How many times has Transylvania been referenced in metal? Hundreds, from Iron Maiden’s classic instrumental of the same name, to Darkthrone’s seminal Transilvanian Hunger, to countless other bands, mainstream and underground, all bent on paying homage to, or more often tritely referencing the ever-popular vampyric legend that stems from Central Romania. However, with metal being such a global phenomenon, it’s astounding that the region of Transylvania, a region with a population of more than seven million, hasn’t yielded very many metal artists of its own. With one noteworthy exception, that is, as for the last 15 years Negură Bunget has steadily made a name for themselves with a series of albums that have not only gradually broken new ground in progressive black metal, but have set out to show the world that there’s a lot more to their homeland than boring, recycled vampire shtick.
“Yeah, I always felt this paradox,” admits drummer Gregory “Negru” Mafa, when asked about the irony of Transylvania’s thematic popularity in metal not exactly translating to there being more actual Transylvanian bands. “On the other hand, I hope the local bands have the respect needed for such an approach, and rather than taking the easy way, think a bit more about the meanings of such an involvement. I kinda got used to [Transylvanian stereotypes in metal]. People enjoy stereotypes and feel safer with [them]. Dealing with a complex spirituality which is not easy to comprehend, as it is in Transilvania, is not an easy thing. We always felt we owed this both to ourselves and to the amazing spirituality of these places to do our best in presenting its true values and content. It’s just a natural thing coming from within.”
Little by little the metal world has started to take notice of this Eastern European band, the positive momentum building gradually until the ingenious, sprawling 2006 magnum opus Om had the British and European metal press agog, the album eventually being named one of Terrorizer‘s best albums of 2006, in turn prompting many on this continent to ask, “Negura what-now?”
However, with the band’s worldwide popularity at an all-time high and the stage set for them to make a serious splash among North American metal listeners, Negură Bunget has been hopelessly mired in controversy over the past year. The band decided to completely re-record their debut album Măiastru Sfetnic, never a popular idea among fans. Two of its three founding members, vocalist/multi-instrumentalist Edmond “Hupogrammos Disciple” Karban and guitarist Sol’Faur Spurcatu, suddenly left the band in 2009, and when Negru decided to keep the Negură Bunget name with no fewer than five new members, it kicked off a war of words between the two parties that continues to this day. In addition, the long-awaited follow-up to Om was written and recorded with the new line-up, the band’s first three full-lengths are set to be released Stateside for the very first time this summer, a live DVD has been prepared, and Negură Bunget Mk. II is hoping to launch their inaugural tour the US later this year. Needless to say, things have been just a little hectic for Negru and his crew.
“I think some people felt a bit disorientated about all the drama,” he concedes, “but I can’t really speak about the reactions others experienced. At the gigs we played since then I can’t say the atmosphere was different, quite the contrary actually, people seemed to enjoy a lot the new songs and new line-up. We never asked to be judged [lightly]. We can always just do our best, and everybody should judge the results. That’s all we can ask.”
At the same time, though, Negru can’t blame fans for being just a touch skeptical. And they have every right to be; after all, who wouldn’t lose confidence in their favorite band if two thirds of the act suddenly left? “Sure, I can understand this,” he says, “especially after all the ‘kind’ words [Hupogrammos and Sol’Faur] said about us. But I have no fear people will get to the truth eventually, on their own. I wish things could have happened differently, but I can’t be responsible for the actions of other people. I’ll do my best along the present members of the band to take further the Negură Bunget.”
Although Hupogrammos and Sol’Faur have since started a new project called Dordeduh, they have been very critical of Negru’s retaining of the Negură Bunget name, declaring at every chance they get that he betrayed “the basis of the black metal principles” (Interview with Hupogrammos, by Fenrir Bucuresti, June 2009), and that the re-recorded Măiastru Sfetnic, renamed Maiestrit, is in fact “the last Negură Bunget album ever.” (”The Current State of Black Metal, by Stefan Raduta, Brooklyn Vegan, February 2010) “They said a lot of craps and lies, trying to put themselves on a good spot and gain some public sympathy,” Negru responds. “I have no need to do that. Our only answer is the music we do. It’s easy to talk, harder to put your words into actions. But everybody is in the end responsible for their doings, and on this matter I have nothing to feel ashamed for. The way they acted about the new members of the band was particularly unfair, as some of them played along us for years, and were always devoted to the band. To trash them just because they did not share their opinions later is something they will have to deal on their own sooner or later.
“I understood them wanting to end their involvement in Negură Bunget, but forcing me to do the same was never an option I would have taken likely,” he adds. “We had no agreement on this matter, no matter on how they tried to present things afterwards. I was always responsible for all our contracts and obligations, but that was because they wanted to stand apart and not assume any responsibilities. And again I don’t see how it’s fair to say [that] all I did was OK for 15 years, and suddenly nothing’s right once they are no more in the band. My actions and attitudes stand clear for my Black Metal involvement and nothing my former mates say will change that.”
All sniping aside, though, 2010 is going to be an interesting year for Negură Bunget. From the day it came out in 2000 the band was never happy with Măiastru Sfetnic, and Maiestrit is a fascinating attempt to flesh that album’s sound a lot more than was done on the 2000 original. It’s clear that the leaner, no-frills feel of the original recording was strictly out of necessity, and like Dimmu Borgir, who similarly re-recorded their Stormblåst album in 2005, was made by a band that had always wanted massive, rich production, “true” black metal credibility be damned. In fact, Maiestrit is sonically on par with Om, drawing from a much richer sonic palette, something we can hear immediately on a track like the brilliant “În-Zvîcnirea Apusului”, its haunting theremin underscored by a fantastically dense arrangement.
“I think there’s just a lot of small details, new touched, re-interpretations, new arrangements, which all [completely] put together the original version,” explains Negru. “Actually we had this in mind since we finished the original version, it was not a new decision. We were completely unsatisfied with how that turned out, and always wanted to make it right. We started the recordings before [Hupogrammos and Sol’Faur] left, and then finished after. Pretty much all the basics were done before the split, so we only arranged [that] they will finish this while I will finish the live DVD we were also working on. So [there wasn’t] that much interaction for the last part.”
“În-Zvîcnirea Apusului”, from Măiastru Sfetnic
- Multiple songs MySpace
We all know how critical it is to keep independent voices alive and strong on the Internet. Please consider a donation to support our work as independent cultural critics and historians. Your donation will help PopMatters stay viable through these changing and challenging times. Thanks everyone.