too. In addition to Rackham, artists like Waterhouse, Fidus, von Stuck, Thorak, Millais, Kolbe, Delville, Brecker, Bouguereau, and Toudouze hit the right spot. So does some Otto Dix and George Grosz.

- Some of the tracks remind me a little bit of Eyeless In Gaza's acoustic and ambient works. Do you appreciate Martyn Bates's music ?

I am afraid that I am wholly unaware of Martyn Bates and Eyeless in Gaza. I am sure that a friend taped a couple of tracks for me ages ago, but I cannot recall listening to them.

- Where is the sample in "Over Ruins" taken from ? I can't recognize that voice "...de ne pas tomber dans la médiocrité..". What's the main reason for choosing that sentence in French ?

The origin of the sample in Over Ruins is unimportant. What is much more crucial is the phrase, which speaks for itself: ‘So as not to fall into mediocrity’!

- What's your cultural and global vision of Europe ? I'm rather pessimistic about the future even if I think that the unification remains the best solution. I'm pessimistic about the quality of life in general. Are we too many people already ? Difficult to say... Do people really try to understand themselves, do they simply understand anything at all ? Time is passing by and humanity will never change its way of life, I fear. It seems there's an intellectual upper class, with both constructive and destructive aims, and the rest of the population just doesn't really evolve. This sounds very like a bad caricature full of simpleness, but I'm afraid this has always been like that , or about. What's your feeling about all of that ?

You have raised so many important points with this question that it would be impossible to address them all within the space of an interview. However, with luck, what follows will clarify my position on at least some of the issues that you have brought up.
My views on Europe, like the entirety of the LADY MORPHIA experience, are a highly personal matter. Ethnically speaking, I am very much a European. I am of mixed Polish-Italian parentage, with historic roots in Austria and Western Poland / Eastern Germany as well. I was born and brought up in England, into the traditions and milieu of this country. This gives me even more reason to be a pan-European! However, despite these physical-geographic considerations, I believe that the question of ‘instinct’ or ‘orientation’ is infinitely more important. The psycho-spiritual ‘connection’ with - or ‘feel’ for - one’s Heimat is crucial. I would also like to point out that my sense of being European does not preclude an interest in other cultures. I am sincerely moved by Oriental civilisations, for instance. I believe in respect for different ways of life and peoples, but it is still Europe that has shaped and given birth to me personally. I certainly perceive myself as part of the Spiritual Nation of Europe. I am among those who feel intrinsically European. They have a sense of oneness, a Congruity of Being with the living, dead and yet-to-be of the continent. This can take many forms, but it is most of all an ‘instinct’. It is a very internal, deeply held ‘sense’, and not something that can be adequately reflected in terms of semantics. For me, culture and being are things that one carries inside oneself. They are always inextricably a part of you, no matter where you are in the world. I would suggest that, externally, this feeling of Eurocentricity is reasserting itself through a renewed interest in art, culture, history and indigenous religions on a pan-continental scale. The mood of ‘being European’ is definitely re-awakening.

As you have no doubt been able to deduce from the above, my vision of Europe and what it means to be European is profoundly individual and almost inexpressibly spiritual. Europe is more than a geographical area. It is something that resides in one’s heart and soul. As far as the EU is concerned, I am not at all keen on the over-emphasis placed upon economics which pervades the discussion surrounding a New Europa. However, in a financially orientated world ethos, this is hardly surprising. Impractical romantic that I am, I believe that Europe should be far more than a ‘USE’ or economic bloc, even more than a geo-political unity. There has to be a real feeling of ‘oneness’ or brotherhood amongst Europeans. To realise this end, greater cultural exchange is required. So too is what I would term as a ‘spiritual’ or ‘internal’ sense of nationhood. In its present form, the EU appears to be largely unconcerned with expressing such tenets. Nor is it contributing as much as it should be on a cultural level. In spite of this, I remain firmly behind the principle of a United Europe. It is a good place to start. In my opinion, increased co-operation would in no way compromise the idiosyncratic aura or heritage of each country. What today is most people’s sense of ‘nationality’ would not be eradicated, but would instead become their sense of ‘region’. Indeed, this state of affairs is already coming to pass. One can see the reaffirmation of regional identities within the context of a larger national-cultural background. I think that the EU can be used as a framework by those outside of official channels to spread more poignant Eurocentric messages. Currently, this is of far greater importance than any visible EU policy.

I am unable notice much evidence of what you refer to as an ‘intellectual upper class’ wielding the levers of power. Living on this septic isle, I am only too aware of the all-pervading lack of soul, self-esteem and even thought. I am sure that this is not just a British problem. Nonetheless, due to various socio-cultural reasons, the imbecile mentality appears to thrive more easily here than it does in most other European states. Although there are plenty of things which incense me, I am not that enamoured with the idea of changing the world. No utopian theory is ever workable in practice, for numerous reasons. I would rather realise myself and my will as far as prevailing circumstances allow.

- Many English bands like Sol Invictus, DIJ or C93 often said that they're more popular out of England . How do you understand that ? And do you have a bigger audience outside of the U.K. ?

It is hardly surprising that the groups you mention are far more popular outside of the UK. The majority of the British record-buying public has always hung on the words of the music press. They need someone to tell them what to think, say and buy! In Britain, fads change all the time, often at the behest of the music papers and daytime radio. If you are not cool this week, forget it! I think that the problem in the UK also relates to the dumbed-down ethic which I mentioned in the previous question. Continental Europe has always been more open to challenging and intellectually stimulating forms of art. This attitude stretches to music. One only needs to look at Kraftwerk, Amon Duul or any one of a myriad other acts for confirmation. By comparison, the British frown upon ‘arty’ or ‘difficult’ music. They would rather wallow in baseness. This even holds true for areas which once yielded interesting results. One example of this is the British gothic scene. It has utterly forgotten its roots. Instead of the artistry and intelligence of the early ‘80’s, we now have to put up with a proliferation of brainless fashion victims. It’s terrible. Of course, I am quite prepared to accept that there might be a degree of ‘grass is greener’ reasoning behind my argument... .
Lady Morphia has almost no audience in the UK. Germany seems to be the place where we have elicited the greatest response.

- Is your song "Brothers" autobiographical?

Brothers wasn’t originally intended to be autobiographical. It was inspired by Ernst Jünger’s novel, On the Marble Cliffs. However, once I had finished writing the lyrics the autobiographical nature of the song became immediately apparent. It was a case of synchronicity! This dual meaning, as well as the sound of the music, probably makes it one of the compositions I treasure most highly.

- And could you explain the theme of "Commonwealth" ?

As it happens, Commonwealth has one of the few sets of lyrics which I can comprehend almost completely. Often the writing process is so subconscious that even I am not assured of what the words mean. In this case, however, I know what the song signifies for me. That is all that matters, and all that can be expected. Besides which, I wouldn’t want to nullify the interpretation that anyone else might make. It could easily be just as valid as mine.

- Who's Emily Woodall, the female voice in "Sun Spirits" ?

Emily Woodall is Chris’s girlfriend, and a very good vocalist.

- You're responsible for the acoustic tracks and Chris for the electronic ambient tracks. Have you got different musical tastes sometimes or do you both listen to the same type of music ?

Actually, I don’t think that this statement is true. I composed all of the music for Recitals to Renewal, save for one song, The Mirror of Shame. That track was written and performed by Chris. Thus, it follows that I wrote a lot of ambient, experimental and neo-classical pieces. None of the sounds on The Mirror of Shame are electronic. They are, without exception, organic and natural.
Chris and I have radically different tastes in music, but similar ideas concerning approach, commitment, production, writing, etc.

- "The Mirror of Shame" is a fabulous mystic ambient track that reminds me of David Tibet / Steven Stapleton / Christoph Heemann works. Which are your favourite experimental-ambient artists ?

Chris doesn’t listen to any experimental-ambient artists. For my part, I enjoy a fair amount of the music that is associated with this genre. I am especially keen on the likes of Les Joyaux de la Princesse, Endura, TeHÔ M, and early Current ‘93’.

- One of my favourite tracks is "Wings of Survival", that reminds me of one of the best tracks in Ostara's album "Waves of White Horses". Do you know personally Richard Leviathan and did he listen to your album ?

Thank you very much for the compliment. I have a high opinion of Ostara, and its precursor Strength Through Joy. However, it should be noted that Recitals to Renewal was completed before the release of Ostara’s Secret Homeland. In fact, Wings of Survival is the oldest song on the album. It was penned back in 1997! Any similarity between this and Waves of White Horses is therefore a matter of coincidence.
I have had some contact with Richard. He has listened to our latest effort, and his response was wonderfully positive. I am exceedingly flattered, not least because I think that he is one of the most erudite and intelligent artists active at present.

- Richard had some problems with his previous project, because of its name (Strength Through Joy - Kraft Durch Freude), as some hypocritical people assimilated it to fascism, without looking at the double sense and the irony behind all of that. Many apocalyptic folk bands have the same problem, especially in Germany. Just look what happened in Kassel very recently. Is there the same witch-hunt in England ? All of that comes from an interest in the cultural aesthetic in the period between the First World War and the end of The Second World War, as well as a strong interests in the History of that period, which is historically very interesting and important, as it created the world we live in today. How do you understand this hypocritical paranoia from the antifa groups, when the real fascism of today belongs to people who are politically very correct ?

Luckily, I have seen little evidence of a similar witch-hunt in England. This is probably because ‘apocalyptic folk’ is largely ignored on this side of La Manche. All I have witnessed here is the Anti-Nazi League standing outside a concert with some stickers. We are blessed by a poorly researched magazine called Searchlight, however. They rarely write about music, but when they do their publication is packed with errors. Either that or unadulterated lies.
I hear tell that the situation in Germany has become nigh-on unbearable. It is impossible to even wear a rune in public. Personal and artistic liberty seem to be increasingly curtailed. This state of affairs is both alarming and dangerous. I don’t understand the attitude of the so-called ‘antifa’ at all. I suppose it is a combination of misplaced guilt and paranoia. It makes me wonder whether these people actually spend any of their time investigating far-right political organisations. They definitely don’t appear to do so. Perhaps they know that there is a chance of being blown up by such people. However, by chasing apolitical artists they can convince themselves and the population that they are doing the world a service. At the same time, they run no risk of physical harm. It is an unbelievably worrying trend.

- "Beauty's Decay" contains a sample of Japanese dialogues. Do you have affinities with the Japanese culture ? And did Mishima's writings influence you ?

Japanese culture holds a strong attraction for me, in a variety of ways. I would like to learn more about the history of this grandiose and creative nation.
Mishima’s writings have been a well-spring of inspiration. Scarcely does one read books which are so heartfelt and uplifting in their magnificence. The samples you can hear in Beauty’s Decay are culled from the film Mishima - A Life in Four Chapters.

- Have you already played live ?

LADY MORPHIA have only performed on one occasion. We played a short acoustic set at a members-only club in 1997. It worked surprisingly well, but the emphasis for me has to be on studio endeavours. The studio is the realm of creation. It is the place in which the process of generating something out of nothing occurs. It is also the arena in which your wishes can be most closely fulfilled, and the one in which you have most control. Moreover, I am no exhibitionist or extrovert. I love playing and singing live but, to be frank, I find the prospect of public concerts terrifying. The main problems, though, are a lack of time and personnel. Despite this, there may actually be a live appearance this year... .

- Which artists / bands do you particularly admire ? Are there people who gave you the wish to start playing and composing music ? You're often compared to bands like Sol Invictus and DIJ, I think this is a little bit reductive, as your musical direction is rather eclectic. Who did mostly influence you musically ?

I agree that our musical direction is rather eclectic. We definitely possess our own idiosyncrasies and approach. I am glad that you have noticed this. Even so, I esteem it an honour to be placed alongside artists of the calibre of Death in June and Sol Invictus. Douglas P.’s music in particular is a vital inspiration. His work means more to me than that of anyone else. Although I am a little uneasy about talking in terms of genres, most of the music that moves me at present seems to come from the ‘neo-folk’ and ‘post-industrial’ scenes. This is especially true of those artists who share a ‘Eurocentric’ orientation. I find the work produced by many of these people to be utterly stimulating. This is true on many levels, be they intellectual, cultural, instinctual or aesthetic. Aside from those already mentioned, such bands include Der Blutharsch, NON, Ostara, Allerseelen, Turbund Sturmwerk and many others. During the infancy of LM I admired the more renowned of these acts, but also listened to masses of post-punk and ‘goth’ music. I still love the output of Christian Death, Sex Gang Children, Killing Joke and Into a Circle, for example. Classical music and opera have a role to play too. In this area I prefer the likes of Wagner, Ligeti, Górecki and Mahler. March / martial music is similarly atmospheric and rousing. This is particularly true of ‘vintage’ recordings. Furthermore, I harbour a fondness for Jimi Hendrix, the Sex Pistols and The Police. This admission provokes horror from some people... .

The people who moved me to begin composing and playing music number several of the above, plus my guitar teacher, Nick Ryall. He had an excellent formation named Mass (not the 4AD or metal band) but his solo material was even better. Bizarrely, I guess that the root cause of all this was seeing Roy Rogers on the TV when still a toddler! Sad, but true!

- Are there artists you would like to collaborate with ?

Of course. Whether it would ever come about is another matter. So too is the question of whether such a collaboration would produce a worthwhile end result!

- Did you think of having your own official internet site for Lady Morphia ?

I have contemplated the institution of a LADY MORPHIA web-site. The major stumbling block is that I know absolutely nothing about internet construction. Nor do I have the time to learn. In the light of this, the responsibility will have to fall to someone else.

- Did you already get good reactions from the public and the media about "Recitals to Renewal" ?

The response so far has been universally positive - far better than I could have imagined. Both the record-buying public and press have heaped colossal amounts of praise upon Recitals to Renewal. There seems to be something about LADY MORPHIA which intrigues or touches people. This is most encouraging.

- You told me that you also collaborate to an English magazine, Judas Kiss. This gave you the opportunity to know many people from the industrial scene. Did some of them give you their reaction about "Recitals to Renewal" ?

Quite a few people who are involved in the ‘industrial’ scene appear to hold Recitals... in high regard. However, there is not necessarily a connection between this and my contributions to Judas Kiss.

- I heard that you planned to release a vinyl on Eis & Licht and an album on Tesco. Could you tell us a little bit more about it ?

We hope to issue a limited 10" on Eis & Licht by the Winter of 2000. Since I am a lover of vinyl, this is something which I am looking forward to very much. The record will probably feature about six tracks. I think it will be a work of contrasts. However, that is all I want to say about the content at present. I am sure that this project will dictate its own path once we enter the studio. The next LADY MORPHIA CD should be released exclusively via TESCO. If all goes according to plan, this shall be ready in 2001.

- Did you have contacts for a participation to a compilation ?

LADY MORPHIA should crop up on several compilations in the near future. Two tracks will appear on some vinyl items put together by Thaglasz in Germany. The first record is based around Ernst Jünger’s book Der Waldgang, and will include The Retreat into the Forest. The second, entitled Za Dom Spremni, will feature our song Brothers. Another composition from Recitals... is pencilled in for a Swiss compact disc, Le Jardin des Supplices. Finally, we intend to contribute an exclusive remix of Sun Spirits to Oktagön’s Audacia Imperat! sampler.

- Which are your favourite albums ever and which are the last albums you recently bought ?

It is really too difficult to pick favourite albums. So much is dependent on one’s mood at any given moment in time. Nevertheless, I guess that the following works would definitely rank amongst my best loved LPs: Death in June - Rose Clouds of Holocaust, Christian Death - Atrocities and Der Blutharsch - The Track of the Hunted.

The most recent records I have purchased include the aforementioned The Track of the Hunted, a Der Blutharsch bootleg going by the name of Kinder, genießt den Krieg.. , the Wo die wilden Kerle wohnen EP, La Maison Moderne’s Day After Day MCD, the Death in June / Fire and Ice split 7", Allerseelen’s latest masterpiece Neuschwabenland, the eponymous Orplid album and a selection of Marschmusik aus Österreich.
 

All that remains is for me to offer my gratitude to you for your appreciation, and for taking the time and trouble to ask these questions. Similarly, my thanks go out to all those who have supported us so far.
 

In Amicitia,

Nick Nedzynski.
13/8/2000

Contact & informations :
Lady Morphia
North Park Cottage
Paddock Wood
Little Walden
Essex CB10 1XE
England
E-MAIL : LMorphia@aol.com
 

Recitals to Renewal is available via Nick himself, Triton and Tesco.

Tesco :
PO Box 410118
D-68275
Mannheim
Deutschland
e-mail : TESCO-Org.-MA@t-online.de

Triton :
Kronprinzenstr. 106,
40217 Düsseldorf,
Germany
e-mail: TRITON.REC@t-online.de

Recitals to Renewal is also available direct from the Lady Morphia address above. It costs £10 inclusive of postage and packing within the UK and Europe. For the rest of the world please add £1. Eurocheques, Banker's Drafts and IMO's in pounds sterling are accepted. However, if paying by IMO please add £2 to cover British bank charges.

Discography :

• Tales from the Surgical Ward (MC, five tracks, 1996)
• Ideology and Emotion (MC, six tracks, 1997)
• Pangaea (MCD, five tracks, 1998)
• Recitals to Renewal (CD, fourtenn tracks, 1999/2000)

© Heimdallr webzine & Lady Morphia, August 2000