My communication with Haus Arafna has been fittingly odd. After previous attempts, years
ago, to release a record of theirs (I was kindly told that they had no plans to work with
any label besides their own, Galakthorrö), I contacted the group in January of this year
to do an interview. They were open to the idea, so I asked them some questions… and
received the answers a couple weeks ago. What kind of person is able to actually remember
and respond thoughtfully to an email some eight months later? And in true Haus Arafna
fashion, I have no idea who I was truly corresponding with, whether it was Mr. Arafna,
Mrs. Arafna, or some sort of Galakthorrö representative; Haus Arafna explained to me that
their answers come from the both of them, not one or the other. I probably wouldn’t like
to learn about the daily lives and record collections of a group as enigmatic and creepy as
Haus Arafna, so it’s probably for the best that their answers only slightly illuminate
their long, strange history. It makes sense that they wouldn’t discuss lyrical content with
me – there’s no reason to disturb the magic that comes from their music.

When did Haus Arafna first start? What was the musical climate like, as far as
your peers and the musical community of that time?

We started about 1992, after somebody shows us how to start with just a little money.
Before that time we couldn’t even imagine how to start without thousands of dollars, but
it was possible. There was a lot of euphoria at this time – techno grew in Germany and
discos in the south of Germany established parties with old-school industrial and
neo-folk. This trend came across to the rest of Germany and Europe in the middle of the nineties.

Where did you feel like Haus Arafna fit into that musical landscape? Was there
an immediate audience accepting to what you were doing, or did it take a while to build?

Haus Arafna was accepted immediately at these parties in the south of Germany. There was a
high demand for that kind of music at that time. The people were hungry for pain, sorry,
for “noise”. We were often visitors incognito at those parties, that means our acquaintances
didn’t know that we made this music. We kept that secret in the beginning, because we wanted
the people to listen without any prejudices.

What were your inspirations for making the music you do? Were there any other
bands, or artists, or philosophers who really impacted your approach to making music
and existing as a group?

We call our inspiration from the fail of mankind and practically from the combination of
VCO, VCF and VCA.

Please pardon my ignorance… what do those acronyms stand for?
It’s for Voltage Controlled Oscillator, Voltage Controlled Filter and Voltage Controlled
Amplifier. It’s – simply speaking – the inner life of an analog synthesiser.

Your song “The Way You Go” was the first Haus Arafna song I heard, and to this date,
it’s still my absolute favorite. Can you offer any explanation as to what it’s about?

We don’t talk about the sources of our lyrics in general. It’s because we don’t want to
codify our songs to our listeners. Many songs mean many different issues in many different
minds and moods. We find that fascinating.

Are there any specific themes that have repeatedly occurred throughout Haus
Arafna’s records?

True love, murder, betrayal, dialogue with god, abstinence, isolation, vengeance, disgust,
reincarnation – never to reach that we were made for.

Are you satisfied with what you’ve done so far, as far as expressing and portraying
those themes?

Yes, but this satisfaction is strangely always outdated for us, as soon as a record is
released. We have something new and better then in our minds – the next record.































How important is the visual presentation of Haus Arafna’s recordings to the overall
experience? I notice that there seems to be great thought and care put into the artwork and design.

Yes, we find that important today. We always had the imagination, that artists in the
future have to be multimedial. We’re not, but we have our own language for sound and
image. It’s important to be in contrast to others, to speak an individual language –
acoustical as well as optical.

At what point did November Növelet start? What was the impetus for starting a
new group with the same lineup, and how do you keep the two separate?

We were young when we started to make and release music and in the past we thought Haus
Arafna would be none but harsh. We felt even at this time, that neither life nor ourselves
are only harsh. Therefore November Növelet was born. It’s partially hard to separate
sometimes, but it started this way. The making of Haus Arafna is technically different
and musically it’s more industrial marked. November Növelet is softer, more round, a
special kind of minimal synth wave.

Do you perform live?
No, not yet.

Do you have plans for a live performance?
There aren’t any plans yet. We have always problems to find enough time to make necessary
preparations for a concert.

There seems to be a bit of a resurgence in industrial / cold-wave / minimal-synth
music currently, at least here in the States. Are there any newer groups that you enjoy,
who might seem to share some similarities with Haus Arafna?

We think there’s many music currently either poor or retro. We sense Haus Arafna’s music
as a composition of different electronic music styles which results in something new.

Is there any plan to ever end Haus Arafna’s existence? Could it potentially go on
for as long as you two are together here on Earth?

Fortunately we think we’re doing one kind of job, which is getting better with age and
don’t have an age limit. As long as our ears, voices and fingers work, we want to do,
what we always wanted to do – making music until we die.