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| Horai Alessandro Coletta during hisstay at Amidaji where he received theThree Refuges |
Lyrics:
The dream has no borders
Within it I wander
Chasing shadows that name themselves light
Every word I spoke was dust
Every vow my own reflection
Then the Voice
It split the silence
Like a blade through water
First heard, then known
A call that came from beyond the slumber
Yet rose from the blackness of my heart
It is no worldly teaching
Nor a thought I can grasp
It is the Tathagata Himself
Calling my name
Through His own
All phenomena decay
Yet His Light comes from the Deathless
Born from the Vows, never to cease
NAMO AMIDA BU
The Voice that summons sleepers
The compassion that will never end
Nembutsu alone is true and real
The rest
All this world of mirrors
Is but a fleeting dream
Namo Amida Butsu
A: Hello, it is a pleasure to be here. Urschwur
is entirely separate from my other bands and possesses its own distinct
identity. I am open to collaborating with Chinese labels. For me, the
geographic origin of a label is not a deciding factor. What matters most is a
genuine interest in the project and the necessary care and dedication in
handling it.
Q: Could you explain the meaning behind the band name
"Urschwur"? What language is it derived from, and what is its
underlying connection to Buddhism?
A:"Urschwur" is the German rendering of
"Hongan", which translates to the "Primal Vow." It refers
specifically to the 18th of the 48 vows proclaimed by Bodhisattva Dharmakara,
who is Amitabha Buddha in the causal stage, in the Sutra on the Buddha of
Infinite Life Delivered by Śākyamuni Buddha. In this Vow, He declares: "If,
when I attain Buddhahood, sentient beings of the ten quarters who sincerely
entrust themselves to me, desire to be born in my Land, and say my Name perhaps
even ten times, should not be born there, may I not attain the supreme
Enlightenment."
Even though I am Italian and do not speak German, I
wanted to use a European language. Since German is also spoken in northern
Italy, specifically in the region where the music video you mentioned was
filmed , a place to which I am deeply attached and where I hope to live when I
retire, I chose it without too much sense of guilt.
Q: Italy is a country with a deeply rooted Christian
heritage. How did you first come into contact with Buddhism in such an
environment? If you don’t mind sharing, do you practice Mahayana or Theravada
Buddhism in your daily life? Would you say Buddhism grants you a transcendent
spiritual experience?
A: My parents are atheists, but I still received
a traditional Catholic upbringing. Growing up in the 80s and 90s, it was
standard custom to attend Mass and catechism, religious education was given in
schools, and my grandmothers were devout believers. I did not have any
particularly negative experiences in that environment; simply, as I grew up, it
ceased to be relevant to me. I first came into contact with Buddhism in my
early twenties through a book by an Italian psychologist that discussed Buddhist
meditation from a clinical standpoint, back in an era when Mindfulness was not
yet a mainstream phenomenon. From that moment on, my interest grew, and within
a few months, I began visiting my first temples.
My spiritual path has been rather winding. I practiced
within the Sōtō Zen school for several years, moving between a couple of
different temples. Later, I briefly explored Tibetan Buddhism before anchoring
my practice within the Theravada framework, specifically following the Thai
Forest Tradition of Ajahn Chah. I frequented Wat Santacittarama, a monastery
near Rome, for several years. Throughout this time, I maintained a strong
interest in Mahayana teachings, which eventually led me to wholeheartedly embrace
Pure Land Buddhism. This shift made me realistically re-evaluate my actual
capacity to achieve anything significant from a spiritual standpoint in this
current lifetime.
Q: Could you elaborate on some of the Buddhist
terminology used in your tracks, such as "Saha Realm," as well as the
album title To Receive The Adamantine Heart? What kind of spiritual
pursuits do these concepts represent for you?
A: The "Saha Realm" mentioned in the
title of the opening track is the "land of endurance." It is the samsaric world system in which we currently find ourselves, bound to the relentless cycle of birth, suffering, decay, and death.
Q: In fact, despite being one of the world's three
major religions, Buddhism is still frequently perceived as a form of
"paganism" from a Western perspective. Would you accept it if people
categorized Urschwur as "Pagan Black Metal"?
A: Generally, the "Pagan Black Metal"
label is reserved for projects that align themselves with pre-christian
european traditions. However, if people wish to broaden that definition to mean
"non-adherent to abrahamic religions," I suppose Urschwur could be
categorized that way as well. I categorically reject the existence of a creator
god, and I fully accept the Buddhist explanation regarding the origin of
universes, which are determined and shaped solely by karma. Whether this makes
me a "pagan" or not, I do not know. I had never really considered it,
and I do not view it as a crucial matter.
Q: As far as I know, traditional Buddhist music leans
closer to ambient meditation, whereas black metal as a musical form is
inherently aggressive and adversarial. How do you strike a balance between
these two contrasting elements?
A: I completely understand and respect the need
for some Buddhist artists to evoke the serene, ecstatic, and tranquil qualities
of meditative absorption states through their music. However, in my daily life,
the raw, harsh reality of samsaric existence is far more evident and pressing.
I am neither a calm nor a virtuous person, no matter how hard I strive to live
a life according to Buddhist precepts.
I prefer to be thoroughly honest and express my inner
torment, my constant failures in maintaining perfect ethical conduct, the ego
and narcissism hidden behind good deeds, and the meager results yielded by my
meditative practice. I view myself far more as a demon subjugated and converted
to the Dharma than as a virtuous practitioner, and my music naturally reflects
this perspective.
Q: Following up on the previous question: themes of
depression and nihilism are defining characteristics of black metal, yet
Buddhist elements manage to coexist with them harmoniously in your music. Do
you think this harmony stems from Buddhism’s inherent salvation and redemption
of these very suffering emotions?
Q: Returning to the music video you premiered on
Bilibili—what made you choose Bilibili for its debut? Furthermore, aside from
the Buddhist prayer beads (mala) and a few ritualistic gestures, the video
seems to have very little overt connection to conventional Buddhist imagery.
This minimalist approach contrasts sharply with other Buddhist-themed bands.
Why did you choose such a stripped-back aesthetic? Or do you feel that many
bands obsessed with external theatricality are somewhat "attached to superficial
phenomena" (caught up in illusions)?
A: You have grasped a very crucial point, I'm
pleased by this observation. In recent years, Black Metal has increasingly
devolved into a superficial competition over who can set up the most flamboyant
stage, wear the most elaborate costumes, or display the most original masks.
Frankly, I find this approach tedious, and it is becoming rather ridiculous,
especially when the actual musical delivery turns out to be uninspired,
exposing the purely commercial dynamics behind these aesthetic choices.
What I love and what truly represents me is old-school
Black Metal. Its raw, unpolished aesthetic accurately reflects my condition as
an unenlightened, samsaric being. I hold a regular day job, so fortunately, I
have absolutely no need to create a Buddhist clone of Batushka just to move
copies or chase viral trends.
Regarding the choice of the platform, I realize it
might seem unusual. However, being Italian, a Chinese platform and an American
one are equally distant from me. I will eventually upload the video on YouTube
as well, but it was a pleasure to share the premiere exclusively with the
Chinese audience. During my (unfortunately) brief experience traveling in
China, I felt so welcome and, in a way, “at home” that I regretted having to
return to Italy and cried on the plane. Offering this premiere was my way of giving
something back.
Q: In Urschwur's Bandcamp bio, you expressed a desire
to return to the roots of raw, old-school black metal. However, to my ears, the
sonic atmosphere of this release leans more toward third-wave atmospheric and
depressive black metal (DSBM). Is this sonic direction influenced by your other
band, Nocturnal Depression? Did you subconsciously carry your songwriting
habits from Nocturnal Depression into Urschwur, or do you feel that it doesn't
matter at all?
A: While certain guitar riffs might possess the
underlying potential to be adapted into atmospheric black metal, to me these
tracks lack the defining characteristics of that subgenre, such as massive,
sprawling reverbs, highly cyclical hypnotic structures, ambient synths layers,
and a generally brighter, more polished production. I imagine your perception
might stem from the fact that the guitars are frequently harmonized, which
naturally creates a sense of openness and spatial depth.
As for DSBM, I believe the only track containing that
specific vibe is the final song, As the Last Life Comes to an End. In that
particular piece, I can recognize the influence of Nocturnal Depression myself,
even though it was completely unintentional during the songwriting process.
Q: Your biography also suggests that a devout,
authentic Buddhist faith helped this project break free from the
trend-following, superficial black metal crowd. To be honest, this mirrors my
own attitude toward Buddhism. Cultivation is a noble act used to detach oneself
from this defiled world and vulgarity. Is this your ultimate intent or wish
regarding the real world?
A: Cultivation is indeed a noble act, but I am
firmly convinced that I cannot aspire to anything truly noble or elevated until
I am reborn in the Western Pure Land. Samsara cannot be fixed or mended. Until
the arrival of Maitreya, our capacity to liberate ourselves from the
overwhelming momentum of negative karma through our own self-power is severely
limited. It would make absolutely no sense for me to play the part of a grand
sage absorbed in samadhi when I still fear illness, worry about financial
problems, or feel anger when disrespected.
I do my absolute best to lead a life aligned with the
Dharma. However, I carry the awareness that my rebirth in the Pure Land after death does not depend on my personal success or failure, but exclusively on the infinite merits and power of Amitabha and His Primal Vow. Expressing these
harsh truths might not increase my streaming numbers, but authenticity holds a
far greater value for me than popularity.
Q: Since Urschwur is a one-man project, I am curious:
will there ever be any live rituals/gigs, or is this project intended to exist
solely on physical CDs and streaming platforms?
A: Actually, a debut live performance has already
been confirmed in Germany for September 2026. The lineup of my band Tulpa will
be supporting me on stage to bring Urschwur to life for this occasion. If other
promoters will show interest, further live rituals may follow. Otherwise, the
project will return exclusively to a studio dimension, and that's ok.
Q: Do you have a routine of studying Buddhist
scriptures in your daily life? If so, which sutra is your absolute favorite?
A: Being neurodivergent, maintaining a rigid,
highly structured daily study routine is nearly impossible for me.
Nevertheless, I regularly dedicate focused time and attention to scriptural
study. The previously mentioned Sutra on the Buddha of Infinite Life serves
as my primary text of study, alongside the writings of Shinran Shonin, various
classical commentaries by historical Masters and contemporary teachers books.
Q: Do you have any plans to pilgrimage to Buddhist
sacred sites in Asia, such as Tibet in China or Thailand?
A: Yes, there is a vast abundance of sacred sites
I wish to visit across China, India, Korea, and Japan. My musical commitments
consume a significant portion of my vacation days from work, but I plan to
select specific destinations and begin these journeys soon, ideally starting
next year, but I still have to decide where to start.
Q: Nocturnal Depression has a massive fan base in
China, and I am certain they will embrace Urschwur as well. Do you have any
final words you would like to share with your Chinese fans?
A: Thank you all very much for the warm reception
and steadfast support. I truly hope to see you all soon!
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