The medieval runs deep within the sounds of this excellent group, whom originates from middle europe. The essence of authenticity is undeniably strong, an impeccably accurate fusion of modern electronic and traditional music themes. Quite appropriately, the title of this project can also be applied to the people behind it... those whom bring us this mag-ickal music, whom have also been hidden by a mysterious cloud. They stepped out par-tially to let us know more and we are very pleased to present this r┴r┼ interview which was loaded by Wren, amended by Tyler and polished by myself...

Please momentarily lift the cloud which hides the moon so to give your entranced listeners a however brief glimpse (or a complete divulgence of) whom the enigmatic creators of this medieval opus are. Does anonymity present freedom?

We, Alzbeth and Albin Julius founded THE MOON LAY HIDDEN BENEATH A CLOUD in 1992. Since then we have released 6 CDs - on some of them we have been supported by friends like Lina Baby Doll (DEUTSCH NEPAL, with him we also recorded a MCD), David Gibson, or Alan Trench. Of course anonymity presents a certain freedom, but for us naming our personages is not that important as we rather see the importance of the music itself rather than who stands behind it.

There are obvious strong semblances and deeply intriguing sense of spirituality when meditating on these arcane, euphonic, yet haunting incantations. What are the main sources of cultural mythologies, spiritual creeds, or Ďagađ beliefs which you most naturally relate with or which compelingly inspire thee?

We don't declare ourselves to anything but the strength of the individual. Personally we don't feel any need in running after a certain confession or ideology. We're against each form of religious oppression and conversion. As the Christian and Islamic churches were some of the most oppressive institutions in European history it's only a logical consequence that we're against them.

Nevertheless we're against all monotheistic and totalitarian confessions and religion itself. Rituals, grown from nature, are much more earthbound, realistic and native, not artificial and forced as with monotheistic religions.

We have big interests in pre-christian European myths, but rather from a cultural point of view than from the religious side.

As I understand the whole of the medieval era to be a grim yet behoven time of despiritualization through the ascension of humanities' to be "unlimited" torsioned power over the ¤nc┼ revered earth. What is the prioritized significant aspect of this period which TMLMBAC conveys when conjuring these authentic soundtracks to this chronological theme? Is there an allegorical message to promote spirtual awakening (or even social political awareness) through using the middle ages as a predoďinant basis for your music?

We're both occupied with all aspects of medieval life - music, literature but also with the circumstances of life of the normal people, but we don't see it as a predominant base for our music.

We agree with you that in the middle ages the spiritual honour against earth turned (very slowly and over centuries) into, as you said, "torsioned power" over earth. But this was mostly propagandised by the Church, that turned the natural grown respect of fhe people for Nature into the subject of mankind, Nature had to serve us. This increased during the last Century, when we developed the skills to rape the Earth.

TMLHBAC powerfully conveys presence at the ritualistic site through the musical construction of individual tracks such as "The Plague Procession', "The Witches Begirt The Cauldron" and so forth. To what extent have you musically studied or trained to successfully grasp the theory of medieval composition? Are there non-electronically performed instruments used? Please give us an idea of your general musical background.

We use electronic equipment (such as sampler, tape loops and effect processors) as well as acoustic and also medieval instruments, such as shawm, hurdy gurdy, rebec, recorder, dulcimer and percussion.

We like a lot of different styles of music - industrial definitely is something we're into, but also a lot of classic, medieval and Alzbeth, our singer, is also into Metal.

War is a dominant force which is a foundation for the inevitable. Certain excerpts or songs appeor as militaristic marching recitals invoking glorious visions. To the victory of whom or what are you exalting in this case?

There's no victory.

The transparent banality of socially conditioned human relations are never really challenged or questioned. Supposive intimate relationships revolve around meek insecurities and restrictive emotions. Friendships revolve around mundane obligatory greetings and material interactions. In your experiences, how were such falsehoods of community remedied? What is Ňour reflection of the frivolous love that today's society has smothered itself within?

Each person has to make his own decision how to cultivate his social relations. You can't always make the society responsible for everything, be awake!

As industrial ďusic seems to be the relative backbone of a portion of your material, what is your connection to thew apocalyptic reality of decaying machinery that shapes, almost biomechanically, many of our declining cities?

If it was decaying it would be inspiring. But as there's the tendency to erase everything decaying and invest into new stuff there's no more freedom to decay, no more "romantic, melancholic grief". We're more touched by the melancholic, morbid side of decay, what we find here all over Wien.

You have recently worked with other artist, among these DEUTSCH NEPAL. The outstanding results on both ends made me wish to inquire further about this collaboration. Perhaps an elaboration?

We already worked on some songs together with DEUTSCH NEPAL which we plan to release as MCD, that will fulfil the first issue. There are also some other plans that are not to be mentioned yet.

Is it fairest stated that you honour not only the bulk of the physical with regards to resolution? Also your opinion on the benefits/misfortunes of superstition?

This is only for weak people.

Lastly, do you consider your work cyclical, continuing to develop from and beyond the initial recordings? What does the current phase of past/present/future hold in regargs to you and TMLHBAC?

Of course our personal phases do influence our musical work, but also we can't really foretell what will come in the future. Of course we hope that our work develops, there's nothing as boring as repeating yourselves.

Arthur's Round Table. POB 33, 9432 Walzenhausen, Switzerland

Many many thanks go to Tyler Davis from Descent magazine (USA) for his kind permission for using this material on our page.