Artists

Metatron Omega
Biography

Metatron Omega

Metatron Omega is a Serbian dark ambiental project, authored by an elusive figure – a man called Scorpio V.

With a complex blend of religious and sacral choral chants, ritualistic invocations, dark synths, powerful drones and soundscapes, he creates a peculiar and unique atmosphere of wonder, mystery and spirituality, a kind of Alchemical experience which wraps around and enter the listener’s inner Temple.

Metatron Omega is ripe with esoteric and occult colouring, an atmospheric, meditative creation inspired by variety of Eastern / Western esoteric and religious traditions. Much of the inspiration stems from the attempts of Man to attain Enlightenment and seek the Divine, be it in the form of a collective religion, cryptic cults or secret societes. The music of Metatron Omega conveys the author’s thoughts, meditations and experience alongside this sacred journey of self/god-discovery.

 

Interview with Metatron Omega by Michael Barnett

Michael: What has the experience been like for you, working on the Nyarlathotep collaboration? Was it strange working with sounds from the other artists?

Scorpio V: The experience with Nyarlathotep was exciting at least, far from strange. This was the first time I was involved in this kind of a collaboration where artists use each others sounds in their own creation. It was very interesting to have a pool of sounds, creations from various minds and moods. Then mix that with your own, creating an eclectic structure.

Michael: Did you tend to use more of your own sounds on Nyarlathotep? Or, did you take this opportunity to work with more sounds from your label-mates?

Scorpio V: I had some general structure in my mind about how the track should sound. Then I incorporated sounds from the others in it. There were moments I actually wished that I could allow others’ layers to take over the track. Because of the powerful atmospheres that surrounded the material. The guys did a fantastic job with the sampling.

Michael: You have recently released your second album through Cryo Chamber, Sanctum. Sanctum shares many similarities to Gnosis Dei. But there are also a lot of new elements. Some of the older elements have disappeared. Did you make a conscious effort to go for something new and fresh?

Scorpio V: Gnosis Dei and Sanctum are parts of a bigger whole. While I was finishing the first one, I already had the ideas for the second one. There was no general conscious effort for the structure of the album. It was a natural flow, resulting from the urge to explore variations of different sounds.

Michael: You incorporate a lot of choir vocals on Sanctum. Was this idea part of your original concept for Sanctum?

Scorpio V: Yes, that is the idea behind everything that Metatron Omega represents. It represents a blend of dark ambient, heavy choirs and Gregorian / Byzantine chants.

Michael: How do these vocals differ from the chants on Gnosis Dei?

Scorpio V: I don’t think there’s much difference between them, at least not in my mind. Perhaps some choirs on Sanctum are in some places more aural, hypnotic and thicker than on Gnosis Dei. But, this is for the listener to decide for himself.

Michael: You did not incorporate your spoken word passages on Sanctum. Why did you decide to leave them out this time around?

Scorpio V: I did not have the particular need to express my mental state verbally. To convey a message through the words. Sanctum is, psychologically, a lot more introspective release. Here, the music speaks for itself. I felt that I should not “guide” the listener or put a specific framework on one’s perception. This introspective moment is then accentuated. The listener has even more freedom to project his own mental and emotional content. But, this does not mean that I’ll stop incorporating spoken parts. Nor my own voice in some other way as far as some future release is concerned.

Michael: Are the visual elements as important to you as the musical elements? Does this cover-art represent your true vision of Sanctum?

Scorpio V: To answer the second part of the question first: Absolutely, artworks for all my releases are made in a way to enforce the message of the album. To convey the psycho-spiritual state itself. The front cover for Sanctum does exactly this. A pilgrim-like figure is representing the hermit that lies within all of us. A spark that always drives us towards the quest of wisdom. Leading us to a place where we could find enlightenment and peace of mind – our own personal sanctums. There are little details that encode the esoteric elements, always present in my work. For example, the hermit is holding a serpentine staff. He is standing between the clouds, in some way rising above them. And the Cube of Metatron kind of becomes his aura, projected outwards from him. In the inner cover, there is a representation of a Demiurge-like figure. A figure shaping the world, depicted by W.Blake. These all have their own meaning and there is an exact reason why this is all arranged the way it is.
So, the first part of the question now answers itself: the visual element is as important to me as music. Sometimes even more so than the music. We are mainly visual beings. We receive a lot of information through the vision. Our imagination mostly consists of visual images. Thus, artwork becomes crucial in spelling a narrative in the mind’s eye of a listener.

Michael: Anything interesting you would like to say about the writing and recording process behind Sanctum?

Scorpio V: I actually visited a lot of churches, ruined temples and sacred places during the writing process. I listen to the stuff I make many times before I call it finished. In this case, while in some cathedral. Among some ruins. Place like this. So it’s interesting that I’ve received a lot of comments from the listeners. Comments like “I feel like I’m entering the crumbled cathedral” or “I can see the priests chanting in the lost and ruined temple”. It’s like I’ve managed to reflect and weave my own mental state and perceptions completely into the album.

Michael: Have you started planning your next album? Do you expect that there will be another shift in direction this time around?

Scorpio V: Actually, I’m working on it as we speak. I don’t know if there’s any drastic shift. I find it very hard to judge and “measure” my own material by some self-set standards and make comparisons. All I can say is that this one may be more ritualistic and aural, perhaps a bit darker at some places. But there are also more melodic and emotional parts… I’m still deep into the writing process, so who knows what’ll turn out as a result.

Michael: How does your native country influence your music?

Scorpio V: In many ways. First of all – nature and landscape. There are many places that allow you to breathe with both your body and your soul. When you enter a church here, you actually expect some dark ambient to start playing in the background. It’d be perfect for the setting. These places always had some mystical aura around them. That can be very inspiring for an ambient artist. It’s obvious that I’m very much influenced by church music. Music from south-eastern Europe. Also by Byzantine chants, which are also very popular here. You guessed it – it’s because this music is dark and has that mystical, esoteric tone, at least to me. This influence is on Gnosis Dei a lot more than on Sanctum. Where Gregorian influences interlock with the rest.

Michael: Do you think the apocalypse is coming and how do you think it will happen?

Scorpio V: I think it’s already happened. Many of us don’t realize that we’re ghosts. Living on an illusory visage of a planet. We ignorantly keep calling it Earth. We stand still in time, a kind of a fading residual image.

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