We've covered Haiduk releases on our pages in the past so, when the opportunity to ask few questions presented itself, I sent few questions to dive deeper into this solo project and find out how challenging all aspects of the music business are for just one person. Luka Milojica - the man behind it all, starting from music to graphics, from promotion to sales and ending with booking and touring doesn't seem to be phased by any obstacles, and on contrary, he's ready to take the world by storm with his own vision on what's traditionally perceived as good music or sound.

Krys

Tell us how it all started? Why did you decide to form a band and what motivates you to keep it going after 10 years of existence?

I was going through a hard time in my life and decided to focus my energy on something I truly believed in which was metal. In 2009 I finally recorded a bunch of songs I'd written over the years which had been collecting dust, and that became the demo 'Plagueswept'. 

The motivation is to keep exploring the darkness and to see what kind of twisted and evil songs can be created. It's an endless, bottomless pit to explore.

Why as a solo artist? With so many bands and musicians coming from Canada I can't believe you couldn't find couple more guys sharing your musical tastes.

Haiduk was meant to be a solo project. I try to create a unique sound by doing every instrument my own particular way. I look at writing music like writing a book. It's your own vision you want to bring to life. When one single vision shapes every nuance of every instrument, it creates something powerful and pure. 

I'm sure you pay attention to reviews and any criticism that comes after release of each album and you must be aware that your riffs are always the strongest point, but with that in mind why not have other musicians contribute drums, bass and maybe some arrangements to take your music to another level?

I'm more interested in making something different and strange than something considered traditionally good by most people. For me, taking music to another level is about trying to create patterns and atmospheres that have never been heard before, whether that's through riffs, arrangements, or the thousand details that go into mapping the drums.

Do you ever let anyone interfere, maybe that's too strong of a word, but have some input into your band/music at all?

Not really. In the past, some of the final steps like mixing and mastering I would do alongside a studio engineer, so their fingerprints would end up on the final product. Even then, I always have the final say. 

Each album displays attention to details, good production, mix, professional layouts and so on... How do you finance all your band activities? 

I try to do everything myself so that I don't have to finance anything. I program the drums, record all the instruments and do the mixing. On 'Exomancer' I did the mastering as well, admittedly poorly. The artwork itself usually costs a bit, but after that, I create all the CD layouts, banners, gifs, etc., myself. I promote online, play shows and sell albums to recoup the cost of CD manufacturing.

I believe all your albums share your fictional/fantasy stories. Even-though they are fictional do you share some of your personal moments there or is it pure fiction? Can you elaborate on the world you created?

The themes are all fantasy based. I've long had plans to write a fantasy book and the setting created for it is the fictional world of Callost. This is a realm of constant warfare, demons and black magic, and was described in the 'Demonicon' CD booklet. 

Your lyrics are always very short and minimalistic, do you treat them as important part of your music or a necessity?

Music is a more effective tool than vocals to let your mind escape. Lyrics are crafted to reinforce the theme of the song, but also to reinforce the music by acting like another instrument.

Do you ever plan on reaching to record labels to release your material and help spreading the Haiduk name?

Not at the moment. Nowadays artists can bypass labels and get their name out there and do virtually everything independently. I thrive on this and use a lot of non-traditional methods of promotion. Labels are suited towards the touring band setup anyway, which I am not.

Without labels or promotional agencies it must be a lot of work, if not close to impossible to get on cross country tours not to mention playing outside your borders. What are your touring plans?

I play shows but there are no plans for a tour. Haiduk is built as a solo project and therefore shows and tours are not my primary way of promotion like it is for bands. It's no longer necessary for artists to take that route. I've met and found thousands of metalheads and websites online, be it fans or industry people, so when I have something new, I can reach a lot of people.

Is it hard being solo on the scene? I'm sure technically playing back other instruments through the PA is not anything new or complicated, but I'm more interested in how challenging is it for you to keep an audience involved and under your fingertips while being all alone?

There are challenges to being solo. Certain doors will not open for you when you represent yourself. It's important to build connections and be persistent.

Keeping the audience engaged comes down to your playing and doing good sound check. If your playing is tight and the track volumes are balanced, the music will do all the work of getting the crowd involved.

What are your aspirations for Haiduk? Do you believe you can live from music in the future or is it just your hobby?

Right now the focus is on promoting 'Exomancer'. Album promo takes many different forms and I still have a lot of work getting this one out there. Whatever comes next, I stay true to myself, true to metal, and forge ahead!

The Magus! Extraordinary man, extraordinary music. Anyone who is familiar at all with the Greek black metal scene must certainly be familiar with the works of one of its original artists. From Rotting Christ to Necromantia, his new namesake band and everything in between; a legendary journey. But for The Magus, the creation of black metal has always been a matter of art and expression. The purity of those first days is the product of youthful passion and a lust for the darkness - nothing else. Now, the culture is well-established, the scene is a creative oasis and it's still business as usual for who is now a highly-respected elder statesman within the genre. During my latest interview, The Magus discusses the early days, Greece vs. Norway, Necromantia, occultism and The Magus' debut "Βυσσοδομώντας".

Jeger

Hails and welcome. I'd like to open up with a bit of a broad question if I may. As one of the progenitors of the renowned Greek black metal scene who has stamped his name upon some of Rotting Christ's early recordings along with contributions to Necromantia just to name a couple. How would you describe those early days and what kind of future did you foresee for black metal?

Back then we did not foresee any future. We were living in the now, and we wanted to create dark and original sinister music. The early days were honest and pure. There was no YouTube, Spotify etc. Everyone was connected physically, not digitally. This is why the sense of an actual scene/community was strong and intense. We never show ourselves as pioneers. We just did what we felt was true in our hearts and souls. Simple as that.

Satyr (Satyricon) once had some choice words to say about the Greek scene during one of his very early interviews. Something along the lines of Norway being the source of the best music and the Greek product falling short of Norwegian glory. Was the fabled rivalry between the Greek and Norwegian scenes of the early 90's actually real or simply a competitive thing that's been sensationalized?

Nah, there was no rivalry. Maybe personal grudges between musicians, but no rivalry. I have to counter my friend Satyr and tell him that the Greek scene was always more mystical, more melodic and more original. Each band was trying to create and build its own identity in Norway. After "A blaze...." everyone started copying DARKTHRONE, except the first bands of course. Also, the Greek scene continued to evolve and progress up until today with a lot of new bands of different sound colors but still black metal. Greek bands were always leaning more to creation and less to copying.....

How did you feel about the dissolving of Necromantia following the passing of Baron Blood? Was there even a discussion about carrying on without him?

No, it was never a discussion. The thought did not even cross my mind. He was gone. It was time for NECROMANTIA to descend too. I never stopped making music, but NECROMANTIA was something that we created together and it must always stay that way.

You've released a comprehensive LP in "Βυσσοδομώντας" (Vissodomontas) via The Circle Music. It definitely presents itself as quite theatrical and ritualistic. How long was this project in the making and what inspired it?

True. I do want to entrap the listener in an abysmal labyrinth leading to the center of the Beast. Lyrically it deals with the frustration and disappointment of Lucifer against mankind; how they were gifted his Black Light and how they abused it. So, he is planning his revenge and punishment. It took about a year to complete the whole process: lyrics, music, recordings and images, which is actually quite fast because I had most of it in my head to the last detail. With the aid of the other members of the band and various contributors I managed to materialize it.

What was the songwriting/recording process like for "Βυσσοδομώντας"?

I was exchanging riffs and ideas with El (the guitarist) for months. The lyrics were written before as always because this way we can pre-decide on the general atmosphere of the song and what we want to convey to the listener. You see, for me there are no fans: those who listen and understand our music are disciples. We communicate with them through our art. So, riffs became full songs and ideas took their final shape. We only did some minor adjustments in the studio. Most of it was thoroughly worked out before we started the recording process.

Have you performed any live concerts in support of the record or is The Magus a studio only project?

I do not think that Black Metal is a music genre made for live shows. I do think that it should be experienced individually and not collectively. Though, if I manage to have a big theatrical production as I imagine it, maybe we do a couple of shows, or even only one; incorporating some NECROMANTIA songs into it. Still nothing planned...

Will you continue to record under your namesake, and if so, what does the future look like for The Magus?

Yes, but THE MAGUS is a full band not a solo project. We just released a fucking hellish cover of Arthur Brown's "Fire" 1968 song featuring Efi-Eva from EUPHROSYNE as guest vocalist along with my own vocal lines. The video is also a very interesting short movie including several members of the Greek Black Metal scene. It is a vision of mine... BLACK VIEW GENESIS who filmed and edited the video did a fucking great job!

Occultism or ritual and the practice of magick have been major influences to many black metal artists over the years, particularly with the rise of modern cults like Dragon Rouge (Sweden) and Ordo Ater Anguis (Australia). How much, if at all, has the spiritual side of black metal been of influence to you?

For me, it is the Alpha and Omega. It is the thing that defines the word Black in the Black Metal music genre. I was introduced into the occult world in my early teenage years, and I have been there since. Although I am an agnostic in the physical plane, I am Luciferian and Dragonian in the metaphysical plane. When these planes collide, magic happens.

You're also a member of Yoth Iria - the brainchild of Jim Mutilator. How has this particular project been developing as of late and can we expect a new Yoth Iria record anytime soon?

Was, not anymore. There were some personal issues and differences in music views. Still friends though. YOTH IRIA was always the child of Mutilator. His vision. Mine was a different one for the band. I was like a step-dad.

Are you involved in any other projects besides your solo work and Yoth Iria that you'd like to shed some light upon?

No. Only THE MAGUS. Nothing else. No time to do anything else properly.

What's been the most valuable thing you've learned during all these years as an artist and visionary black metal musician?

That it is important to stay true to your vision and principles as an artist. Only then can you create art in its pure form. For me, Black Metal was always a form of art; not just a form of music; not just a metal genre. It was always a lot more. I am not a professional musician. I do not make money to live through my music. I always view myself as a dedicated artist who follows his own heart and soul. Like a magician I create music and through this I transform and evolve as a person.

Do you have a message for your followers?

No followers: disciples and communicators. To those who really understand us and feel us, I will tell this: as long as I have inspiration I will continue to deliver dark and sinister music. Extraordinary music for extraordinary people…