IT WAS ALSO on All Souls Day, Allerseelen in German, on November 2nd, in Hallstatt, that I noticed dozens of candles around the chapel alongside the skulls and on the tombs of the tiny cemetery. The villagers visited their visible and invisible dead relatives. So the sacred day Allerseelen and the genius loci of Hallstatt have been for many years in a close connection for me. Indeed one may find in many songs and soundtracks of Allerseelen motifs inspired by this little village and its way of life: Death and love, isolation, prehistory, traditions, folklore, the vicinity of dangerous mountains with subterranean salt mines and several other elements. Especially in the very early works of Allerseelen, which came into existence years later in Wien, the dark atmosphere of death was omnipresent. Those who got to know these recordings did not only listen to the rhythms of kettle-drums and melodies of violins, but also to the sounds of flutes, drums and xylophones that I had created from human bones and also skulls. But these bones and skulls were not from Hallstatt: They originated from another ossuary somewhere else in Austria. As even now, I am sometimes incorporating these prehistoric sounds in completely new recordings and an anachronistic Hallstatt spirit is still active in the music of Allerseelen of today – although the music, now expressed in real songs, has changed a lot from the dark soundtracks of the early beginnings.