For years Grand Belial’s Key have been vomiting forth foul and wicked hymns upon the pharisaic underground scene, total
abnegation of celestial ideologies and pious holy doctrines written in their agenda. Without ever compromising their unholy
vision, not one iota, they have been revered by impious minds alike but on the other hand defamed by the poltroon patrons and
the synagogue forces of the underground. Jewish schemes notwithstanding, there is no stopping for these holocaust trumpeters.
Grand Belial’s Key are one of the very few bands today who, in my opinion, could be dubbed as cult. As futile as it sounds.
by Sir Holm
So, Gelal, Grand Belial’s Key were formed nearly a decade ago now. Care to elaborate a bit? Back in the day you
started out the American Black Metal scene was close to non-existent so how do you look upon the development and
growth of it during the years and do you take pride in being one of the pioneering US Black Metal acts?
-I don’t see a black metal scene today, in fact I don’t see any scene. Back then, the death metal scene was strong, and this is the
best scene, pure death metal. I don’t even know why the scenes have to be separate, I mean true death metal and black metal
have the same idea in the long run. Death metal has much more aggression and violence than fucking black metal. The black
metal scene in the world is weak, full of clowns posing in front of cameras, pretending to be vampires and ghouls, running
around screaming high pitched screams like gays... Totally pathetic. Death metal has no image, it is just like you see it; we
prefer this type of scene or the old ‘80's US hard core scene, if we had to choose.
I dare say your brand of Black Metal is and has always been, in single word, unique. How conscious of it you were
back in the day you were putting out the debut demo “Goat of a Thousand Young”? I mean, did you particularly strive
for creating something totally original and distinctively G.B.K or did it all happen perfectly naturally?
-No, I made it a point to create my own style, while admiring the unique and identifying sound that some bands had made for
themselves; for example in ‘92, ROTTING CHRIST had their distinct sound, same with BLASPHEMY, MASTER’S
HAMMER, or UNHOLY.Nobody could confuse these bands as their style were totally different yet all played a type of black
metal. GRAND BELIAL’S KEY was destined to develop it’s own identifying sound as well. I believe we’ve not only achieved
developing our own sound and style but also acquiring our own identifying image and art.
Your music has a lot of elements that remind me of traditional Heavy Metal. Yet, you always have that certain
dark, eerie and haunting atmosphere to them... Do you intentionally refrain from incorporating too blatant trad Metal
elements to your music? As in, do you always want to preserve the sort of filthy black necro-Metal character and
feeling to it?
-I don’t know why our music reminds people of traditional heavy metal, I don’t even listen to that and certainly don’t try to
emulate it. I do think, though, that our music appeals to metal fans of all styles, regardless of their musical inclination. This is
why I was so disappointed at the time that we didn’t get the promotion we deserved with our first LP. It was so diversified in
sound, tempo, and style, that I know metal heads from all over would enjoy it. I always want our songs to be disgusting in
some way, to have much aggression yet have a disturbing melody.
Those days, when the “Goat of...” demo was released the Norwegian Black Metal scene was flourishing and besides
maybe the Swedes and the Greeks hardly anybody else were, as immensely moronic as it was, considered to be allowed
to create and perform Black Metal, ho, ho... How was the response to a band like Grand Belial’s Key in the beginning?
-I’m not sure about the response, although I reckon it was quite big for quite a few labels offered us deals back then. I
remember seeing hundreds of letters lying around our rehearsal place. I had left Lord Rastafarian in charge of handling the
correspondence, so he is the one who knows what the response really was. Note that I gave him this responsibility because it
was the least he could do to contribute, being that I masterminded the entire operation, recorded the whole fucking demo on
my own and was at the time editing SINISTRARI magazine with 57 interviews in 4 languages. I didn’t feel as if I had to take
over this responsibility as well. He, on the other hand, ripped of numerous bands as he never did release his magazine,
eventhough tons of bands sent him free shit. All I know is that years later when I had to take over the correspondence I found
myself with boxes full of unanswered letters and missing money. He did more to damage the band then to help it, ultimately. I
fucking hate little drug infested faggots like that. Fuck him and FUCK ANCIENT and every asshole that listens to that lame
excuse for metal.
You went on and released the “Triumph of the Hordes” demo. I am under the impression you are not personally
very fond of this release? If so, is it because of the tension inside the band you had to endure? Eventually Lord Fag
Pussyferian was kicked out of the band, I know you are sick and tired of speaking about the whole thing but, for the
sake of this interview, I have to ask you to reveal some reasons which ushered his not so amicable departure...
-NO, I’m not fond of this release at all. This showed Lord Homo’s true ways and his hidden desires to be a fucking poser. The
lyrics hinted at some vampire shit and the whole idea of being mistaken for a fucking gothic vampire Nordic black metal band
sickens me to this day. Yeah., I’m totally sick of talking about it, GBK has been a force since 1996 since I recruited The Black
Lourde of Crucifixion to sit on Belial’s throne and do justice to our band. We have no ties to that queer from ANCIENT, or his
little followers. I detest any fantasy, I don’t believe in ghosts, and I’m not a fucking hypocrite. I don’t accept the existence of
that bastard GOD and I don’t believe in the divinities of his supposed son JEWSUS CHRIST, why would I believe in witches
and devils? The second demo was not entirely written by me. Not only that, but the sound was awful, and Lord Fag inserted
this slut’s voice over one of the songs without our approval. He was fascinated with this image. He is a lonely person with a
trapped desire to be someone special, he needed the feedback from the underground to boost his ego and develop a little
embryo of a personality.
Still, might Gelal have been at least a little grateful for Fag’s efforts to keep the band alive while he himself left the
band temporarily? Rhetoric question, but such a delighting answer...
-No, I’m not fucking grateful for anything. He stole money, mistreated people who supported us, fucked up half a dozen deals
with labels, and started fights with other people he could not win. I remember distinctly one occasion where he had insulted in
a letter some guy from MASOCHIST. The humorous thing was that they encountered each other at some metal fest, but the
guy from MASOCHIST being twice as big as Lord Gay, felt guilty for beating up such a little weak dwarf, so he didn’t hurt
him. But I assure you, Lord Sissy turned white as snow from fear and then red as the pussy between his legs from
embarrassment. I quit the band with the intention of it dying. I did not know he tried to continue with it after I left, besides, I
didn’t really care. Later on, when I spoke to him I prohibited him from using my songs and ideas. He tried very hard to replace
me and go on, but it was a failure. You cannot replicate GBK by inserting another member.
There was quite a huge gap between the “T.o.t.H” demo and it’s successor “A Witness to the Regicide” 7". After
losing the vocalist and drummer did you put the band on ice for a while or were you merely composing new material in
silence, hoping to find additions to the line-up? Was it also a case of concentrating on preparing the debut album
instead of putting out demos just for the sake of keeping the name out?
-It was a difficult time for me to gather the troops again for another chapter of profanity. I thoguht hard about who had the
motivation, determination, and talent to bond with me in this unholy battle. Members of ARGHOSLENT helped out during
this time. I invoked The Black Lourde of Crucifixion from Pennsylvania’s CRUCIFIER for the position. I wrote him a long
letter expressing my disgust for the scene and my urge to release a truly underground black metal LP. I knew he was the right
person for the mission, however, I doubted he’d be interested due to lack of time or something. It turned out that he was
honoured to be a part of the hordes and his commitment GRAND BELIAL’S KEY has been nothing but admirable. He
strengthened the band with his musical input, the brutality of his drum playing, and the disgusting vocals that made this band
the dirty shit that it is today. I didn’t want to release another demo, the scene was well aware of who we were. It was time for
vinyl, and with vinyl we dispersed our material to the true underground. This 7" was sold out from the label in a matter of
weeks with no advertising or anything. we recorded this on a 4-track to keep it underground and intense.
Your partner in crime since the “A Witness...” 7", Cazz “The Black Lourde of Crucifixion” Grant, has quite many
irons in the fire at the moment. Some of his bands predate his involvement in G.B.K so what does he consider to be his
main priority? Crucifier, I presume? How does his numerous musical activities affect his work with G.B.K then? How
about your involvement in other musical entities besides G.B.K?
-Crucifier and The Crucifier Brotherhood will always be his reasons for existence. He lives and probably he’ll die for
CRUCIFIER, one of the greatest Satanic black/death metal bands of all time!!! However, he has also dedicated his strength to
GBK, and I couldn’t ask for more from him. Never, has any of his projects affected GBK negatively in any way. He’ll make
time for GBK rehearsal even when under pressure from annoyed neighbours and the police trying to fine us for disturbing the
I do not think many people are aware of the fact that before you eventually closed the deal for your debut album
you were about to sign on Cacophonous Records but it fell through. What happened?
-Yeah, if we had signed with Cacophonous Records, the whole world would have known us already. But, this guy refused to
promise a vinyl version of our debut, so I refused to speak to him any longer. He had actually contacted us back in ‘94, and
sent us a 30-page contract or some shit. We needed a lawyer to read that fucing thing. To me, that wasn’t underground, I prefer
2-page contracts written in bad English; that’s underground. Anyhow, Lord Queerruined our deal with him in ‘94 over some
other shit. Later on, he realized GBK wasn’t dead when I contacted him directly. He had dealt only with Lord Cocksucker in
the past but now I was the contact. When I told him that Lord Rave Dancer was out of the band and The Black Lourde was in,
he hesitated. He asked for an advance tape and all sorts of shit. His true intentions wee obvious; hewanted to do something
with him, not us. Later on we were sure we had made the right decision not to work with Cacophonous, when he stabbed us in
the back and released the THOKK CD, featuring Lord Rastafarian. We opted for the smallest label in Europe, negating offers
from the other ones (and I assure you there were plenty!). I believe that the boycott was a type of revenge against us from all
the other labels who were pissed-off that we didn’t sign with them. Our decision was illogical, hence, brilliant.
You signed on Wood-Nymph Records anyway. The deal included the earlier mentioned 7" as well and soon after
your debut full onslaught of war “Mocking the Philanthropist” was unleashed upon the masses...
-Oh, yeah, Wood-Nymph records (R.I.P) was fucking great. Totally cool people and totally dedicated to our band and cause.
The LP was released in a double vinyl gatefold, full colour cover, and so fucking professional. I think that even Cacophonous,
with all his profits, wouldn’t have ever released such a fine piece of vinyl. Then, the CD version was printed in full colour,
silver ink on the lyrics, 12 page booklet, and included not only a sticker but also a sew-on cloth patch with our logo. Damn,
I’m still amzaed at the work they put into it. My greetings to Filip Elsen and Raf V. (and EXCESS OF CRUELTY) for true
brotherhood, and soccer hooligan friendship (hail ANDERLECHT and KON STADE LEUVEN “G.A.S”).
Everything should have been fine and Hammerheart was the official Wood-Nymph Records distributor. That did
not last long, though... Hammerheart broke the deal with Wood-Nymph and thus the distribution of "Mocking The
Philanthropist" became non-existent. This was based on charges made by Rough Trade (a major German distributor)
that the album was far too offensive to distribute in Germany. They presented an ultimatum which demanded that a
new booklet with bar codes should be printed to ensure the ditribution. Talk us through the whole episode in detail...
-Unfortunately, Wood-Nymph Records had teamed up with some people who were not willing to risk everything for the sake
of GRAND BELIAL’S KEY. Hammerheart Records failed to finish the job they had intended to do and chose to comply with
the request of Rough Trade in order to salvage their label’s future dealings with them. Hammerheart, in a way, were coerced
into complying with this demand since Rough Trade threatened not to distribute any more of their releases. So, Hammerheart
returned the CD’s to Belgium that came from Germany, but not all of them. To this day, Hammerheart still owes a shitload of
money to Wood-Nymph Records. All those who doubt me, get in touch with Wood-Nymph immediately and find out for
yourselves. Wood-Nymph didn’t even have a distro, so it was almost impossible to deal with the hundreds of returned CD’s.
They couldn’t even trade because they had no way of getting rid of the material. Rough Trade demanded that a new booklet be
printed, and Wood-Nymph said “FUCK YOU!!! We’d rather die than compromise”, and they did indeed die. This is extreme
underground. Not only that, but Rough Trade were the ones that had initially requested a fucking bar code to be printed on the
I only have the vinyl version of the album so what on earth was so abominable in the booklet? Somebody once said
something about the photos...
-The CD version was totally different than the LP version. There were more band photos including Der Sturmer and Lilith.
Apparently, the Rough Trade distro found Der Sturmer’s BOUND FOR GLORY T-shirt offensive enough to reject it. Plus, he
had a shaved head and an offensive band war name, which too, could have had certain legal implications down the line. I am
wearing a SPEAR OF LONGINUS shirt on this photo as well, something that is obviously too taboo in the plastic scene. Being
hassled over band photos is ludicrous, especially when you read our lyrics and find nothing noncompliant with laws or
regulations. The majority of the underground who followed in Rough Trade’s conspiracy dissected our CD down the last
detail. They even went as fars as to say that our thank list included individuals that were not compatible with them.
Nevertheless, we never intended to use these particular photographs on the CD layout, it was Wood-Nymph’s decision. We
actually had warned them about a possible problem with certain photos but they insisted that they wanted to use them. I
submitted 4 or 5 photos of each of us to use, but I suppose they felt no photographs should be too offensive for something we
call “the underground”, right? Unfortunately, the idea of an extreme underground is a hoax. I don’t fucking care anymore
because the CD is still available from some places and it will soon be re- released by Opyros and Barbarian Wrath in Germany
(under a different title; “Castrate the Redeemer”). Remember, only 1000 copies of “Mocking the Philanthropist” were ever
If your album had received the distribution it so richly deserved, I can imagine it could have been boycotted on
later stages anyway. Had it been available through major distributors and chain stores, who knows, maybe some some
sort of “parental advisories” or other similar denominations (what-fucking-ever) had picked upon it? You know, for
the “corrupting influence and explicit contents”. You have anyway gained a lot of notoriety among the underground for
the boycott hassle and everything so I was wondering have you personally received any complaints or protests from the
pious, politically correct bastards involved in the underground scene? Any direct actions towards you?
-No, the CD had nothing offensive enough to boycott. I still look at it today and wonder what the fuck is so wrong with it.
There is nothing there to cause any trouble or potential trouble under any law. The truth is that there was and there is a general
dislike for our band in Europe for various reasons. One, is the fact that we belong to no organzation, sect or alliance with any
band in the world other than with bands in THE CRUCIFIER BROTHERHOOD. Two we sound like nobody else, and look
like no other black metal band. Three, many people feel that Lord Pussyferian was truly GRAND BELIAL’S KEY (a common
mistake made from an uneducated assumption!). Four, we are an American band, and there is a fucking prejudice against
American bands in Europe. Five, we embarrass all the clone bands and threaten their scene with our music which is superior to
the 15 thousand bands that sound identical to IMMORTAL, MAYHEM, and BURZUM.
Looking at the controversy issue from another angle; somebody says the band photos in the CD booklet of your
first album are offensive. I, however, would say the way you have portrayed yourself in the band photo of the vinyl
version is rather, err, controversial, in terms of the unwritten laws, “evil” posture and general humourlessness of the
Black Metal scene. Ha. I really like the presumptuousness displayed in it but I doubt many have seen the irony of it all?
-Sure. The Black Lourde of Crucifixion is playing American Football with a skull in a cemetary and I’m just standing with
some soccer posters around me. Fuck, all the black glam rock metal bands, zines, and supporters thought that they had
purchased the wrong album. Our photos didn’t frighten anynone! Who fucking cares about the fucking photos anyhow, it’s the
music that matters.
Those who possess a copy of the vinyl version know then what is obviously one of your main interests besides
music... During the years ‘99 and ‘00 you spent a considerable period of time outside the USA. Your absence from the
country was related to this passion of yours so tell us what you were actually doing...
-Sure, I was hanging out with soccer hooligans in Argentina. The team we were supporting was in “D” division at the time but
managed to go up two divisions to “B” division in one year; this was reason enough to stick around and cause trouble. There is
no more uncivilized and barbaric place to witness soccer like in Argentina. These guys threw fucking urine balloons at the
opposing players, spat on the linesmen, destroyed kiosks, spray painted opposing teams stadiums and neighbourhoods, stole
opposing fans flags and jerseys, and even carried handguns. We had stones thrown at us, riot police firing rubber bullets at us,
and hundreds of people step all over us after the team scored and the fans avalanched forwards down the terraces. Soccer
fanaticism is priority over everything in my life; even whores and music. Never have I drank so much wine and eaten so much
beef in my life as I did during ‘99-‘00. This year that I was away from the hordes helped me focus on “Judeobeast
Assasination” as I composed the whole album during that time.
Before everything went to hell and Wood-Nymph bankrupted, you had plans or at least hoped for the possibility to
tour Europe. Is it still a desire? Has there been any contemplation upon it since, do you consider it a serious prospect at
-Fuck, we had planned to play shows in Germany, Holland, and Belgium (possibly France), but everything turned to shit and
people started labelling us a hate band and shit like this. Besides, Hammerheart was going to do most of the funding, I believe,
but how could we trust them? They did the same things that Cacophonous did, and arranged for an ANCIENT tour! This is a
total stab in the back, if you know what I mean. We still have that desire to play some shows, we’re not a political band, we
just want to play offensive and disgusting metal, abd hopefully, 2001 will welcome us there. Drakkar Productions / End All
Life, our new label, has already mentioned something about playing some dates after we release our LP. However, we’d like to
play with real death metal bands than with fake black metal bands whose only goal is trying to be more evil than the other
You have been accused of being a “nazi” band or what-fucking-ever, which I personally find amusing and silly. It
is no secret that you have somewhat fascistic outlook on life but you do not exactly embrace any political ideologies per
se. I cannot fathom why it is so hard for people to distinguish the difference between the two...
-Yes, it is silly, there is no concept of that in our CD/LP imagery, lyrics, or concerts. Black metal to me is paganism, and
paganism is neo-fascism, and neo-fascism is anti-christian, and anti-christianity is black metal. it is a circle that cannot be
altered for everything fits in perfectly. Our outlook on life is our personality, but the band has its own personality. The problem
is that the underground scene is not composed of extreme people, rather, it’s constituted by neo-hippies with social agendas
and left-wing attitudes. Can you imagine a death metal show in benefit of something positive? What the fuck is this? Since
when is death/black metal something positive? It is total negativity, misanthropic, destructive, suicidal... Just because we say
fuck this, and fuck that, and fuck you, people believe we’re going to impose a certain political belief onto them. I hate politics
more than I hate Lord Fag Pussyferian.
When it comes to Black and Death Metal I would say employing fascist aesthetics and principles in the imagery
and lyrics should be rather natural, especially for the bands whose main focus is on Satanism, as they share certain
obvious ideological and aesthetic similarities. But capitalizing on strictly political issues... Well, I know it is a thin line
between politics and ideology (f. ex. a concept utilizing these mentioned similarities based on real life may seem
politically oriented without any purpose) but as such politics just do not fit into the picture, to put it shortly. So, what
do you think about this deplorable trend of mixing politics with Black Metal in general?
-Exactly, politics have nothing to do with it. The connection comes from true pagan anti-christian ideals. National Socialism
digs up pagan values and heroes and since pagan values and heroes also compose black metal ideology, the two end up being
related. However, black metal does not condone any party over the other, because in the end, we all know that all parties are
hypocritical. Besides, I believe that black metal bands that use these kinds of symbols are merely trying to to offend people,
and it works. NS people don’t even accept black metal as a form of music, some even hate it, and don’t even understand the
relationship between paganism and black metal. To them, black metal means worshipping the devil or something; very few NS
people understand the metaphors and symbolism in the occult ways.
After the debut album catastrophe you returned to the fore with another seven incher; “Tricifixion of the Swine”
on End All Life. The process was not entirely uncomplicated this time either. It was delayed like hell and you switched
labels a couple of times... I heard it was initially supposed to be released on Opyros’ (he of N.E.P fame) new label
Bestial Wrath but according to the wildest rumours Opyros decided to concentrate on releasing CD-R’s and whatever
-The problem was that Opyros (Barbarian Wrath) had gotten himself into some trouble (as usual) with the German government
over taxes and some other shit concerning his partner in N.E.P. You can learn more details in his web page. Prior to me leaving
the country, the hordes recorded this music on a 4-track for him to release. Due to his problems he was unable to do it himself,
so he offered it to Spikekult Records / End All Life Productions. They did a fantastic job, just like our first 7"EP. Perhaps, not
enough copies of it were made (only 300), we usually stick to 666 copies, like our next vinyl will be. EAL told me that they
had gotten rid of the 7"EP’s in one week. There is not truth to Opyros not wanting to release the 7"EP, actually, he’s re-
releasing our debut CD in 2001.
Well, now you are on the verge of releasing your second onslaught of war, as you like to refer to it. What can we
expect from it?
-I believe this LP will be more focused on our anti-christian attitude and disgust for all the Talmudic lexicons of the world.
There is also more of a sexual theme in the lyrics as we accuse Jesus Christ and his apostles of being homosexuals child
molesters, his mother a rusty hooker, and his town a land of crooks. Our new songs include; “Pimps of Gennesaret”,
“Satanicunt”, “Lamb of God Slain Will Be”, Doves of War”, “The Tenderhearted’s Manifesto”, “Fecal Parturition”, and “The
Shitagogue”. The length of the LP will be considerably less than our debut as well, in order to fit onto one piece of vinyl.
Music wise, I don’t tend to change so it shall remain in the same vein as our previous work.
Alright, I will let you return to the concentration camp tower...
-All metalheads will appreciate our efforts to play music GBK style, no imitations, no charades no costumes, just our
mysterious and unique metal. All bands willing to trade demos (we have a cassette version of “A Witness to Regicide” with
color cover) just send yours for it. We are not rock stars, so all bands Death/Black/Gore/Thrash are welcome.