Article: Confessions of a Mask
Scapegoat: With the various mask you’ve appeared in, what is the message you’re conveying?
Douglas: I suppose I could waffle on about how, from the early days of Death In June, we all wanted to turn our backs to the usual rock ‘n’ roll schlock of the pretty boy next door, hung like a doulsay with an I.Q. of over 1,000 and heart of gold, grieving inanely into the camera and dancing around on stage like a gibbon on speed, but, I won’t! Instead I think the personality of the cult is more pertinent in the last day’s of the 20th century as opposed to the cult of personality.
Scapegoat: Sorrow and pain are some of the emotions I derive from your lyrical content, so from that standpoint, where does your sorrow and pain derive from which develops into that content?
Douglas: You’ve sort of explained it already, yourself! I don’t indulge in that kind of deep analysis in public. If I wear my heart on my sleeve then it’s covered by a camouflage smock.
Scapegoat: Love, is there such a thing?
Douglas: Absolutely! It is the Be-all End-all of everything.
Scapegoat: Hate. Can it be a positive thing?
Douglas: Totally! Hate is a wonderful motivator which can be put to good purpose. One must not renounce one’s share of it and it should be directed correctly.
Scapegoat: I’m quite inquisitive about some songs, in particular, “Runes and Men” and “Giddy Giddy Carousel.”
Douglas: I do not dissect my work in public – it verges on the obscenely indulgent. Sorry!
Scapegoat: In view of the visuals of Death In June, the Totenkoph is widely used. What does it represent to you?
Douglas: The Totenkoph 6 is, symbolically, a synthesis of the words “Death In June”; Death, obviously being represented by the skull, and June by the 6th month. Throughout European history the Death’s Head had been used as a sign of total commitment, and that is a perfect way of viewing my approach to the group. There is no room for those who’s faith hesitates.
Scapegoat: Visual use of runes appears as well. Do you identify with Norse mythology/Odinism?
Douglas: Yes, obviously. I feel it is part of my duty to be part of the process of resurrection for want of a better word of my indigenous religion. The Christ-time is nearly over and it’s important to awaken the old Gods.
Scapegoat: In interviews you’ve expressed Eurocentrics. How do you feel about fans that are Eurocentric/Racialist?
Douglas: Depending upon their ‘ version ‘ of Eurocentric Racialism, then 9 times out of 10 I feel very comfortable with it. This is how it’s supposed to be. I would like to think that the Klu Klux Klan version isn’t included in this. Eurocentrics goes beyond reactionary Christian, political militias. I believe in seizing the end of time, not being a passive part of it.
Scapegoat: Presently, your current world view and ideology?
Douglas: Survival by any mean necessary.
Scapegoat: Would Satanism (to you) be an applicable term in any way?
Douglas: I can’t honestly say that I, in any conscious way, worship or pray Satan. I’ll pray to anyone or thing that will answer my own prayers. To the best of my knowledge the Runes do a good job in looking after my needs.
Scapegoat: How’s it been throughout the years working with Boyd Rice both on a personal and business level?
Douglas: Since our first communications in 1986 our relationship has been extremely fruitful. Eleven years on and it continues to be a mutually benefiting working relationship. We both have taken each other into new arenas.
Scapegoat: With the Scorpion Wind project you collaborated with Boyd Rice on, is there anything you wish you’d have done differently? How’s the feedback been?
Douglas: Scorpion Wind’s album Heaven Scent has been very positive. Most people considered it to be the long overdue follow-up to Music, Martinis and Misanthropy which, in one way, it was but, also in another, wasn’t. It’s hard to define why. I’m pleased and surprised by the outcome. Perhaps there’s been a problem with the name, as most people don’t automatically look for our work under “S”.
Scapegoat: Do you have any plans on working with Tony Wakeford (Sol Invictus) soon?
Douglas: We haven’t worked together in any real concrete way since the late 80’s when we were both in Current ’93’ at the same time. Recently, we did come together again to compile the CRISIS retrospective CD, We Are The Jews and Germans, but that only entailed working on some remixes and deciding upon artwork. Most of my time is now spent in Australia, so we don’t often bump into each other anymore!
Scapegoat: Elaborate on the process from beginning to end of a Death In June show.
Douglas: Probably, to try and make it as dramatically and emotionally imposing as possible.
Scapegoat: Since the reissue of Something is Coming, has Death In June performed any other shows which were considered benefits to donate money for certain causes?
Douglas: No, that was a real ‘one-off’. That was a cultural duty and not an act of mealy-mouthed philanthropy. The Eastern borders of Western Europe were burning and it needed as much help as possible to put the fires out.
Scapegoat: Songs in the past (early to mid-80’s) sound more electronically orchestrated and, presently, sound more acoustic orientated. Should listeners expect a new turn of events in the way Death In June will sound on future releases?
Douglas: From the very onset, Death In June have always tried to be unpredictable and one-step ahead of the crowd. There has always been room for experimentation and the pursuit of other avenues. I think the latest KAPO! release, whilst not strictly speaking a Death In June release, proves that. It was within a hair’s breadth of being the new Death In June album but, too many things dictated otherwise. It was originally deemed to be a new project and that’s the way it stayed.
Scapegoat: Are there any Death In June releases coming out soon?
Douglas: For the best part of the last four years I’ve spent most of that time in the studio recording Rose Clouds of Holocaust, Black Whole Of Love, Occidental Martyr and Kapo!, for Death In June. Due to the Scorpion Wind Heaven Scent album with Boyd (Rice) and John Murphy, and producing two albums by the Australian group Strength Through Joy, I’m sort of sick of the studio. There are no plans to record anything new for a moment. However, we will issue a double CD compilation of Death In June, entitled Discriminate – A Compilation Of Personal Choice, soon in America.
Scapegoat: Is New European Recordings and Twilight Command still a working force?
Douglas: Going by the information I’ve just given you then, obviously, they still are. Twilight Command has recently released the new project from Genesis P. Oridge. It’s called SPLITER TEST – “Sulphur” and I think it’s some of the best work he’s ever done. It ranks easily alongside the best Psychic T. V.
Scapegoat: Who are your musical influences?
Douglas: I would say a bit here and a bit there.
Scapegoat: Influential figures in history?
Douglas: History is a lie, so who can really say who influenced what!
Scapegoat: Does the name Jesus Christ mean anything to you, and, if so what?
Douglas: I’m not a Christian and I was never baptized, so Jesus Christ has never meant anything to me! I can, however see how in his name the World isn’t what it could be. On a personal level I’ve seen his religion psychologically numb a lot of people. He is the great “thou halt NOT” God, and that is not for me!
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