Early in the summer, the cancellation of 2 of their 3 initially scheduled concerts in Greece had created a noise around their name. But this is not only the only reason that we talked with Adam Buszko, the band’s leader, we talked mainly about their last album and mostly about the future of Hate …

About a month and a half ago, you released your latest effort, entitled “Tremendum”. What differences can someone distinguish, comparing this album to your previous releases? What’s new about Hate towards inspiration, musicianship and general atmosphere in “Tremendum”

We never record the same album. We always try to refine what we do over time. You need to change the way in which you deliver your message in order to express best what you’re aiming at. The new album is a further step into the realms of sonic darkness and, I believe, a better defined record than our previous opus “Crusade: Zero”. I think that some people may re-discover Hate after listening to Tremendum, cause this album has definitely some new vibe and characteristics.

Apart from the dominant Death and Black Metal elements in your compositions, you’ve incorporated many ethnic and tribal elements as well, thus creating a unique sound for Hate. Did this happen on purpose or did it come along the way?

We had a certain vision at the beginning but it was evolving as the songs were being put together. Creating new music is always a journey that takes time and effort. We usually go through a few versions of each song and lots of arrangement schemes. But there is actually no scheme. Each song is approached individually. When I compose, I often ask myself whether a track or piece appeals to my emotions. I think music is about evoking emotions and inspiring some energies that are otherwise inaccessible.

It’s a fact that you last three albums were released via Napalm Records. it seems that your collaboration with the label works well and i think that this works both ways. Are you indeed satisfied with Napalm Records, have you found a new ‘home’?

We are still with Napalm and our collaboration is satisfactory thus far. I think in case of “Tremendum” we got on a new level of working with the label. This is the third album we have released via Napalm and the contract expires here. In a few months we will think about the next step. For now, our collaboration with the label  seems to be perfect.

You’ve been active since 1991; a whole lifetime someone would say. On one hand what keeps you driven and urges you to keep going strong, and on the other hand what difficulties have crossed your path during all these years?

With a long history behind HATE, I have encountered all kinds of difficulties that you can imagine. However, if you are really determined, nothing can pose an obstacle to realizing your plans. It’s a question of willpower and vision that you want to make real.

What’s been the highest and what the lowest moment for Hate these last 25+ years?

I think our biggest achievement is that we managed to keep the band alive through all the years and now released an album like “Tremendum”, which  I believe, is one of our best records up to date. Of course there have been some highlights in our career and some hard moments too. I think albums like “Anaclasis” (2005) and “Erebos” (2010) marked some turning points in our career. “Erebos” was supported by long tours in both Europe and North America, where we shared the stage with Sepultura, Hypocrisy, Rotting Christ and Mayhem. It was a great time and we made a big progress back then. The worst moment by far was our bassist’s Mortifer passing away while on tour in 2013. It was the hardest blow to the band and each of us as individuals.

Over the years, there have been quite many line up changes. Why did this happen and do you feel confident and safe today with the musicians you have by your side?

Honestly, lineup changes is  not a big problem. As long as we create and are true to ourselves, everything is correct. People come and go, but I consider the band as something bigger and more important than just people who create it at a certain time. The band is an energy and also legacy. It’s something profound and serious…  For now, HATE is me and Pavulon. We create the music and render our vision through the band. The other two guys are closely collaborating with us, especially when it comes to touring but in studio as well. They are excellent musicians, but not so deep in the band’s purpose as we both are. However, I appreciate their input in the band.

After Mortifer’s tragic passing in 2013, you considered to put an end to the band. However, reality proved otherwise. What made you reconsider and gave you the impetus to keep going?

It was a question of time and recovering from the shock we all went through. We decided to keep doing it because we have passion for what we do, but also because we  felt an urge. It’s like a strong inner drive that motivates you. It’s hard to explain…

Your lyrical themes basically deal with satanism, anti – Christianity, death and darkness. Would you say you walk the ‘left hand path’ yourselves? Are satanic principals ‘dominating’ your everyday lives or do you use these themes just because they’re a kind of constant for the death metal genre?

Honestly. I don’t care what is right for the genre. All that is in the lyrics is related to my beliefs and convictions. And yes, I fully identify with them. I am not religious person but I consider myself spiritual. And let me clarify one thing – there is a big difference between a deluded religious freak and a spiritual being. So I could not be further from any religion than I am. I reject monotheism in all forms; it’s a simplification and a very stupid one. I accept existence of energies that permeates the matter and all living things. I also accept the archaic notion of holiness, which is combined with both – good and evil element. One cannot exist without the other. So „holy” is not necessary good. It’s both. And it does not come from above or from god. It actually comes from within. It’s an element that exist in humans. By the way, this concept also exists in the archaic Slavic beliefs too. That’s why it became a big source of inspiration to me. “Tremendum” is our first album completely devoted to Slavic roots. I felt it was important because this domain is like a lost world, almost completely unknown to people today. Its values and philosophies have been destroyed and buried by Christianity that came along. Quite a lot of it have been discovered and put together over the last two decades and I think it’s definitely something worth referring to. It’s a great legacy.

I have a fascination towards the Polish extreme metal scene. It’s darker and feels more intimate, with its unique atmosphere and bleakness. I’ve always admired bands like Amazeroth, Aberration, Behemoth, as well as ‘newer’ band, such as Cultes Des Ghoules, Bestial Raids, Doombringer, Blaze of Perdition etc. Do you keep up with the Polish scene? Do you think it’s a strong scene, or just as it happens with other countries, there are many traps and cliques once you get deeper acquainted with it?

There are definitely some divisions in the scene and there are lots of posers too, but undoubtedly Polish metal is a phenomenon with new bands coming all the time. Honestly, I don’t keep up with all this all the time, but I can see some good bands like Mgła for example, that make the scene interesting and inspiring.

There were a lot of discussion and gossip on the social media around the two cancelled shows in Thessaloniki and Trikala. Still we haven’t got an official announcement by the promoters. Would you like to tell us your side of the story? What happened exactly?

Well, our visit to Greece was supposed to be great and it was until the day after the first (and only) show that we played in Modu Club, Athens. It was a show with a great atmosphere and I’d like to thank people who showed up for the great reception that we got. Problems started the next day when we were about to leave for Thessaloniki. We were left in the hotel without any information about what to do. It turned out that the organizers didn’t fix transport to Thessaloniki and they simply disappeared! We also didn’t get the full fee for the concert in Athens. We were in touch with a promoter in Thessaloniki. She was helpful and inviting us to play the show in spite of all the situation with the tour organizer in Athens. When we decided to take a train, it turned out that the hotel was not paid too. We were forced to stay in the hotel lobby and the police was called in by the receptionist. At this point situation got really weird… Finally, one of the organizers appeared and paid for the hotel, but his idea was that we should stay there and not move anywhere. In the meantime he canceled the remaining shows. Finally, we spent 3 days in Athens completely idle. We flew back home on the fourth day. If you ask me who is responsible for all this, I would say it’s partly the organizer in Athens and partly owners of Modu Club. I haven’t seen such unprofessional conduct in years. It was a big waste of time and disappointment for us and our followers.

After all the tribulation would you return to Greece? Could that affect any future Greek appearences?

I hope it was just an incident and we will have an occasion to make for it somehow by visiting Greece in the future. However, we will only accept an offer from a serious agency / promoter with some guarantees.

Would you like to send a message to your fans that came to your gig in Athens and to those of us that didn’t get to see you?

Once again, thank you for great reception and atmosphere in Athens. We truly appreciate your support. I promise that we will come back when the time is right.