JW: Hey Sandor!!!!! First off, thanks a ton for your interest in doing this interview, and secondly thanks for KILT and Lord Time as it’s always great to hear unique and genuine expressions in music and those are two great projects for those reasons. Lord Time is very different than KILT and has a certain abrasiveness and improvised sound and feel to it, almost like some of the crazy Finnish black metal stuff. How, when, and why did Lord Time come into existence?

SF: My ‘Lord Time’ one man band came to recorded existence during 2010, when I was finally able to realize a project that was brewing in my head for many years.  While I kept busy with various bands and solo and collaborative performances throughout the past decade, I never quite had the focus and diligence to dedicate my inspiration to a proper recording project.  During the past few years I finally managed to narrow down and visualize my musical interests and act upon my creative impulses.  It was a conscious choice and took a concentrated effort: ‘Stay Home Alone And Create Music’.  It became my routine and I started to obsessively work on the material that would eventually morph into Forgotten Future.  It’s important to know that this material is actually my very first attempt ever as a multi-instrumentalist.

Interestingly, the F.F. EP was originally intended to be a spontaneous collaborative crust/d-beat/hardcore project under the band name of Forgotten Future – with me handling drums and vocal duties and two of my housemates providing guitars and bass, but I ended up hijacking the project and turned it into Lord Time…  I erased all the guitar & bass tracks they recorded and replaced them with my own primordial ‘hypno-riffs’.  And vocally, what was originally intended as ‘shouted-out hardcore lyrics’ turned into improvised nekro black metal vocalizations.  This is why the 8 short songs on the record has such a dirty punky feel throughout.  The vocal-noise parts were all recorded in a giant tunnel somewhere in the Santa Monica Mountains over 10 years ago… The comparison to some Finnish Black Metal has merits. my favorite type of Black Metal is definitely the type that is the rawest, weirdest and most spontaneous.

JW: I agree with you on the black metal choice and for the same reasons. The raw and abrasive black metal acts have more freedom in terms of influence and composition and when you really look at black metal as a whole, THAT WAS the original form, whether is was by chance or intention. Lately I’ve been really enjoying the Quebec black metal bands like Forteresse, Neige et Noirceur, Frost, etc. I love the thick muddy and yet sometimes darkly beautiful atmospheres that they create, very very cold and sometimes a bit experimental.

SF: So much Metal is highly formulaic and robotic even.  In the Black Metal scene, the herd mentality and closed-mindedness is nothing less than comical to me. I consciously want to avoid ever sounding typical or generic…  While I’ve been an avid Metal fan since the age of ten, I haven’t started playing in this style until Harassor started in 2002.  While I’m a trained drummer, originally I started out doing improvised noise and experimental music as I was eager to create music outside the boundaries of the traditional pop/rock format.  I simply didn’t find doing regular Metal artistically challenging enough.  After years and years of playing for the smallest audiences imaginable and hardly selling any releases I decided to give actual Metal a try.  I can say it without a hint of sarcasm: Metal IS my Soul Music…  While I haven’t heard the mentioned Quebec projects yet, I’m excited to give them a listen!  I’m a high-volume Metal consumer, day in and day out I try to seek out unique voices in the genre.

JW: I’m very much the same way, and have almost said that very same quote about Metal. I literally inhale it like oxygen, always finding the next killer find and trying to support smaller solid bands. I want to make metal and am a bass player, but I tend to let my perfectionist nature keep me from allowing improvisation and I strive to do scales and get bored and frustrated rather than accomplish anything. I did start to play my guitar at random to imitate the sounds of Turkish psyche and that actually worked out well. I love foreign and exotic sounds personally and am a huge Turkish psyche nut.

I’m actually listening to the Lord Time Black Hole at the End of the Tunnel(http://lordtime.bandcamp.com/releases) as I’m writing this and am completely caught by the strange “doing doing… yoing yoing yoing” spring/digerido vocal parts , I’m half laughing because it’s funny yet it does addan occult and mysterious depth to the album that’s sort of like komische kraut meets black metal which is never a bad thing in my mind. What are some of your interests and influence that show up in the Lord Time material?

SF: B.H.A.T.E.O.T.T. is the 2011 full length follow-up to the Forgotten Future EP and contains an even more primitive yet far more eclectic & chaotic sound.  My goal was to create a sort of ‘Kaleidoscopic/Transcendental Raw Nekro Black Metal’ magnum opus.  A lot of bands in the “Metal” style present only one or a few moods on each release, I deliberately wanted to move away from predictability and freely explore the many “shades of black” – so to speak…

I employed a variety of unorthodox instrumental approaches and recording techniques during the many sessions the final selections were culled from.  B.H.A.T.E.O.T.T. features over 30 mostly short pieces of music that are woven into a continuous 36 minute composition.  

It IS fair to say I am influenced by several of the great innovative German bands that are considered “Krautrock” – but I’m influenced by so much great music that it might not be possible to list here…  I’m a true music-addict and I’m influenced by a variety of sounds at all times!  My vocal approach is fully improvisational and void of any lyrical content, it’s fair to call it glossolalia.  I always intend to use my voice as a “lead instrument” – my goal is to make a gut-wrenching emotional impact.  I attempt to reach a level of a trance-state each time I record vocals and channel that certain Underlying Inner Satanic Essence…  This bizarre throaty/chanty approach came naturally to me, I have always been fascinated by the shamanistic sound of throat-singing.  Some of my admitted vocal influences include Diamanda Galas, Keiji Haino, Attila Grandpierre from Galloping Coroners, Dagon from Inquisition as well as Blixa Bargeld from Einsturzende Neubauten and Attila Csihar’s earlier work.  If any of it appears humorous – that’s quite okay with me, but it’s not necessarily designed to bring the listener lighthearted joyous moments, haha.”

JW: I too am partial to those vocalists, especially Blixa, Dagon, and Atilla Csihar. I could actually hear and feel some of the Neubauten and Faust present on this one, definitely some Cluster as well but it mostly reminded me of this obscure dark psychedelic act Damenbart. I picked up an album of theirs a few years back on impulse and it was absolutely amazing…creepy, very trippy, and not an expected German psyche find. As a die hard Inquisition fan, definitely also check out French band Malpeste. They did a nasty little cassette on WOHRT last year that’s one of my all-time favorite listens.

SF: That Damenbart is definitely something I have to check out! So many awesome artists from that scene/era!  It’s fascinating to me that such an incredibly vital and free-spirited musical movement came out of postwar Germany – like a form of subconscious spiritual cleansing after an incredibly dark and repressive period of history.  I like to tell this to people: If you think ‘hippie music’ is lame and retarded go listen to some German hippie music and come back and talk to me then!!!  But I must say I was not necessarily conscious of any of this Kraut influence until you pointed it out.  Again, I’m into such a wide variety of music that it’s hard to isolate what did and did not influence me. It’s a rather complex matter that should not be oversimplified, I like to think that my music is not strictly derived from specific sources, I’m a firm believer in the chance of originality.

JW: When one is conscious of what they are doing and trying to match an ideal in their head is when they fail, sometimes it’s best to let the materials/instruments talk and build from there. I feel that artistically that is the only way to truly achieve free expression of ones subconscious.

Forgotten Future looked like serial killer black metal(mostly due to the cover and blood) and had an intensely morbid psychopathy that appealed to me immediately but how would you, as the artist, describe this album?

SF: Well, (interestingly to me) you’re not the first to make this ‘psychopathic/serial killer’ connection in regards to this release.  All I can say is that I intentionally make the creepiest & morbidest music I can manage to produce with my modest abilities.  While I find the subject fascinating, it’s in no way a subject matter that I exploit in any way.  I’m interested in an abstract sonic representation of evil/satan rather than specific visual or literary examples.  As previously stated, this record had somewhat unusual origins, I have unusual methods of creating the music.  I described the release as ‘Morbid Exterminator Metal’ – fueled by a genuine hatred of mankind as a whole.  I truly believe humans are the most despicable pests on this earth.  Forgotten Future can be viewed as a ‘Mankind Extermination Fantasy in 8 movements’.

JW: Do you foresee any future Lord Time releases?

SF: The new full length Drink My Tears will be hopefully completed and out on cassette before the end of the year.  The LP version of Black Hole At The End Of The Tunnel  is coming on vinyl early 2013 on my label Universal Consciousness.  I’ll attempt to put out at least one new release a year in the future.

JW: I look forward to those and will definitely look into your label as well.

I’m now immersed in the dark psychedelic/horror kraut vibe with the Black Hole at the End of the Tunnel stream and can’t pull away from it, sort of like being sucked into it like a black hole, and while it’s quite different fromForgotten Future, they still bear the distinctive LT underbelly. What did you do differently with this album in contrast to Forgotten Future?

SF: Well, I definitely attempt to evolve and expand my sound at all times, I’m a truly experimentally-minded artist/musician.  I branched out in all sorts of directions on B.H.A.T.E.O.T.T. whereas Forgotten Future is an ultra-compact and highly focused effort.  The first EP was my very first foray into performing and recording alone and I wanted to keep it short and unified – it was essentially a test of my will.  Now I have the confidence to do whatever I want to in order to pursue my bleak musical vision.  I am influenced by such a wide variety of music that I feel like I have endless sonic possibilities to explore – I feel it is my musical open mindedness and creativity that separates me from most ‘Metal’ musicians.  I certainly have a limited skill-set but a limitless vision.

JW: I’m really excited in what you’ll develop into, metal needs that mindset injected back into it. Looking back at the roots of death metal, black metal, thrash, grindcore, and all of metal honestly without that frame of mind and urge none of this would have happened, yet bands keep reinventing the wheel rather than inventing something else just as great or maybe better, many times just to stay within a genre to say that they ARE whatever the Hell they strive to be.

SF: Yes, by all means it is a work in the progress, I’m constantly evolving AND devolving at the same time.  I wish to create intriguing, challenging even shocking works until my time is up.  Most people simply won’t ‘GET IT’ and I more or less made peace with that.

JW: Keeping with the idea of spontaneity, what is your creative process? I know that you said you’re moving more and more into improvisation, but is there a certain mood or time that you set aside for music or is it that you get a sudden urge and then do it?

SF: I definitely have an unorthodox working process.  There is of course the inspiration and urge to create to begin with, then I brainstorm concepts, ideas, and album titles (I do not use song titles – I think in terms of complete ‘albums’ as musical statements).  For Lord Time, I generally build my tracks layer by layer.  I start out with recording drum tracks alone without any accompaniment – this serves as the skeleton of the music and I gradually add the meat to the bones, guitars, bass, synth and other instruments.  I add the vocals at the very end, once the instrumental pieces are more or less finalized.  Most of it is one or two takes per instrument- unless there is an obvious mess-up, I prefer to go with the very first take.  I’m generally most inspired to work on music late at night – I try to go until I have a hard time staying awake.  My inspiration does tend to come in waves.  Often months go by without recording anything and then suddenly I will be working on material night and day (like currently – making the completion of this interview a near-impossibility, haha!)

JW: I get like that with painting, I’ll get an idea and get all into it and then suddenly the urge dissipates, then it comes back sometime down the road when I least expect it. My best stuff develops over time.

Just out of curiosity will Lord Time ever do live shows? Have you ever done one as LT thus far?

SF: L.T. is not intended as a live entity, it’s solely a recording project for now.  I continue to perform live on drums with my proper band Harassor and I like to improvise and collaborate with other musicians, as well as occasionally doing ‘solo inhuman voice’ as Andorkappen.

JW: Now on to Kilt. Kilt is more of an experimental industrial/power electronics project than anything metal, and you also just completed a tour if I’m not mistaken.How about you tell us a bit about Kilts inception and the recent tour as well?

SF: KILT was formed by prolific experimental artists Bob Bellerue and Raven Chacon in 2005, I joined the duo as vocalist/collaborator a year later.  They both moved away from L.A. since then, so I’m essentially a part-time member.  I do not appear on all recordings and missed several tours in the past due to my restrictive work schedule and an inability to afford ‘having too much fun on the road’.  I’m always excited to participate in this free-noise project whenever the opportunity rises though, as it happened for our just-completed U.S. tour, which -in my opinion- was a (very surprising) success.  By that I mean NEARLY breaking even financially and getting excellent reactions all over the country.  This project explores fully improvised sonic territories well outside the boundaries of traditional music.  Fair to say our brand of freeform noise is NOT something that most people can easily get into, but we feel strongly about it.

JW: I too enjoy many things for their craft and the sensation of something “unusual”, sometimes even uncomfortable. I’m a huge noise/Power Electronic junkie and love the exploitation themes and violent sadistic environments created in those styles, not to mention the room for experimentation.

You are originally from Hungary, how did you wind up in Los Angeles and how long have you lived here in the U.S. ?

SF: I first moved to the U.S. in ’94 as a foreign exchange student and lived with foster parents for two years.  Being away from my family and friends, being alone and isolated in the suburbs of Los Angeles and not being able to speak English very well (yet) – it was somewhat of a bleak existence but I survived thanks to music.  Thankfully my family moved out here to join me in 1996, but we lived in relative poverty for several years and a few years ago my father died after a long battle with brain cancer.  While life has not been all rosy for me in sunny Southern California – I’m alive and kicking (for time being).

JW: That’s a Hell of a story. How much do you think those experiences influence your music?

SF: It’s tough to say.  I’m sure my experiences influence my art in a big way, but I feel it’s more so subconsciously and not directly.  My music is more so a refuge and escape from the bleakness & mundaneness of everyday reality – I hope it does the same for the listeners!

JW: Music has also always been a refuge for me and still is. I spend more time and money on it then anything else but don’t ever regret it (laughs). I honestly abhor the mundane modern way of living and strive to avoid it at many costs.

You mention Satanism in some of your responses so I’d like to ask you how and when you got into that interest and mindset?

SF: My music is obviously ‘creepy/evil sounding’ –  it’s intended to invoke a Primitive Satanic Feeling.  I do not consider myself a Satanist (other people MIGHT haha).  I’m too open-minded to get involved in ANY ‘-isms’.  Music itself is the closest thing to religion for me.  I have little interest in Satan (“the devil”) as portrayed in Christian folklore.  I understand the concept of Satan as a Primal Dark Energy, a certain Godless Essence that exists in all living beings, in all of the universe even…  While I’m certainly anti-Christian and anti-organized religion, I have no lyrical messages.  My singular focus is to attempt to capture and channel this certain Feeling.  I believe us, true Black Metal fans, listen to this music because we seek a certain Spiritual Purity, free of falsehood, free of pretense.  It is readily attainable to all – one such way is through listening (and especially) performing music.

JW:I agree with you fully about falsehoods and pretense, I get plenty of that shit on a daily basis, the last place I want it is in my music. Ironically that’s the majority of the source some days. I’ve read all of the books on various –isms and the main thing that I get out of it is that the underlying principle is NOT to follow. Yet “satanic” or “occult” black metal bands/artists quote all this shit and ramble off the same lines of EVIL and fail to realize that there is another side to the darkness, but being “black metal” they skip those chapters whereas I don’t (laughs). I also agree with you perception of Satan.

Unfortunately I do have to stop this conversation at some point, so I’ll end it here. It’s been a pleasure interviewing you and enjoying your creations so in closing, is there anything you’d like to add?

S.F: I’d like to thank you for the thoughtful interview and kind review of my first creation. I must thank Prison Tatt Records (http://prisontatt.com) for standing behind my project.  I’d like to thank all the potential listeners who take the time to explore my music. 

You’ll need an open mind to appreciate it – ‘cuz this stuff is definitely rugged and well outside the box!  I pledge to create the most un-easy listening music I can manage until the end of my days.  A whole lot more to come from Lord Time and related Andorkappen projects!   I’d like to encourage EVERY music fan to give it a go and PLAY music – It’s the purest form of spiritual communication.  You don’t have to be a highly skilled musician to come up with cool stuff – it’s all about WILLPOWER and IMAGINATION.

JW: I’m glad it worked out so well for you and am glad to show support for real artists!!!!! I will also start fucking around with my instruments and am going to build a scrap metal drum set along with some other stuff that I’ve had in mind for a decade but won’t share because I don’t want someone to grab it first (laughs). I wish you the best and hope to keep in touch.

Links and Audio:

SF’s own label: http://www.u-8-c.com/

Live Stream  for both albums: http://lordtime.bandcamp.com/