We crave for what is hidden and we are in search for what is lost. This was and this is the turning wheel of our inspiration.

The Greek band Opened Paradise released their third album 'Buried In Rain' in 2016, full of disillusioned gothic rock and occult allusions. The CD is a little pearl, in line with their previous CDs of the band. We asked guitarist-composer Babis and singer-lyricist Periklis to give more explanation on the background and motives of the band.

You play gothic rock in Greece. Can you tell us more about the goth scene in Greece? How did it start?

Babis: First of all we would like to thank you for this interview and your interest in our music. The gothic rock scene is very diverse and sometimes bands that fall under the same category don't have much in common, musically or lyrically, with each other. Of course we don't have a problem with the term since our roots are deep in what the Fields or Garden of Delight did in the past, but we are influenced by a much wider range of music and this is something that will get clearer in our next albums if it isn't already. The fans and clubs were always here since the 80s when the whole movement started, but the bands involved in it are still very few. I don't know if we can talk about a Greek gothic rock scene. I always believed that you need to have a good number of bands with a distinct sound to do so.

How did the band Opened Paradise start?

Periklis: It was in the summer of 2003 when we planted the seed. Nothing more than 5 guys trying to release their thoughts and feelings through music. I don't think that any of us expected to be here today, active almost 14 years after, still in search of sound, looking for new horizons.

I noticed you have got two songs named ‘Opened Paradise’. The first one is your own composition on your debut, the second one is a cover of the Garden of Delight-song. Is this where the inspiration for the name Opened Paradise came from?

Periklis: You are right. It is a fact that our name came as an influence of the Garden of Delight song. At that time Elias and I where way into their music. The title was put on the table by Elias during an afternoon discussion.

Your lyrics contain many references to the occult, to Mayan mythology and others. Where does your interests in this field stem from?

Periklis: That which is unknown, or to be more accurate less known, always seemed to attract me. Small parts of truth with great significance are hidden in myths and legends. Through myths you get to know hidden or forgotten traditions of civilizations. There were cases in which religion, in an effort to hide the actual truth, fed people with lies and forbid or burned books. We crave for what is hidden and we are in search for what is lost. This was and this is the turning wheel of our inspiration. 

When going through the lyrics of your last CD ‘Buried In rain’, I had an idea of an overarching theme: the distance between what someone wants to make from its life, and the actual reality. Is there a concept behind the CD and can you tell us more about it?

Periklis: ‘Leaving Dreamland’ has mainly got to do with that.What you expect from life.What you were told to believe in and how finally you realise that people and life itself seem to fail you. 

In my mind "Buried in Rain" is hermetic. Speaking to all a different language, but with the same goal. The search for truth. To acknowledge fear, to embrace it and at the end letting it be your companion through life. Death is there to let you know that things are ok as long as you're far from His grasp.

Since the very beginning, you chose to sing in English. Why not choose for your native Greek?

Babis: We never thought about it to tell the truth. It came out naturally probably because the bands we were influenced by at the time were using the English language. I personally have great respect for some of the Greek rock bands that did it differently and I really don't know how Opened Paradise would sound if Periklis was singing in Greek. It might be intriguing and, who knows, it might sound even more occult to some people.

After 13 years of existence, you still play with the initial band. How could it last for so long?

Babis: I think that most of the times the reason for a musician to leave a band is losing interest of what the team is doing at the time, commonly known as "musical differences". Since we don't have to deal with tight schedules and heavy touring, which can also be a problem within the ranks of a band, I guess we still have the same passion as we did when we first started out. We did have our issues though, which we tried to and finally managed to overcome and we recently made the family bigger with the addition of Kiriakos as second guitarist and 6th permanent member of the band.

We are all aware of the current crisis in Greece. What are your thoughts about it?

Periklis: Well the "crisis" is here. If you live in Greece you can see it all around you. The people have lost their will to smile nowadays. The poor are getting poorer, the rich become richer and the middle class is slowly fading away. Surely we feel the impact also in our lives but at least we still have a way out through music.

Opened Paradise: bandcamp / facebook

Interview: Xavier Kruth

Lol Tolhurst: Cured. The tale of two imaginary boys.

‘I knew there was something I needed to write, not just a story of the band, but a story of redemption.’ We start where the remarkable book by Lol Tolhurst, founding member of The Cure, ends. Already on the first page, Tolhurst warns us that his book is not just his autobiography. These are his memoirs, his version of the facts.

I was doubting if I would learn something new about The Cure, especially knowing that Tolhurts already was the main source of biographies like ‘Never Enough. The story of The Cure’ by Jeff Apter, a good book about the pop phenomenon Cure, although with some lack of understanding for the darker side of the band.

I was mistaken. With ‘Cured. The story of two imaginary boys’, Tolhurst has chosen a very different perspective. It has become a strongly personal story that starts with the first meeting between Robert Smith and Tolhurst as five year old children that had to take the same bus to a catholic school in Crawley.

The book is divided into three parts. The first part is entirely devoted to the childhood of Tolhurst and Smith, including the first musical steps, performances and recordings until the contract with Fiction that gave the members the opportunity to become professional musicians and release their own records. Of course you’ll read the necessary anecdotes about the nightlife in Crawley, the first loves and the way the extravagant trio Tolhurst-Smith-Dempsey were treated by the more conformist youth and right-wing skinheads.

In the second and most extensive part, Tolhurst talks about his experiences in The Cure. The story is largely personal, and of course includes infamous episodes like that drunken night when Tolhurst hastily ran into a bathroom and accidentally pissed on the leg of Billy Idol when this last one was about to make love to a groupie. Or the evening when Robert Smith and Simon Gallup fought about unpaid drinks and put an end to the successful trio in the tour that followed ‘Pornography’.

When Smith contacted Tolhurst again to continue as a duo, the story takes a different turn. It is still the story of Tolhurst in The Cure, but the emphasis is more on another aspect of the man in the band, a very destructive aspect which will ultimately lead to the departure of the writer: Tolhursts ever worsening alcohol addiction.

Alcohol already ran like a thread through the book. It started with the alcohol addiction of Tolhurst’s father, a reason why Tolhurst nor his family ever invited friends or relatives at their home. The children had learned to dodge their father, especially when he was drinking. Tolhurst also talks about his first glasses at his brother’s party, and how it led to his first blackout on that very same night.

Tolhurst was - just like the other members of The Cure - a heavy drinker. But after ‘The Top’, and even more so after ‘The Head On The Door’, it all went completely out of control. His addiction seriously hindered his creative input in the band. Tolhurst tells us many anecdotes about drunken nights, accidents or even police interventions and arrests.

Tolhurst narrates how Porl Thompson sat beside him at a pool during the recording of ‘Kiss Me Kiss Me Kiss Me’ and told him that no one would blame him if he would seek professional help. Tolhurst, however, dismissed the problem and thought he could overcome it all by himself.

It is now known to everyone that Tolhurst contributed almost nothing to ‘Disintegration’, the most perfect Cure-album. Tolhurst demolished the album in front of the whole band (perhaps because of the realization that he had contributed too little). The question arose whether Tolhurst could be taken on tour. Tensions in the group were already running high, and finally Robert Smith took the inevitable decision. Tolhurst was fired.

This is where the third part of the book starts. Tolhurst at last seeks a serious treatment and frees himself from the alcohol demon. Alas, he remains envious and jealous. Even if The Cure made him incredibly rich, he filed a court case against the band over copyright issues. He lost the case in an astounding manner, after which he divorced from his wife and child. Tolhurst was completely lost, and didn’t even have a home for a period. He was broke and staying with friends.

In order to pull out of the downward spiral, he gives himself some time off in the desert. It will be a turning point after which he starts rebuilding his life. He finds a new partner with whom he starts to make music  - after a few years - under the name Levinhurst. In 2000, the big reconciliation with Robert Smith and The Cure takes place, and in 2011, Tolhurst even plays with The Cure on the ‘Reflections tour’, performing the entire ‘Faith’ album with the band. The book ends on a positive note. Intentionally.

Lol Tolhurst gave Robert Smith a copy of his book. ‘I know that if he didn't like it, I would have heard from him by now.’ It should be said that Tolhurst remains very friendly towards his former fellow musicians in The Cure. There really is not a single negative word about them in the book. Tolhurst doesn’t even mentions the fact that Simon Gallup was also treated for his alcohol problem a few years after his departure from The Cure, something which surely would have been interesting in this context.

He mentions that The Cure was often involved in fights, something which may not fit the image of the band by the general public. In the early days, the band would sometimes jump into the audience to deal with difficult people. (It was the heyday of punk, right.) The fact that Tolhurst was often the outlet for frustration and aggression of other members of the band, remains unmentioned.

Tolhurst takes almost all the blame for what went wrong. He is not ashamed to tell pretty embarrassing things about himself. However, he does not have the courage to dwell deeply into the trial which he sat up against The Cure. (Or maybe he didn’t want to practice too much ‘accuracy’ when the book neared its ending?) For instance, it is not true that Tolhurst earned the same as the other members of The Cure, as he writes in the book. As a founding member, he earned substantially more than the rest - with the exception of Robert Smith, of course - while his contribution was much smaller. This is perhaps why Tolhurst calls the book his ‘memoirs’ and not his autobiography.

What makes the book exceptional, is the openness with which Tolhurst talks about his alcohol addiction. Some will deem this an extremely interesting book about The Cure, while others will also outline the story of a successful life that was destroyed by alcohol, and then rebuilt from scrap. With the combination of both, we must recommend you the book doubly.

Lol Tolhurst

Sistema bezopasnosti: In periods of trouble, appealing to eternal values as traditions, love, art, brotherhood and friendship always had a positive result

Neofolk from Russia. As fans of both neofolk and everything Russian, it had to attract our attention. When we were confronted with the eclectic oeuvre Sistema Bezopasnosti - or ‘Safety system’ - we felt like we discovered something special. When we found out that the man behind this project - Vladimir Doronin, also known as VlaD or Letzte Soldat Nord - also taught published on philosophy, we crawled into our pen to ask him a few sharp questions. And of course we got as many sharp answers back on subjects like neofolk in Russia, Siberian punk, esotericism, spirituality, rebellion and the relations between East and West.

Hi VlaD. Sistema Bezopasnosti was created in 1993 as a rock band. From 1993 to 2000, you enjoyed considerable success, toured Russia and even had a deal to record with the famous Russian rock band DDT. Can you tell us more about the forming of the band and the beginning years?

Yes, of course! I founded the rock band in 1991, under another name at first. It is called Sistema Bezopasnosti - System of Safety - since 1993. It was a chaotic but very interesting period. Big changes happened in our country, society and in people’s life. Crisis in one sphere was compensated by rise and development in other ones, including in the arts. For us, the 90s of the 20^th century became a time of searching for ourselves and our creative way and style.

We made a few demos and recorded our first official album in 1994. There were a lot of underground concerts and festivals that gathered many, many people. By the middle of 90s, Sistema Bezopasnosti became very well known in some circles and we ranked as a leader of the Siberian Punk movement. Siberian Punk has a special place in general Punk with its geographical facilities - basically it’s three cities: Tyumen, Omsk and Novosibirsk - and because we didn’t put the accent on the image and music, but on our intellectual-poetical side.

Siberian Punk differed with its harshness and rigidity. It was never orientated towards the western analogies. It often had a folk base with a ‘raw garage sound’. We did everything ourselves, in line with the ‘Do it yourself’-principle: self-made instruments and equipment, soldered strings, self-made drums, percussions, hand-painted posters… Even the records were duplicated and distributed by ourselves. We still use this principle and all of our experience in this field. Slowly, our albums on compact-cassettes were distributed around our country.

Yuri Shevchuk of DDT learned about us in 1996 and invited us to perform with DDT. So we performed on the big stage of a stadium for the first time. We have a warm relationship with DDT. We used their recommendations and made our own home studio. We started to perform outside of Siberia, in the Ural, then in Moscow and since 2000 also in Saint Petersburg.

You took a turn towards neofolk around the beginning of the new millennium. Why did you decide to turn to neofolk? Did it affect the position of Sistema Bezopasnosti in terms of success?

I am a music lover since a long time. I try not to miss new records and I have a huge interest in different music styles ranging from classical to avant-garde and experimental; from folk, reggae and jazz of the 20s and 30s to brutal directions: metal, noise, industrial, electronic. So I don’t stay within one musical genre.

The style changes became an eye-opener for our label back then, but also for the public and even for the musicians with whom I played apocalyptical folk or dark folk. It wasn’t so popular in Russia, only in circles of big music lovers. I also didn’t know about this kind of rock music. We called the style which we played ‘experimental psychedelic punk rock’, close to the band Swans. One day, when we started playing ritual music, the drummer of band Grazhdanskaya Oborona

(Citizen Defense) - who took part in the recording of our albums - told us about a band called ‘Current 93’. He said that we sounded almost the same.

I’ve found a record of this band, listened to it and understood that it was really close to what we were doing. We never were orientated on someone. We played what we liked. Sometimes we supposed that we were the only ones who played this music, and even now I think that not many bands play like that. But we hoped that there would be someone else playing this unique music somewhere. It’s interesting that in my opinion, Current 93 are now playing psychedelic rock with a ‘dirty garage sound’, which reminds me of our sound in the end of 90th. As for me, I want to have a clean transparent sound.

My education and self-education played a big role in the style’s changing. My first education is classical guitar and folk vocal. I went on folk expeditions around Siberia and the Ural when I was a student. I was in remote villages, gathered folk songs, epos and etc. My second education is culturologist and my third one philosopher. This all and my enthusiasm in the esoteric slowly lead me to the changing of my worldview. I increased the circles of my interests; I started to change the songs’ subjects and musical priorities.

So, our transition to the dark folk did not happen like in other bands, where the performer chooses a style that is close to his soul. We have come to this in a natural way, the way of progress and creative development. The changing of musical style didn’t impact the band’s success in a negative or positive way. I felt like I started all over again, but I just had some experience. I like the Norway band Ulver who started as black metal band and then did some experiments and became ambient and eclectic.

In fact, the cd’s I hear from Sistema Bezopasnosti are all very different. It’s amazing how many different things you make. What moves you towards making such varied things?

I am moved firstly by the wish of telling this world a lot of things, by my creative passion, my searching for meaning… It’s a kind of wish to resist the injustice of the material world. As I sing in one of my songs from the album “Martian Dust” “I want to win very much, but if I have to lose, I want to do it worthily”.

To use Hinduism’s terminology, I am moved by “raga” and “dvesha”. In other words – love for the things which I want close to me (raga), and hatred for the things that my soul can’t accept (dvesha); two eternal determining bases that are expressed in the philosophical law of unity and struggle of opposites.

I am impressed by a manifold of creative thoughts, magic and art celebrating the spirit’s victory, which were made by interesting talented and brave people – people-creators, demiurges, romantics and heroes who continue to fight, despite everything. Other loners as me also impress me. They are unnoticeable but always believe in what they do and in its rightness.

The latest cd ‘Antidote’ contains covers from different artists. We’re acquainted to neofolk bands as Current 93, Death In June and Sol Invictus, but the Russian bands on the record are unknown here. They seem to be mainly Siberian bands. You were part of the Siberian scene and had good relations with several of the bands. Can you tell us more about this?

Yes, we were the part of Siberian underground stage. In the 90s, Sistema bezopasnosti entered the so-called Moscow rock laboratory, but that was mostly formal. Despite the fact that we are far removed from Siberian punk at this moment, it cannot be denied that it had a big impact on us, just as we brought a lot of new things to the Siberian punk scene. This is why I respect most of the old Siberian bands. Additionally – maybe someone won’t agree with me – I think that the best Russian rock bands were from Siberia.

The album ‘Antidote’ is the tribute to the talent of the authors of the songs and in memory of those who have already left us. Some of them are well known in Russia, and some of them stay unrecognized. I tried to represent my vision of other people’s tracks, at the same time singing them like if I wrote them myself. The Russian authors, whose songs I performed, are people whom I knew. We performed on the same stages, or met along the way. As for the foreign authors, I chose mostly performers I feel close to, who I collaborated with.

I wanted to show a kind of symbolic connection, to represent the analogy between the different musical traditions. I wanted to demonstrate the fact that creative ways can be different, but the meanings and goals can be common. As someone wrote in comment: ‘For me these songs became an antidote and healing from the abominations of life. They set the bar for creative exorbitant heights, and most importantly, they left a brightest and an indelible mark on my life.’

Some of these bands - and especially Instruktsiya po vyzhivaniyu (Instructions on Survival), who you have worked with intensively - have been accused of anti-semitism. Instruktsiya po vyzhivaniyu wrote an infamous song titled ‘Kill a Kike’ or ‘Kill a Jew’. Were these charges justified, was it provocation, or misunderstanding?

I am not the author of the song that you talk about, so I can’t give you an objective answer. It was written a long time ago, in the 80s, and I think most of the people got it wrong. I think it wasn’t a call or a signal to act, but it just stated some phenomenon of that moment and it talked about a strong problem in our society. This song is the link to the track ‘Kill the Poor’ of the band Dead Kennedys, which we drew a parallel with. 

VlaD, you also teach philosophy at the State University of Tyumen. How does that influence your work with Sistema Bezopasnosti?

My base activity is creativity, but science is closely connected with it. Indeed I teach in the University and taught in the Institute of Culture. Thanks to science, I managed to get a lot of knowledge, to systematize it, to raise my erudition. It helped me a lot in my creativity. It learned me to work conceptually, holistically and with a specific methodology.

My second education of culturologist helped me become a specialist in the sphere of culture and postmodernism, and the presentation of my research work “Rock Culture as a modern embodiment of heroes’ traditions” gave me the chance to get a philosophical base of this knowledge. By the way, in this work I consider problems of postmodernism and traditions, and the main chapter deals with dark folk. So, incompatible things unite inside of me – scientific academic knowledge and esoteric knowledge. Although I have mostly mystical-mythological worldview, I manage to evaluate critically and look at a lot of things objectively thanks to science.

You criticize the loss of idealism and spirituality in modern society. Can you tell us more about your analysis?

These themes did not appear in my songs immediately and certainly not by chance.  Forming such a worldview happened gradually. It started on the level of general feelings and empirical observations. Later, when science taught me how to analyze, I have read works by Lyotard, Toynbee, Marcuse, Heidegger, Sprengler, Fukuyama and others. I compared, drew parallels, noted general laws. So, individual elements began to take shape in a certain system of views. Discussions about the degradation of modern civilization and the loss of spiritual ideals in society were underway for a long time, and not just in scientific circles. It’s not local; it’s a widespread tendency. And this is a most important question that I see. What we can do with it? How we can correct it? Is spiritual progress of humanity possible?

Your plea for ‘dreams, traditions, love and art’ can be seen as appeal for more eschatology. Isn’t it also important to face the real world with all its problems?

Is it possible to look at this world this way? Well, that’s the way I’m looking at it! Traditions, love, art, brotherhood and friendship are Eternal values, and dreams about them are so natural… In our pre-sacral epoch this theme is more actual as ever. Appeals to them are more then a call. It’s an alternative. It’s the base. It’s one of the variants, the possibilities of choice in what’s correct and what’s easier. Maybe it’s the way to the next development of a modern person. I think these values don’t lead to destruction, but to creation. In all times, appealing to eternal values had a positive result and helped in periods of trouble. Of course it’s an idealistic approach and I always have to resist the materialistic world. But I also know that I am not alone on this way.

Your music is full of esoteric references: to the occult theories of Aleister Crowley, the Jewish kabala or the northern mythology of the Ragnarok. Why do you choose to sing about these? Can you draw a red line between all these different subjects or currents?

My songs are full of esoteric links, to literature and other things, first of all because I am interested in esotericism. It reflects my worldview. Its language is close to me. As I said before, I have a mystic mentality. Esotericism made me stronger and gave me a rich soil for my creativity; it’s an inexhaustible topic. If I agree or disagree with something, I have to learn more about it. There are some common things and also differences between different kinds of esotericism. To mix them all would be top of un-education.

For me, it’s the force of opposition against the aggression and the material world. In other words it is a way to resist its negative manifestations; the method to preserve the independence and the relationship with the primordial tradition in culture.

Once, this esoteric hobby helped me get out of a creative crisis. Sistema Bezopasnosti is freedom-loving art, it is music of rebellion, rebellion against injustice, tyranny, against alien values, against all enslaving systems imposed on the people. Therefore, I accept only one system - security against aggression and the limitations of the material world.

But gradually the rebellion began to bring me to a standstill. I was in despair. I realized that I couldn’t change the world in this way. Confronting it alone was almost impossible. One day, my strength wouldn’t be enough if I would continue to do so in a straightforward manner. As Joe Strummer, the leader of the group The Clash, said: ‘I once thought that music can change the world, now I understand that this is not so, but I still continue to do it.’

Something like that happened to me. I discovered the esoteric. I thought that I needed to change my strategy and correct the topics and focus of my art, to make it safer for myself but also more effective. The same rebellion remained, but instead of struggling head-on with the negative manifestations of the world, I am now consciously striking them, ignoring the alien system de-sacral values that prevailed at the time in the real world. Therefore, I choose the position of the trickster, trying to ignore all that is foreign to me, or sneer at it, playing by the rules of translating everything in the language of symbols, signs, hints of ‘sleeping’ meanings and allegories.

In other words, I try to play it safe, describing their space, which is a place of power, shrouded in gloom gothic, ark romance, and full of energy. I feel like a part of this force, of this space I own where I have friends and allies. Through self-awareness on the subtle plans, one becomes aware of his role, his purpose and his way in the real world. So I'm becoming more like a kind of bodhisattva.

The tomb of the philosopher and poet Skovoroda carries the words: ‘The world tried to catch me, but never managed to.’ I hope that won’t happen to me either. Once I was singing about things that bothered me; things I didn’t like. Now, on the contrary, I am singing of what I like, what I believe in, the things that help me to live, to fight, to develop, to move forward. I'm glad that it is in tune and close to other people too.

What is the status of religion in Russia today? I have the feeling that it is hard to criticize orthodox religion nowadays, and especially to strive for LGBT rights. This is surprising for a country that has known 70 years of communist rule, in which religion was sidetracked.

I think people in other countries have a wrong image about Russia. It’s far from reality and not always objective. Most of all it’s a stereotype. I can understand it, because everything that is unusual can cause alertness and hostility. But you need to understand that Russia is a huge country with a rich history and an individual national culture. As any great country Russia’s way wasn’t so unequivocal and smooth. Big milestones have always required great effort and even sacrifice.

70 years of communism were an exceptional period in the global scale, a huge experiment. During this time, many tragic things happened, but there was also a lot of good. At that moment the role of religion was nihil. Now this situation changed a lot. The status of religion is very strong, its role became active and notable, but now we have other problems. Relations and differences of people on religious grounds strained, and sometimes have become aggressive, especially with organizations representing orthodox Christianity and Islam. There were different precedents and provocations: prohibitions of alternative concerts, pogroms on exhibitions of avant-garde artists and others. It is certainly an alarming progress in a part of society.

Many musicians in Russia seem to be attracted by ideological movements as

the national-bolsheviks or the euraziatic movement. What are your thoughts about that?

Maybe it’s because a lot of creative people are appealed by broad gestures, like patriotism and other emotional outbursts. I can say that Sistema bezopasnosti always was and remains out of politics and never took parts in any political action. We never were members of any political party. Some political organizations have tried to put us on their side, but we always said that we’re not like that. We even did some concert programs with the name ‘Against all’ and ‘Forours’, which demonstrated our unpolitical position.

I think that musicians always have a big impact on people. They listen to them; trust their creativity… A musician is like a tribune, and everything that musician says can be understood in different ways. So the author needs to be impartial in a lot of questions. Actually I think that politics is a dirty thing. It’s not my world, so I do not have any business with it.

On ‘The Magical Lamp Of Osama Bin Laden’ (2004) and ‘Nina, Wendy, Ann…’ (2005), you respectively sung about the east and the west, meanwhile claiming that both belong together. We are now witnessing new tensions between the west and Russia, fuelled by leaders on both sides. It sometimes feels as if a new cold war broke out. What are your opinions on these tensions?

This question is very actual. Yes, we have such problem. Relationship between Russia and the West became much colder and it’s not good. We live in the so-called epoch of postmodernism, which is defined by deconstruction, division, fragmentation, lack of integrity and common structures. We can see how countries and unities are destroyed. People become more aggressive, they are enemies, they live in huge and small megacities.

We can notice it even in art. When rock music was dominant – it was united. It was impossible to play it all alone. It could only be played in a band. So we had a rock bands. Dark folk is music for single individuals. I also had a band before, now I do everything by myself, alone. Of course I have experience; technical progress increased our chances and potential. But it can’t solve the problem of loneliness on a local and a large scale. So I think that musicians, poets and other artists have a great opportunity to show through their creativity that art hasn’t national or linguistic limits.

Thanks to creative people, we can find understanding. Folk national base of cultures is not a base for division, but to find something in common, to have a dialog. These are important things in my publications and in my research. We all are in the same boat, and it’s important where we sail. Problems of one can touch problems of others. And even the fact that I am far from you now, but I give an interview for your magazine says that my supporters can find each other and have something to discuss. So thank you for the chance to tell you my point in important questions. I wish everyone the best of luck and a success on the way of transcendent experience!

Interview: Xavier Kruth