Koreltsak – Japanese Teachings… Black Metal

Thank you, first, for the opportunity. It is with pleasure that I see that the American scene continues to produce a lot, and good, Black Metal. How do you find yourself right now? Peaceful, and confident, that the worst of the pandemic has passed?

Thank you for speaking with me. I don’t know if I ever feel peaceful as there is a lot in the world to be fighting against… there are so many men without honor. regarding the pandemic, it is hard to say. I thought it would be done with last year, but here we are with it still prevailing. time will tell.

You come up with Koreltsak in the middle of a pandemic. Was it a premeditated act that, coincidentally, "shocked" the situation we are experiencing in 2020 or Koreltsak arises, in a way, from the pandemic and confinement?

Looking back, you are right, it did come towards the end of the first year of the pandemic. I never thought of the music being born from the consequences of the virus, but more as the timing was right to sit and fully realize the idea of Koreltsak. I’m sure the time alone and inside helped solidify the core values and intentionality of the music.  

Being a one-man-project, I suppose everything we hear is the fruit of your work. What's it like to work alone, create alone? Does it come from the need for full control of the whole creative process, or was it born of the moment (pandemic, confinement, etc.)?

For the most part, I wanted to write music at the pace that I want to go at, whether that is for long hours in a day or not touching the music for weeks. Collaboration is great, and there are many bands that create incredible music, as a group; but I wanted to be able to control everything. a little over a year has passed since the first demo came out and my writing has changed a lot, for better or worse.  I have also started working with a drummer, J.U., who has given the music a new life and dimension that I was not able to provide. 

Something I find curious – in a positive way – is the concept on which Koreltsak is based: Japan and the cultural heritage of imperial Japan and the Samurai. May I ask what your relationship to this rich culture is? How, and when, have you decided to address this theme in your artistic creation? Specially given that you are – according to information found online, based in Los Angeles (not that it does make a difference eheheh).

I am a Japanese man.  although I want to live in Japan, I am here in Los Angeles. the culture and the heritage go back through my lifeline and based on the kanji of my last name, were samurai.  The music of Koreltsak is one born of resisting and fighting as well living with honor.  although it might not be decipherable to the listener, the lyrics have everything to do with this.

What is your relationship with Hagakure, and how influential are these writings to you as an Artist, and An Individual?

It is a guideline, both practical and spiritual, that I strive to live by. Although I am not a warrior in a literal sense, there are basic principles in the Hagakure that are important to me.  There are many distractions in the world and I feel like living by this helps maintain focus and strength in everyday life. 

Is Koreltsak your depiction of Black Metal? Beyond the latent connection of the project to Japanese culture, is there more in Koreltsak (not that I take as something inferior or not important enough)? Is this a concept that stretches beyond a reference, an influence, etc.?

It is. i don’t think I am doing anything new in the genre…this project is very selfish in the way that it is a vehicle to manifest feelings that I wouldn’t be able to in any other setting.  However, one theme that I do reference quite often are the death poems of samurai and monks. I think it is a remarkable thing, especially if one was to commit seppuku before the enemy caught up with them, to write a poem that will preserve after you leave the physical plane…

How were your first steps in Black Metal? What were the first albums, the first bands that truly “grabbed” you, and showed you what this genre was about. In a way, your growth as a fan, until the moment you become a musician. 

Darkthrone’s unholy trilogy has always been a constant source of inspiration. There are so many new bands and projects coming out with great music, but I find myself listening to allies such as Kommodus, Bloodnun, Vide, Threshing Spirit, Klanen, Mnima, and Valac.  Also A Sad Old Ghost make some of my favorite dungeon synth.   

Besides Koreltsak, you have Castlerock and Visions of Yokai, both Dungeon Synth projects... and both thematically based in Japanese Culture (correct me if needed). When did the idea to create two more projects, in parallel with your original project, come up? What was the main reason behind you creating these 2 new entities? 

I have had the idea of having a dungeon synth identity to mirror what Koreltsak was doing since the beginning. It took me a little while to track down some reliable synths to create the music with, but I have a good set right now. Visions of Yokai came about unintentionally…there was a period where there was a lot of death around me and as I channeled that into music, the result was very different sonically than what I was making through Koreltsak. I didn’t want to blur the two together and release it under the same name, and so Visions was born.  as with all the monikers, I tend to let the music come out when it is supposed to and do not try to force anything out.  when the circumstances are right music will be written.  they are all three faces of the same being.

How did each one of the Splits you have in your discography, come to be? What is the essential characteristic an artist must have, for you to approach (or accept an invitation) him, and create? 

So far all the splits that I have done I have been approached.  It Is important to me that the artists are coming from a pure place, not for hype or any shit like that.  splits also allow me to look at the music differently, I write the music after the invitation, typically with a limitation as far as time goes.  Writing something that is interesting, concise & true to whichever face I am writing through is the most important in that moment and I am glad those scenarios have come about.  I have tried some things for the first time in those early splits that eventually made their influence into the demos. 

You've been editing music with a lot of consistency since you came along in 2020. What can we expect from you, and all your projects, for the year 2022?

It has been a bit of a quiet start, but as far as new music goes, there will be new full-length projects from all three faces. the third chapter in the Kuruwa trilogy for Castlerock is complete and will see release later this year through Realm and Ritual.  The second offering from Visions of Yokai is complete and will see release later this year through Murder on Ponce for tapes and Goatowarex for vinyl.  finally, the third demo is in writing stages for Koreltsak, hopefully that will see the light before the year ends as well.  I am also working on a split with Abyzou that will likely be out before the third demo is complete, that will be released through Dismal Ruin. 

Once again, my sincere thanks for your time and words. Truly enjoy your creations and hope to hear more from you soon. Greetings from Portugal. 

Thank you D., strength to you always.

Koreltsak Official Bandcamp

Visions of Yokai Official Bandcamp

Realm and Ritual Official Bandcamp

Dismal Ruin Official Bandcamp