1.What happened lately in the camp of Trauma? I didn’t hear about you since quite some time, until the re-edition version of your first demo „Invisible Reality” done by Deformeathing Production arrived in my postal box, and shew you’re still alive and quite kicking! I’m not aware of the last happenings, maybe you played a lot of gigs and stuffs like that? Tell us about it…



Trauma has been on the stage for 30 years and throughout this period acts as an underground, not commercial, and here is basically the answer to your question. We all deal with ourselves and we work without the support of advertising professionals and the right pijar. Do not expect splendor for pop stars because it’s another level and we will never get this format will not happen.
We live and we are fine. After the release of „Invisible Reality” we toured extensively and promoted it with Deformeathing rec, a publishing house. Playing in Trauma is our passion and not a source of income, but we still enjoy it and feel the joy of playing. We did not have many months of downtime, suspension of activities etc. We regularly play concerts, rehearsals in full composition and we work on composing music for more releases. We are currently preparing to release another reissue from a number of our older albums, Buzyki autumn tour. We will also appear on several festivals and we are working on another studio album, Traumy, so no boredom.



2. After waiting for years and even more years he he, it’s finally about to happen: All of Trauma’s past material „Invisible Reality” and never released before „Promo 1991” is released both as tape and CD formats via an independent Polish underground label,Deformeathing Production . I guess you must feel pretty damn good and even relieved about this fact, correct?



I always wanted to make the „Invisible Reality” appear as a standalone release in all possible formats because originally in 1993 Loud Out rc / Morbid Noizz prod. They only released MC. Actually I feel great satisfaction with holding two versions of CD and Mc in the hand and at the end of the year will also appear vinyl version, so it is ok. As for material from „Promo 1991” served for internal purposes. We sent it only to the record companies to interest the potential publisher of these works and as a result get a publishing contract. We have never sold copies of this maniax tape before, nor have we sent any zines or radios. For that reason, showing it to the world after 25 years is a surprise for me. It is also a nod to our fans around the world who have been supporting Trauma for all these years. Many of them had no idea that such recordings existed at all. I think it’s hard to come up with a better bonus for the reissue of „Invisible Reality” than the pre-production of this stuff.



3.When did you actually start discussing with the label owner Wojtek about the possibility of getting all of this Trauma material released on a proper format (or formats)?



That’s exactly what I did not remember, but it was definitely during the period in which we promoted the split of Trauma / Offense, which was also released by Deformeathing prod. During one of the phone calls spontaneously came out, we got along and just did it. I have a lot of sentiment for this material but I see after the reactions of the fans and the rest of the scene that not only me and it is cool feeling. I did not expect so many people to identify with this material, that they associate with growing up and the climate to which my peers have a huge sentiment. The beginning of the 90s was difficult on the one hand, and on the other very creative and creative at least for me and my team.




4.How important or less important is it for you to see original artworks to be used for some certain (re-)releases so that both parties – the fans and (ex-)band members, could all be pleased with the way these (re-)releases are brought under people’s curious eyes?Anyways, would you enlighten the readers of Absit Omen on the actual details of this product, what it’s gonna include all in all?



Absolutely original cover is always the best option and we were not going to do a new re-issue „Invisible Reality”. Our problem was that we did not have any graphic material from the original release. Private Gallery from which we have bought the rights to use their image for more than 20 years no longer exists, the professional photographer whom we hired died ten years ago, and even the label that originally issued „Invisible Reality” was gone in the abyss of non-existent so it was not from where to dig any original materials for this publication. We had only Mc and with graphics of this size nothing could be done to make it look decent. We tried to improve the quality but it did not look good. We made the decision to make a new stylized image on the original and that was the best possible solution. I personally am very happy with the graphic design of this reissue and I see after the reactions of people that they also like the final effect.



5.If you look back in time, bascally wandering back to those days when Trauma was really making some name for itself by at least the semi-legendary „Invisible Reality” and a next demo „On the Edge…” in 1994, could you tell us if you actually saw yourself how popular Trauma was back in those days? I mean, it seems like the band’s name was really stuck indelibly on every underground digger’s lips – people constantly spreading the word about the band and telling to each other how awesome band this one Trauma from Poland is…



The reviews of „Invisible Reality” around the world were extremely enthusiastic and the fan reviews were similar. Here in Poland we talked about this material as the best premiere of death metal of the year and it was loud about Trauma. I admit that it aroused our hopes for a record contract we had dreamed of for a long time. Unfortunately, the time has come for us to try and persevere. Even if we were on the lips of many fans in the world, it did not help us to develop our team in any way. We were so determined that we recorded the promo in 1994 „On the Edge” to interest the publishers and when that did not work we decided to pay for the expensive studio with our own funds (although we were all at that time in a dramatic financial situation). In the end, the finished album was only found for the debut album Traumy „Comedy is over”. Half of the 90s was not so sweet for death metal bands, as the death metal fans were already tired of it. It was definitely a great time for black metal bands that grew suddenly like mushrooms after rain but such is the market. Death metal went down to the underground but for us it was a natural situation, because we were always an underground band and it is still today. We respect the fans because we have been doing it for 30 years and we are not dependent on anyone. We record music as we feel and like and only when we feel that the message is true and absolutely good. We are interested in quality and not quantity and maniacs around the world appreciate it.



6. Time really seems to be flying. It’s unbelievable that it’s been more than 25 years since the „Invisible Reality” demo was released.What does Death metal mean for you? Can Death metal be good if it’s too based on brutality or doesn’t contain enough of it? (After all, even the most old school Death metal bands contain some brutality, otherwise it would be only a flat and devoid of rhythm dark atmosphere of some kind). Do you like other kinds of music than „Pure fucking death” or do you hardly open your hears to anything much different from thrash and maybe heavy metal?



True, the time is as fast as the French TGV. There are still a few stations and the lid is covered with sand. Such a life hehe. I have a tremendous sentiment to those times, although they were difficult for me for many reasons. Always playing music was my priority and everything that was happening in my life was subordinated to rehearsals, concerts, recording sessions. I often had bad work but I could spend more time with the band and the music. Death metal is my lifestyle, passion and a few decades of romance for good and bad. It was and it is like the air without which I am soul and in the end I die. I suppose I never stopped, so I do not really know 🙂 I love to write death metal numbers for Trauma and in this climate I feel like a fish in the water. On the other hand, I try to keep the musical open and listen to everything that sounds interesting in my mind and is able to surprise me. Music is either good or bad and it does not make sense to chase it on the metal and the other. I think that somebody who creates their own music in the ghetto closes one style, and even limits his creativity and a panoramic look at the music he creates. Besides, music is the emotions and situations that come with us, they generate different moods and moods. All this makes one day you want to breathe fresh air and the other one to break into a corpse in a smoky dressing room. Man is diverse in itself, so one day he blurs you to the latest Suffocation blades and you cut the veins with the perfect Joy Division;) or drink a glass of wine at the Sting in the evening. In summary, I listen and compose various sounds. But I’m closer to extreme music, the death metal that I create in my band.



7.As the majority of feedback from people regarding „Invisible Reality” was positive, did you start thinking that you had done something special or even remarkable on this record, which kind of opened the door for all of you to see that Trauma might be on to something and that eventually hled to the debut full lenght album „Comedy Is Over”?



We were very young people at the time, but since 1988 when we started the full couple with this band (though still under the old name Thanatos) we have done a titanic work on the band. We played a lot of concerts and recorded two demos at that time and one promo. I will not pretend to be false modesty, but we know our value. By recording „Invisible Reality” we ourselves paid for the expensive studio because we knew that without racial production we would not be able to produce crushing reactions and lead to the signing of a record contract. The reactions from the native publishers were very favorable and from the place came the offer from the iconic Polish stall Carnage rec. „But we did not get along with them. In the summer of 1992 we signed papers for the publication of „Invisible Reality” with the Polish branch of S.P.V. But the company got into some trouble, so we broke up on that deal and started working with Morbid Noizz prod. And it was in 1993 that he finally released the official Invisible Reality cassette. We know that we were in talks with a large European label but for some reason nothing came out at that time and there is no sorrow, it’s already past. We have survived many turmoil and adversity. We still play and release the discs without any breaks or rests. We are in the consciousness of the fans as a solid band and that is what counts.


8.How quickly did you start writing for the „Comedy Is Over” album, after the „Invisible Reality”? Was it easy to get yourselves motivated to start rehearsing and working with your new songs?

We started work in the fall of 1993. We did the first songs but eventually they were not on the album because they were a little bit off the rest in our senses, so they went off in the end. One of them was dug up after years and we recorded it on the „Daimonion” publishing house, which hit the market in 1998 with Pagan rec. The second number we have never published so myself now reminded hehe. Maybe we’ll dig it in the future for some special release. At the end of 1993 there were small turbulent personalities in the Trauma ranks. I was on board only Jam and Little so we had to rebuild the composition and it slowed down work on the debut album. In mid-1994, with a new guitarist and new bassist, we started working on new material. It was a very good composition and I had a lot of stuff done at home so we went very well. The numbers were very complex, technical and diverse. That is „Comedy is over”. The material was registered in October 1995 and was published by Vox Mortis rec. In 1996.



9. When „Suffocated in Slumber” came out, many said that it was the best Trauma albumthat you had recorded during your entire career. Did you feel the same way, that you guys had really outdone yourselves on „Suffocated in Slumber”?



Same with every new album Traumy hehe. Hard to keep objective and distance when you judge your own music. I have a completely different attitude to our records. There is no better and worse. Look at them as in the photos in the family album and see how we grow up, we change we are wise and mature with each other life experience and picturing them another album. All that we encounter in life is translated into emotions, which we stuff traumatic dishes. Without two sentences I have too personal and sentimental to our works to judge them in any category. There was a lot going on around Trauma, because our parent publisher Pagan rec took good care of this disc in Poland, and in the western Europe, Schock rec. First, the album went to many prestigious industry magazines where it received excellent reviews in reviews. We did a lot of solo concerts at that time and several prestigious tours with Vader, Decapitated, Master or Krabathor. We had wind in sail and a great concert form. This is proof of our live album „Crash test-live” from 2001. We recorded it with a professional team from Hertz studio on a brilliant tour with Vader and Decapitated. You can hear the heat and the concert fire, so the album sounds very powerful and wild.



10.But in my humble opinion, your next record is the best one -„Imperfect like a God” -truly is a splendid piece of work from you guys, combining some of the best elements of old school Death Metal with some heavy, Thrash Metal-laden riffs that really create an enormously crushing wholeness together, making me easily to nod my head and say „Death Metal done the right way”. I guess this whole concept about being ‚old school’ is something that you are always thinking of whenever the stuff that Trauma produce is concerned. Correct?



And I did not say that one is better than the other hehe. I know that for many people in the world album „Immperfect Like A God” is a death metal masterpiece. I think they are right hehe Well good enough already. If the fans think that death metal should be played then it is very nice and pleasant for me. We have been doing it for 30 years without a break and we have a lot of fun, no matter how many plates we can sell. Music is our biggest passion, and it’s probably a recipe for creating good songs. Personally I like all the material included on this album and I’m damn proud of it. By creating music, I try to use the intuition and instinct of the predator to catch the victim. Likewise, I follow the energy that is created when composing. I do a lot of improvisation and I try not to calculate and theoretically much. Does not work according to a specific scheme and I do not try to be more old scholowy or less, more aggressive, brutal, technical or not. Ideas must drift with the energy that comes from working. It must always be a natural process of creation, based on emotions rather than mathematical calculation. That is my philosophy.



11.Has it always been somewhat easy for you to set yourself into a songwriting mood whenever that time comes? Or do you first have to find yourself from some specific state of mind before your songwriting pencil reaches its sharpest trace?



I am not a robot that works just as efficiently at all times and in all conditions. With art or rather its creation, it is a little like with the surf. Without the right wave you can only sunbathe on the board or watch the tails of sharks, circling around you but dance on, that boards need the right wave. This magic wave for music is a vengeance, an appropriate state of mind, mind and several other stories that make you musically enter your highest level and you are able to create the best ideas. The problem, however, is that once the vena is once and not there and it happens to all, I am no exception. At such moments, do not force yourself. You have to go fishing, watch a film in the cinema, dig a garden …. do anything but definitely better leave the composition.



12.Playing live in front of a crazy audience obviously is a great experience for all of you. However, nowadays when you enter stages around different countries, I was just wondering what kinds of things have changed over the years when you confront your audience? Do you still get as excited nowadays as – may I say – when you were just a bunch of kids who wanted to get famous and known among the people?



Contacting the public regardless of how old you are is always something special looking from the position of music on stage. Certainly the reactions of a young man will always be more crazy, emotional, etc. And no doubt we ourselves, 30 years ago, totally felt this our music as much as the people who were then at the stage for sure too. Today at the concerts I see a lot more 30-40 year old fans who used to be rare. Nevertheless, people with a certain baggage of experience, more aware and sophisticated the recipient often more picky. It’s hard to put them in the box with a crash at a concert or a miscreant game because they know the stuff well hehe Personally I like to talk to the fans after the concert and it is more pleasant when your caller is competent and knows the music.



13.How about in the area where you live; do you still have some of those nostalgic venues where you played with the band like some 20 years ago, or have they all closed their doors for some reason or the other?

Lots of times we’ve been playing in the same cities here in Poland for all those years of wandering but most of the clubs where years ago. vibrant concert life ceased to exist. Of course, there are places that have prospered for years and they are good. Each city has its own specificity and many have to admit it depends on its size and the fact that it is in the academic life. Running a club is not easy bread to admit but some are prospering well and even well despite these difficult times and the whole competition in the wheel. I think it is similar in other countries but frankly I have never analyzed it.



14.Mister since you started Trauma together with Mały (drums) back in 1992, can you still remember anything from those times like what were some of your personal goals in the very beginning that you wanted to achieve with this band – besides of course getting eventually noticed by some nice record industry people that would like to start working together with a young band like Trauma was at the time…

We always had a passion for music and none of us assumed that we would pull this traumatic fucker for so long. So it’s been a long time, but the goal is still the same. We want to enjoy music, rehearsals, concerts and new musical challenges. It still makes us so fun and despite our personal commitments to our families with age, none of us are going to surrender in this musical battle. I may be surprised, but it is your eyes that you mentioned in the question, that being noticed by a good prestige record label is not the priority of our actions.



15.Metal music has always been kind of popular for over 40 decades already – sometimes more, something a little less. Bands seem to come and go all the time but Metal music is still always there in one form or the other, never going out of fashion if we decide to express it this way. This leads me to ask from you next, have you come across some killer Metal acts during these 2-3 years that have made a somewhat huge impression on you as to what they represent music-wise? Some recommendations are more than welcome from you now…

Metal music as we know it has a specific character and I do not look for it in the surprising country calls with grind or black metal blues. Regardless of the genre in every music, I’m looking for something that will seduce me, move my emotions and dive into an armchair. No matter what it will be and how the performer will buy me. The most important thing is to listen to music. This is the most important thing in my opinion in every species. There are a lot of performers who fulfill the above requirements and steal my heart into hell and back and I still have not enough. Replacing tens of names here is completely pointless because it would take too much space.



16.Okay, I think you are already bored to death with my questions, so I need to let you go now, after you have answered to my final question: Four years have passed since „Karma Obscura” was released,did you start working of the new Trauma record?I want to sincerely thank you for your time with this interview and wish you all the great things in the future.



It was not the worst hehe. Since the premiere of „Karma Obscura” has been a long time, but on the other hand for a long time I did not feel that fresh breath of my soul and heart that make. That I’m satisfied with the music that composes. As I have said before, it is either not there or at the time when it was not there was no sense to fight this matter because I know from experience that it would be bad. For a long time it is good and the numbers are goddamn good from which I am happy. The compositions are already very advanced with new tracks but I’m not going anywhere hurry because I care about the quality of these tracks. We have no pressure and no one pushes us to accelerate the pace. I will record the album in 2018 and already know that it will mash up a lot of maniax. Thanks for the interview and interest in my team. Stay Traumed!



Trauma – „Invisible Reality + Promo 1991”