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____Drew Daniel: My criteria really was: Are the riffs intensely catchy Are the lyrics something that speaks to what black metal's about There are a lot of black metal artists that I really love, but I didn't feel like there would be any point in attempting to cover them because they're more about textures than riffs. And part of the appeal of these songs, for me, is that there is a pop core to them. There is an intense catchiness, hopefully.
DD: Different people had different attitudes about what their purpose was in doing it. For Antony, I had to really talk to him about why I wanted him on this record because I don't think he likes or relates to black metal aesthetics. He's also someone who's ecological orientation makes him skeptical about fantasies of apocalypse, and there's good reasons to feel like maybe apocalyptic fantasies aren't helpful at this point. Maybe they're part of the problem. They let us off the hook. The reason I wanted Antony was because I felt that I needed an androgynous voice and energy to counter the tacit maleness of this whole genre. And I just love his voice.
Pitchfork: Did you have any concerns about authenticity when you did this Would you want a black metal fan who doesn't know any of the backstory to just be like, \"Yeah, this is a version of a fucked up experimental black metal record.\"
Pitchfork: One thing I thought that is important on the record is that in the liner notes, you mention Bård \"Faust\", who murdered Magne Andreassen because he was gay in 1992. I feel like that's often a part of the black metal story that sort of gets brushed under the rug.
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