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Hard Rock Magazine avait missionné votre serviteur à l'été 2007 pour faire subir la question à sieur Fenriz de DARKTHRONE. Et je me suis vicieusement acquitté de cette tâche!
Vous trouverez ci-dessous la version anglaise intégrale de l'entretien paru dans HRM 14
Darkthrone interview (august 2007)
English version below
Prince de Lu : I've got a very important and non-musical question to start this interview. There is probably a misprinting on the NWOHBM cover: where is Nocturno Culto's hair? Is that a new stage in his life?
Fenriz : the photo is from ca 1997. it's one of my fave photo, it have been hanging around the places i've lived, and now i could finally use it for a cover!
Logically following the path of your previous releases, your musical journey leads you closer than ever to Crust and old Punk bands. I agree with you when you connect black metal to punk bands, and the links are obvious listening to the first wave, like Venom and Celtic Frost. But could you define the black metal part of Darkthrone now? Is it necessary to keep a link with the black metal scene, as you go further and dive into punk scene?
You can't be serious. EVERY ONE else says we are now less punk and more heavy metal. which is true. anyway we are in the middle of nwobhm, 70s heavy blues based rock, punk, thrash and black metal now. i never forced anyone to follow our path back through time.
"Canadian Metal" is a weird tittle. Which bands are you referring to?
That is the big competition this year, to know all the bands we refer to. would you rather that i make boring song titles?
You talked several times about the priority for a band to control its sound. Are you satisfied with the Necrohell Studio 2? Does it allow you to create the right sound for Darkthrone freely?
No, i never talked about controllig the sound, i talked about NOT controlling the sound. we don't even have soundcheck these days, only line checks! it's all very coincidental, just like 80s demo tapes. controlling everything is so CHRISTIAN.
Fans are expecting Darkthrone to have this "true"-vibe, to act with a big "fuck off" attitude. That's what you did again, with your new release NWOBHM. Is this not limited and frustrating to be the keeper of the true-vibe?
Why would they expect this from us, when all we always do is CARE for music, NOT have a glossy plastic sound. we just follow our hearts and we lose many fans in the process but gain ALOT of new fans. it's just like life, you lose friends but gain new ones. WE ARE REAL. and in the musical crossroads that we are right now, our freedom to go on is better than ever. and the more i know about the history of ROCK that led us here, the easier the road ahead will become, enabling me to choose the best and coolest paths. maybe.
I guess FOAD will be in the same vein as NWOBHM: primitive, old and organic? What's the next boundary you're going to exceed?
Manilla road already put life on Mars (blowing air into the soul of the legends of old), maybe we'll go to...NEW FOUNDLAND! HAHAHA! we pretty much broke a boundary when we have a riff inspired by HUMBLE PIE on one of the songs (humble pie was the first band that got the word HEAVY METAL attached to them)
You declared three years ago that "playing other people's songs and singing other people's lyrics is more often than not fake emotions". Why have you chosen to cover songs from Sioux & the Banshees and the Testors on your latest EPs?
Great question! Ted asked me to do covers for EP's. and in a relationship you know it's about GIVE AND TAKE. so then i said "ok, but it will be ME who decides the cover songs". i am glad there will be no EP for our next album, which we start to record the 2 first songs for in October now
I found some of your words about your website in 2004. There was only the Darkthrone logo on it and when the journalist asked why, Fenriz answered "we don’t intend to become MORE in the spotlight". Now, you have a website, MySpace profiles and you make videos. What/Who has convicted you to use such modern tools to communicate? Is that a way to control better the informations?
It was a lot of promo around our change back to PEACEVILLE, our old record company. but when it comes to myspace, i discovered it only last year and i saw how it worked as a mini-underground for alot of great bands, and on my paths in myspace i discovered no idiot bands because i follow the "right" paths. so when people click on darkthrone official, it is MOST IMPORTANT for me that they discover new bands through our top friends! THAT WAY myspace rules.
Another of your words about his fear of playing live: "the book is better than the movie listening to albums gives a PERSONAL experience while live people see the same thing like a movie". These wise words brought me a question about the Peaceville releases. Why have you authorized the limited edition of "Preparing for War", with the DVD showing the band live in bootlegs of very poor quality?
What do you mean, "I HAVE AUTHORIZED". i haven't even looked at these videos, AGAIN it is the kids and new generations that always want something EXTRA. i hate it all, but i say no to 90 out of a 100 suggestions for darkthrone! if you could only know about all the things that are constantly being thrown my way. and AGAIN in a relationship, sometimes i have to say WHATEVER just to make other parts happy. those of you out there who does not understand this will probably never have a good relationship or get a job or a healthy circle of friends - but go on, try.
After the "Preparing for War" DVD, could we expect to see a DVD release of the Wacken gig with Satyricon members?
I will be very very sad if that would happen. i would HATE it.
I haven't understood the meaning of Nocturno Culto's "The Misanthrope"; the audience never discover the feelings of the protagonists, nothing really happens. What's the purpose and why fans should buy it?
I completely disagree, you REALLY get to know Nocturno Culto's VIBE in this movie, instead of some idiotic fast cut MTV product.
I've never really understand this gap between your "true" (and respectable) attitude and the merchandising of the band. I can't believe that a label could put a kind of pressure on the band or that a webshop can play with the band logo on silly items. So, are you playing with this "true" way of life in one hand, selling tons of t-shirts and CDs, even watches, like a commercial band in the other hand? That's really something I want you to explain.
If i should care about our merchandising, i would HAVE to be a businessman. i am a working class guy making music and lyrics. we had no control over merchandise since 1992 (it is impossible, only nerds care about own merchandise like that). also, the kids want stupid merchandise.AND if merchandise people wouldn't make all this crap, the bootleggers WILL. and they do. there's tons of bootleg DT shirts out there and we don't even get payed. i am not in the music business - but YOU are. so you should KNOW about these things.
Who do you hate the most:
1. the guy who thinks that Darkthrone carreer ended with "Transilvanian Hunger" ?
2. the yes-guy who buys all your CD without personnal taste, only because there's the Darkthrone logo on it ?
3. the guy who hates your band because it's trendy to listen to Darkthrone ?
Many people are not aware that they are searching for what they already have. they like reign in blood, so they want all slayer to sound like that. idiots, but it is unfortunately an error in "GODS" programming of our brains. transilvanian hunger was our most trendy album, everyone in Norway played those kinds of riffs at that time, but no one has discovered this. i laugh
For believers in the metal attitude, how do you analyze this incredible worship about Darkthrone?
Same thing with ramones and motorhead - they don't sell many albums but you see the shirts everywhere - they had a lot of INFLUENCE cuz they are cool bands. how often do you see someone with evanescence t-shirt? they sold MILLIONS but their music is so shitty no one wants to admit they like them. it was like with MODERN TALKING, they sold millions but NO ONE admitted to liking them.
You're staying highly connected to the underground, attending to small gigs and listening to new bands. Can you give us your meaning of the word "underground"? For example, a band which has signed a contract with a label is still underground?
The underground is a sound and a feeling and an attitude. mostly, if you connect with the underground you like playing RAW our SOULFUL styles of metal/punk whatever, the point is that it isn't really that "musician" like, it's more ATTITUDE.
Which bands are going to be released through Tyrant Syndicate?
Why do you ask me, it is not my lable AT ALL. it's Ted's label. i came up with the name for it, and wanted OLD and AURA NOIR to be signed. that's it. i don't earn ANY money on it, and i don't run it. but i think, if it's not raw, it's not on tyrant syndicate.
Thanks for your time and answers. I let you the final words for Hard Rock Magazine readers.
Support REAL METAL like DEMON'S GATE and ALPHA CENTAURI!!!
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Prince de Lu : Tetra Karcist sera votre première sortie sans Sabathan. Qu'est-ce qui l'a conduit à quitter la formation ?
Nornagest (guitare/vocaux) : Depuis les deux dernières années avant son éviction, nous n'avons jamais pu trouver le moyen de répéter décemment. De plus il n'était clairement plus intéressé par l'essence même de ce en quoi nous croyons et qui a poussé Cernunnos à créer Enthroned. Sabathan à changé sur plusieurs points et ne donnait plus aucun contact aux autres membres du groupe, ce qui n'arrangeait pas les choses. Il y à plusieurs autres raisons mais, vu qu'il n'est pas de notre genre de jouer au gamins, nous en resterons là et nous jugeons que les "autres" raisons resterons entre les parties interessées car cela ne regarde que nous. Pour faire court: nous avions de très bonne raison de ne pas le garder au sein d'Enthroned!
As–tu complètement pris tes marques en tant que nouveau guitariste/vocaliste ? Y'aura-t-il des changements en live par rapport aux anciens titres ?
Je pense avoir pris mes marques oui. Certain petits détails m'emmerdent encore un peu du genre être au centre et avoir plus d'attention en tant que vocaliste. C'est logique mais c'est une chose qui me dérange un peu. Pour ce qui est des anciens titres en live, ce seront les mêmes, mais ils prennent une toute autre ampleur vu les nouveaux membres et la différence de voix. Maintenant, on aime ou on n'aime pas, mais au moins c'est direct et honnête!
Que s'est-il passé avec Glaurung ?
Il a dû retourner habiter en France pour raison familiales et pour son job, ce qui est tout à fait normal. Nous lui souhaitons d'ailleurs bonne chance dans tout ce qu'il entreprendra que ce soit niveau perso ou musical.
Alsvid a enregistré les parties de batterie de votre nouvel album, mais vous avez déjà trouvé un nouveau batteur pour remplacer Glaurung. Peux-tu nous présenter Ahephaim ?
Nous connaissons Ahephaim depuis quelques années, mais pour diverses raisons il ne pouvait pas se joindre à nous. Lorsque Glaurung a quitté le groupe et qu'Alsvid a enregistré ce nouvel opus, Ahephaim a senti que le temps était venu. Et depuis qu'il est dans Enthroned, tout ce passe à merveille. C'est un excellent batteur, comme je l'ai déjà dit; un ami de longue date et il partage les croyances du groupe ce qui le rend d'autant plus intéressé et motivé en ce que nous faisons.
Encore une fois, vous avez fait appel à Harris Johns de Sodom pour enregistrer ce nouvel album. Avez-vous trouvé le studio qui vous correspond ?
Je pense oui, mais rien n'est éternel. Il se peut qu'un jour il nous faille trouver un autre studio dû à son emploi du temps chargé ou quelques autres raisons. De toute manière, tant qu'il sera possible d'enregistrer avec Harris, nous continuerons dans cette voie. Il connait notre son, nos attentes et ce que nous désirons. De plus, du point de vue relationnel tout est niquel.
Xes Aereticum avait surpris les fans par son côté plus mélodique. L'extrait du nouvel album sur votre MySpace semble confirmer votre évolution, en gardant ce côté thrash qu'on trouve depuis Carnage…. A quoi peut-on s'attendre de la part d'Enthroned cette fois-ci ?
Tetra Karcist est plus sombre et plus direct je dirais. Nous ne nous sommes pas fixé de style ou n'avons pas planifié de rester ou encore d'évoluer dans une certaine direction musicale. Tout a été construit et élaboré autour du concept lyrique et le tout a formé ce que l'on peut entendre sur l'album. Je dirais qu'il y à moins d'éléments thrash tout en gardant cette dynamique qui caractérise Enthroned.
J'imagine que vous traiterez de vos thèmes de prédilection dans les textes ? Votre colère contre la chrétienté ne s'apaise toujours pas ?
Les textes sont plus axés sur ce qui nous importe le plus aujourd'hui: nos convictions et nos croyances, concepts et philosophie de nos existences. Il n'y a quasiment plus de textes traitant de la haine envers la chrétienté ; nous avons passé ce stade et nous trouvons qu'il est inutile de stagner et de répéter 36 fois la même chose. Les textes sont plus profonds et beaucoup de gens ne les comprendront sans doute pas, vu qu'ils traitent de sujets et de doctrines occultes bien précises. Nous utilisons une fois de plus le double-sens, donc certaines paroles ont un sens caché qu'il ne faut pas prendre au premier degré. Mais les personnes étant intéressées ou actives dans cette philosophie sauront de quoi les textes parlent ou seront peut-être intéressés pour en savoir plus...
Peux-tu nous parler des différents invités qui seront présents sur Tetra Karcist ? Comment se sont mises en place ces participations ?
C'est assez simple; nous voulions que certaines personnes que nous connaissons personnellement et que nous respectons s'expriment ou apporte un peu d'eux-mêmes sur cet album qui est quand même important pour Enthroned. Nous avons donc demandé à MkM d'AntaeuS, Ashmedi de Melechesh et Verderf (ex-Verloren) d'Ourouboros de se joindre à nous pour apporter une touche en plus. Ce fut une expérience intéressante et ce fut un plaisir de partager cela avec ces personnes!
L'artwork de Tetra Karcist tranche avec le reste de votre discographie. A qui avez-vous fait appel ? Est-ce une volonté de s'éloigner des pochettes plus traditionnelles du genre ?
Définitivement, comme dit plus haut, tout est axé sur le concept lyrique de Tetra Karcist. Chaque détail de l'artwork et du layout à une raison pour être là où il est! Nous avons fait appel à Meran de 300 Design qui à travaillé sur des films tels que "Texas Chainsaw Massacre" ou "The Descent" ou encore avec des groupes de metal comme Hurtlocker et Six Feet Under. Il a fait un travail exemplaire et ce fut un plaisir de travailler avec lui!
Nous vous verrons en novembre avec Gorgoroth. L'agenda des concerts semble chargé pour Enthroned. C'est juste pour soutenir l'album pour sa sortie ou vous allez tourner intensément ?
Nous ne voulons pas abuser non plus! Nous allons tourner avec Gorgoroth en novembre/décembre donc, pour supporter la sortie de l'album et nous avons 2-3 concerts supplémentaires prévus. Nous ne voulons pas jouer 3-4 fois l'année aux mêmes endroits, donc nous n'allons pas forcément diminuer la quantité de nos concerts mais plus les ciblés dans des endroits où nous n'avons jamais joué ou que rarement, etc... Un concert doit rester un évènement et non "une autre sortie".
Je te laisse les derniers mots de cette interview.
Merci pour l'interview, Audite Vestri Tetra Karcist!!
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L'interview de Kvarforth est en ligne sur
Le garçon va toujours aussi bien...
Prince de Lu : How's Kvarforth today? The demons are still there?
Kvarforth : Demons never sleep.
Listening to your music, I can't imagine what you'd become if you had a "normal" life. Your illness and your art are deeply combined. Who could be Kvarforth without his "Shining" part?
I lost the possibility of leading a “normal” life more than a decade ago, even though I have tried at several occasions, meaning starting a family and so on but in the end all has always ended up in catastrophy, which last year was a major proof off. However, Shining is but a mere portrait of Kvarforth, or rather the more demented parts of his psyche meaning, without him Shining wouldn’t be, and as long as Kvarforth exist, Shining does as well.
This new album is very impressive. Musically, it's very melodic, and less "suicidal" than the previous ones. Do you need to constantly evolve musically ?
Obviously, and it all comes naturally. We could remain safe and rely on old barells by recording yet another Livets Ändhållplats, but what would be the point? There is darkness in everything, and I’ve always found it thrilling exploring various genres and trying to incorporate as many “exotic” things into what I do as possible. To sum up, I have absolutely no boundaries in what I do and personally I find stagnation retarded.
There is a huge groove in this release. Some parts sound blues-like. Have you opened your mind to compose ? Are there no musical boundaries in your creation process ?
As said, I have no boundaries nor limitations when it comes to my creative side. The groove, rock n’roll like approach has been present ever since the second album really, considering that album overall is more of a Rock N’Roll album than it’s metal. If you try listening to the third album also, you’ll probably notice my fascination for blues with the solo from the “Submit To Self-Destruction” track. Once again, there is darkness in everything, no matter what musical genre, and I obviously have to invoke them all sooner or later.
Some solos sound like Marty Friedman solos in Megadeth (I think about the first track, after the acoustic part). The intro with the cellos may be played by Apocalyptica. Have you been influenced by heavy metal of the 90's and such melodic music ?
Of course Heavy Metal, being the latter roots of the genre we’re currently residing in, have played its role on me throughout the years and I do actually prefer a band like Mercyful Fate before Mayhem for example.
The other band members are involved in the process of creation or are you still the only composer ? Do you need to control your project ?
Till today I’ve been the only one writing music for Shining, but as off now I have given each member the task of coming up with material for the next album and we’ll see. Obviously, Shining, being Kvarforth, has to be handled by him as well, however, if my toolbox manage to come up with something that would suit the vision, I will undoubteliy let them contribute.
The line-up of Shining seems very unstable. Jarle "Uruz" Byberg is your new drummer. Phil A. Cirone came back in march. Why are there so many moves in Shining ?
Put it like this, the tools have throughout the years proven to either not handle the negative presence which always have haunted the band or just simply proven to be something else than what they initially said they were. If you play with fire, you eventually get burnt and if you play in Shining you eventually get marked, it is a simple as that. Now, having Byberg replacing Witt, the lineup seems rather stable for the first time in our career, because now everyone knows what to expect and that I am not always that forgiving. Phil A. Cirone was the missing link that in a way forced us to remain in one place for a few years, having the pussy Hallander replacing him for the time being, I am extremelly satisfied to have him back.
In V – Halmstad, the vocals are clearly not human. You scream like a damned fool. What was your state of mind when you've recorded the vocals parts ? Do you need to focus on your darkest thoughts to sublimate your lyrics?
This time around I decided that I wanted to record the vocal lines in but three takes, the whole album through, without remaking anything and then cut together the best parts for the final result. I think this idea was a very good one considering the vocals sound more authentic than ever before. Be it human or not, I am beyond all that soulless crap.
As I don't read the swedish, can you explain the themes of the lyrics ? Why did you chose the name of the town Halmstad as a title ?
"Yttligare Ett Steg Närmare Total Jävla Utfrysning" is actually a continuation of "Ännu Ett Steg Närmare Total Utfrysning" from Shining II which is basically reflecting a general disgust towards man, nature, well, life in general and kind of expressing the fysiological as well as psychological conditions connected to an ordinary everyday-panic-attack which I have been suffering from more or less each day of my life as long as I can remember. A good remembrance to start off the confession with I believe. "Längtar Bort Från Mitt Hjärta" is a song about hatred towards the emotional spectre within oneself being the sole component working against personal evolution and denial of flesh. It was writen during the first part of "divorce" from my so-called soulmate I had spent my last four years together with and is extremelly hard for me reliving, thus, creating an utter dark edge to the album. "Låt Oss Ta Allt Från Varandra" is not writen by me, but Ynas Lindskog A.K.A. Mörkkh of Swedish band Malign thus, even though the lyric means very much to me, I feel not being the accurate one to discuss. “Besvikelsens Dystra Monotoni” is yet again about the brilliance in remaking ones own mistakes over and over again, realistically reviewing what all "important" aspects of life end up in the world of Kvarforth, such as friends who turns to enemies, love that turns to hate, admiriation that turns to envy and love that turns to sorrow. "Åttiosextusenfyrahundra" is unfortunately a concept which cannot be descibed in words, you have to live it whilst the last song of the album "Neka Morgondagen" is simply about the need for all of you to refuse the day of towmorrow. Alltogether, the lyrics on this album is the outcome of a few years in the gutter to put it simple. Regarding the title of the album, I actually have my roots in Halmstad, yet spent my first 19 years living in the capital of Sweden, Stockholm that is. Five years ago though, I decided to move back to this, what I then considered a sort of sanctuary back then, a sanctuary that later on became my worst nightmare when I lost both my biological family as well as the new one I was wasting all my energy on building for a period of four years when shit really hit the fan. I decided to name the album therefore, and also added the undertitle to sort of really point out that what you're dealing with here is a truly and kind of absurdly personal album, a bit too personal one might think.
This time again, it wasn't easy to record this album. You've chosen to work with Rickard Bengtsson. It seems there were problems with him during the recording.
Yes, and that is why we’re never using him again. He was facing several personal problems during the recording which pretty much was interferring with the process in a way were we had to rescheduele and cancell several dates of the recording back and forth because he had to take his fucking girlfriend to the fucking movies or something just as fucking stupid. Its sad, because he is an amazing producer and I have learnt alot from him throughout the years I’ve known him though, we’re definitely not working with him again.
What has delayed the release of your album ? We were expecting for it late 2006.
Rickard Bengtsson, Kvarforth vanishing into this air, misunderstanding and several other factors. But who gives a fuck, the album is released now, isn’t it?
Many thought that you haven't disappeared last summer and that was just a promotional event. Do you want to answer or are you fed up with this story ?
To begin with, this was never meant as a publicity stunt or whatever some people try to turn it into; it was just a mere misunderstanding, or rather lack of communication between me and the band / management. What happened was that the situation in Halmstad got completely out of hand and the whole thing became both physiologically as well as mentally unbearable, thus, I decided to leave everything/everyone behind and really didn't care what happened to either the band or anything in between, which is a quite usual reaction in horrific times, you know. I went to Oslo and there I got the support and help I needed in order to get back on my feet again, started working in a bar and just went astray on the usage of drugs, alcohol and promiscious sex for three-four-five months or something - a period when I didn't have any contact whatsoever with either label, band members, management and whatnot. During this period people "close" to me obviously started figuring what might have happened and those who truly know me, Niklas Kvarforth, wouldn't exactly determine the possibility of a self-afflicted death but none of them never said I was dead. This is entirely made up by YOU, meaning the media and each mongoloid black metal kiddie with access to a computer and some messageboard URLs, misquoting the statement our manager posted on the website. However, go and have another look and you'll probably notice my "death" never being stated.
Your presumed death was unvoluntary revealed few weeks before Jon Nödtveidt's suicide. What do you thought hearing the news about his death ?
I found out from Attila who was one of the few persons that spent time with me after I left and I was, just as him, quite surprised but then again, after things had been cleared out somewhat understood. It was a loss for sure, yet death must always be glorified, and I salute him for taking his stand and making a difference, may you inflict even greater harm wherever you might be now!
You've created a great show at the release party, with the rebirth of Kvarforth in place of Ghoul. Do you want every show of Shining as unique ?
Whenever there is a possibility of doing something of an malignant nature, why not? This was however quite misunderstood, as this was merely Kvarforth fucking with his own band.
Was it great to have guests like Attila or Maniac on stage for this gig ? Could you speak about your guest appearance in Skitliv ?
Attila and Maniac are my best friends and it was a very natural move having the two of them performing in a celebration of myself, and they both made a great job. I am now playing guitar in Skitliv permanentely, and we’re actually in the midst of the recording of our debut album as we speak.
When can we fear to see you on stage in France ?
We’re coming to fuck you up in December, for more percise dates and locations, check the myspace site at www.myspace.com/shininghalmstad.
I think that your music is more adapted for small stages (300-400 people) than for stadiums or festivals. Do you think that you need to be close to the people ?
I do prefer smaller shows with 400-500 people as when I get closer to the audience I also have the possibility of fysically harming them, which most definitely make the occasion far more appealing. We’ve done some shows we’re the audience have been of thousand and more and the shows have been great yet, yes, i prefer smaller clubs.
Have you ever heard about Mourning Dawn ? That's a french Shining-influenced band which has released its first album this year. (MySpace profile : http://www.myspace.com/dawnmournsagain )
Haven’t heard them, but will definitely check it out.
Are you proud to influence bands ? What are your feelings about this young bands ?
Both yes and no, it’s great to inspire people who can evolve in my desired direction, meaning it’s positive if we give birth to future psychopaths, but it’s a huge downfall if our followers, children if you prefer, like so many others, misinterpret our purpose. Shining is not about expressing any fucking self-pity or made-up-teen-anxiety, Shining is about causing harm.
Thanks Kvarforth. You have the final words. Darkest regards.
Make sure to be present at our ceremonies in December.
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Vous avez pu lire dans le Hard Rock Magazine n°12 de juin/juillet une interview de Attila en direct de son fief. Pour tenir dans la place qui m'était impartie, j'ai dû largement re-coupé la longue discussion avec le vocaliste de Mayhem. Voici aujourd'hui l'intégralité de l'échange disponible sur VS webzine
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Prince de Lu : Il y a presque dix ans, le projet solo Vintersorg sortait Till Fjälls, ton premier album. Fin avril, Napalm Records a édité ton septième. Es-tu fier de tout le travail accompli et du succès du groupe ?
Mr V. : Je suis très fier d’avoir suivi les visions que nous avons présentées au lieu d’écouter ce que les gens voulaient que nous fassions. Nous prenons notre musique très au sérieux, comme un art et une manière d’explorer et de nous exprimer. Aussi nous ne pouvons plaire à tout le monde. Mais c’est génial que des gens apprécient, ça signifie beaucoup pour nous. Je suis fier de chaque album auquel j’ai participé même si les premiers sont plus naïfs et prétentieux par moments. On doit démarrer quelque part et chaque album donne une image de toi à un moment donné.
Après avoir exploré une voie très personnelle pendant deux albums, pourquoi avoir choisi de revenir aux racines musicales du groupe ? Avez-vous tout exprimé dans votre métal progressif très spécifique ?
Le nouvel album n’est pas un pas en arrière ; c’est un pas en avant mais nous avons décidé d’incorporer plus de musique folk cette fois, car nous ressentions et avions envie d’utiliser ce style pour y arriver. Il y a de nombreux éléments progressifs mais aussi des plus fluides et doux. Et nous voulions avoir une atmosphère plus coulante, avec moins de breaks et de retournements. Nous voulions aussi utiliser de nombreux instruments comme le violon, la flûte, la harpe et le piano, pour remplacer les ambiances les plus sombres et les claviers « space » que j’aime tant. Tout ça contribue à créer l’atmosphère de l’album.
J’ai l’impression que Solens Rötter est proche de Cosmic Genesis : influences folk, mélodique et un peu sophistiqué (au bon sens du terme).
Il y a quelques similitudes, bien qu’ils soient différents aussi bien dans le son que les arrangements. Ce que j’aime dans Cosmic Genesis, c’est qu’il a une belle coloration musicale qu’on retrouve dans tout l’album, et que nous voulions retrouver avec un angle nouveau. Je pense que ce nouvel album est un mélange issu de notre histoire et laisse entrevoir le futur.
Tu as parlé d’une approche plus « ethnique » pour ce nouvel album. Peux-tu décrire comment cela se traduit musicalement ?
Bien sûr. Je voulais dire que dans les tonalités et le son, cela emprunte à la musique folk, la musique world, avec une approche ethnique des atmosphères typiques de différentes régions. Une instrumentation plus organique nous donne un feeling plus « boisé », plutôt qu’une approche froide et « plastique ».
Solens Rötter est très mélodique. As-tu été influence par ta collaboration dans Borknagar et son approche viking mélodique ? Quels groupes de folk suédois t’ont influencé, sans parlé de groupes de métal ?
Notre musique a toujours été très mélodique et je suis un fou de mélodie. Je pense que c’est le point essentiel en musique et qu’il est très dur de rester motivé en tant que compositeur si tu travailles sans aucune mélodie. Mais j’aime aussi le contraste entre la mélodie et des parties basées sur des accords. Ce sont des éléments différents qui s’assemblent et augmentent l’impression générale que donne la musique.
Les paroles en suédois sont également de retour. Si je ne me trompe pas, il n’y a pas de texte en anglais sur cet album. Tu ne l’avais pas fait depuis le siècle dernier. Est-ce un autre moyen pour revenir à la source ? Quels thèmes abordent les textes cette fois ? J’ai lu tes interventions sur la nature.
La vérité est que j’étais très inspiré pour écrire en suédois à nouveau, après que le dernier album ait intégralement été en anglais. Donc, j’ai écrit quelques textes en suédois, de fil en aiguille, nous avons décidé de faire un album en suédois cette fois. C’est aussi simple que ça et je ne sais pas ce que nous ferons pour le prochain.
D’après votre site official, Vintersorg est compose de toi et Mattias Marklund. Je pensais que Benny Hägglund et Johan Lindgren avait été integer au line-up officiel.
C’est toujours Mattias et moi. Ceux qui ont contribué sont des musiciens de session, avec qui nous sommes heureux de travailler et qui ont de grandes compétences.
Que s’est-il passé avec Steve Di Giorgio et Asgeir Mickelson l’année dernière ? Il semble qu’il y ait eu un gros buzz autour de leur participation à Solens Rötter. Steve Di Giorgio a dit avoir appris les changements de line-up sur son site web, après avoir reçu la version de travail de l’album.
Ce n’était pas le bazar du tout. L’album sur lequel Steve devait joué ne s’est pas fait. Nous sentions que nous avions besoin de bouger et Solens Rötter est différent. Les gens ont commencé à spéculer à propos de ça et à lancer des rumeurs. Nous sommes très fiers d’avoir travaillé avec Steve et Asgeir, et nous avons eu une très bonne relation avec eux, donc il n’y a aucun ressentiment. Nous n’avons pas eu besoin de leur talent cette fois, c’est juste ça.
En avez-vous eu assez du processus d’enregistrement complexe, dans trois studios différents ? Aviez-vous envie de revenir à un enregistrement plus nominal ?
Le processus d’enregistrement n’était pas si complexe. C’est assez commun aujourd’hui de travailler différentes choses dans plusieurs studios. Les très gros studios professionnels sont prohibitifs et l’évolution des ordinateurs rend assez facile de construire son propre studio à bas prix.
Vous avez enregistré avec Nils Johansson encore une fois, il est presque un membre du groupe. Etait-il évident qu’il fallait enregistrer au Ballerina Audio ? Ne voulez-vous pas changer vos méthodes et votre son en essayant un autre studio européen ?
Nous n’avons pas enregistré au Ballerina, mais juste fait le mixage là-bas. Nous avons enregistré dans nos propres studios. Et c’était une décision parfaite car nous avons pu travailler autant que nous voulions et nous focaliser sur l’album. Après, nous nous sommes rendus au Ballerina pour le mixage et le mastering, ce qui fut une décision sage car avec Nils nous nous connaissons bien. C’est bien d’avoir un troisième avis et nous sommes très satisfaits du résultat qui illustre parfaitement l’album.
Pouvons-nous espérer voir Vintersorg sur scène en France ? Allez-vous tourner plus intensivement que par le passé ?
Non, nous ne sommes pas prêts pour les concerts actuellement. Trop de choses nous empêchent de monter sur scène : famille, études, travail. Et nous ne sommes que deux, ce qui signifie engager des musiciens pour chaque concert, ce qui n’est pas réalisable.
Quels sont les retours concernant l’album Terra de Cronian, la première sortie de ton projet avec Øystein G. Brun de Borknagar ? Y aura-t-il une suite ?
Oui. Nous avons écrit un nouvel album et nous allons enregistrer cette année. Mais comme nous n’avons pas de date-butoir, nous prenons notre temps pour le faire proprement et avoir une période d’enregistrement relax. Le nouvel album sonne un peu différent, mais c’est toujours difficile de parler du résultat final avant de l’avoir complété.
Merci pour tes réponses et ton temps. Tu as les derniers mots pour nos lecteurs français.
Ecoutez notre nouvel album, il est aventureux.
Vintersorg interview (april 2007)
Prince de Lu : Almost ten years ago, the one-man band Vintersorg released Till Fjälls, your first album. At the end of April, Napalm Records will release your seventh one. Are you proud about all the work done and the success of the band ?
Mr V: I’m proud to have followed the visions that we’ve set out instead of listening to what people want us to do. We take our music very serious and see it as art and a way to explore and express ourselves therefore we can’t please others to complete that journey. But it’s great if people like it, that means a lot to us. I’m proud of every album that I’ve participated on even if the first ones are kind of naïve and pretentious at times. You have to start somewhere and every album is kind of a photograph of where you are at the specific time.
After exploring a very personal way during the two last releases, why do you chose to come back to the musical roots of the band ? Have you expressed everything in your so specific nordic/progressive metal ?
The new album isn’t a step back, it’s a step forward but we decided to incorporate more folk music this time as we felt and urge to use that medium to succeed. There’s a lot of progressive elements and moments but they’re done in a more fluent and smooth manner this time. And we really wanted to have a more flowing atmosphere with less twists and turns. We also wanted to use instruments like violins, flutes, harps and piano more and cut back on the eerie and spaced out keyboards that I also like a lot. So, all this together is creating the aura of the album.
I feel that Solens Rötter is not very far away from Cosmic Genesis : folk influenced, melodic and a little bit sophisticated (or progressive, if you prefer). Is that right ?
It has some similarities I can sense, still it’s different both soundwise and tonewise so to speak. What I like with CG is that it has a nice colouring pace that runs through the whole album and we wanted to pick that up this time from a fresh angle. I guess the new album is a mixture of our history and still you get a glimpse of the future.
You talked about an "ethnic approach" for this new album. Could you describe what you're meaning musically ?
Yes of course. I meant tonally and sonorously it lean somewhat to folk or world music, with a lot of ethnic approaches lending atmosphere from different regions. The more organic instrumentation also gives it a more “wooden” feeling instead of a cold “plastic” touch.
Solens Rötter is very melodic, as we said before. Have you been influenced by your membership in Borknagar and its more melodic approach ? Are you influenced by swedish folk bands, not necessarily metal bands ?
Our music has always been very melodic and I’m a melody freak. I think that melody is essential in music, it’s very hard to keep the interest for yourself even as a composer if it lacks melody totally. But I also like contrast between melody and more chord-based parts..it’s not a contradiction it’s just a different element that increase the total impression of the music that’s on display.
The swedish lyrics are back also. If I'm not wrong, there is no english lyrics at all in this album. You haven't made like this since the previous century. Is that another way to return to the source of your musical creation ? What are the lyrics dealing with this time ? I read something about nature.
The fact that it’s just Swedish lyrics is ‘cause I was very inspired to write in Swedish again after the last albim that was totally in English. So, I wrote some Swedish lyrics and then some more until I had many of them, so we just decided to do a Swedish album this time. Simple as that actually and I don’t know what we’ll do with the next album.
According to your official website, Vintersorg is composed of Vintersorg (of course) and Mattias Marklund only. I thought that Benny Hägglund and Johan Lindgren were officially added to the line-up.
It’s I and Mattias as always. The other guys that have worked with us are session guys that we enjoy working with and have great skills that we’ve been blessed with.
What did happen with Steve Di Giorgio and Asgeir Mickelson last year ? It seemed that there was an awful mess about their participation in the recording of Solens Rötter. Steve Di Giorgio claimed that he heard about the line-up changes on his website, after he received a rehearsal recording of Solens Rötter.
It wasn’t a mess at all as the album that Steve was supposed to play on was never made into a reality. We felt that we needed to move on and Solens Rötter is a different album. Another thing that was added to this was that people started to speculate about it and it was just rubbish. We’re very proud to have worked with Steve and Asgeir and we have a very good relation to them so there’s no hard feelings or that kind of stuff. We just felt that we didn’t need their craft this time around, simple as that.
Were you fed up with the complex recording process of the two previous releases ? Did you wish to stop recording in three different studios and to go back to an "usual" process ?
The recording process was not that complex as I believe it’s quite common these days as you work on different things in different studios. The huge professional studios are very expensive and the evolution of computer technology make it quite easy to build up your own studio to a low price.
You recorded the album with Nils Johansson again, nearly a member of the band. Was it obvious to record this album with him in the Ballerina Audio again ? Don't you want to change your recording process and your sound, trying another european studio ?
We didn’t record it in Ballerina, just mixing it there. We recorded it in our own studios and that was a perfect decisions as we could work on it whenever we wanted and had the spirit. Then we went to Ballerina for the mix and the mastering of it, which was a wise decision as Nils knows us and we him. It was nice to get t third opinion on things and we’re very satisfied with the result, this is how we pictured this album.
When can we hope to see Vintersorg on stage in France ? Are you going to tour more intensively than in the past ?
No, we’re not even a live act at this point. Too many things stops us from doing that kind of stuff, family, studying, working and we’re only two guys also so we have to hire guys in for every single show, so it’s not possible right now.
What are the feedbacks about the Cronian's Terra, the first release of your side-project with Øystein G. Brun from Borknagar ? Will there be another album ?
Yes. We’ve written another album a re going to record it during the year, but as we don’t have any time limit to keep we’ll take our time to do it properly and have a relaxed recording situation. The new album is a bit different but it’s kind of hard to know how it’ll end up as we haven’t completed it yet.
Thanks for your answers and your time. You have the last words for our french readers.
Check out this new album, it’s adventurous.
| || Après les frissons que nous avaient collé le premier album éponyme de VEHEMENTER NOS, VS Webzine se devait de poser des questions! |
C'est en ligne sur .
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Après la sortie de "Philosophy of Winter", VS a eu l'occasion d'avoir le guitariste de FOREST SILENCE au bout du mail. Nouez bien vos écharpes, l'hiver est à nos portes....
Prince de Lu : We begin with the usual question. Could you tell us about the birth of Forest Silence and its growing?
Andreas Nagy (guitare) : First of all, let me tell you Forest Silence is the band of ex-Sear Bliss keyboardplayer Winter. I’m only helping him, I play the guitars. He formed Forest Silence in 1997 to realize his non-black metal musical ideas, to express a perfect sonic interpretation of winter. The first two demos (released in 1997 and 1999) contained cold ambient music. It was only in 2001 when we recorded, as a band, the third demo entitled Eternal Winter which was black metal.
There was a long time between the demos and this first full-length. Forest Silence was searching its musical path? I've heard that the demos are in a very different style than the album.
Actually, it was consciously done that. When Forest Silence was born it was decided that after two ambient recordings, a black metal version will follow. It is a trilogy. It was closed after the recording of Eternal Winter. Then we needed a break to find a label and with Philosophy Of Winter we created an album which carries on the path Winter found on the aforementioned demos. Philosophy Of Winter is a mixture of all Forest Silence has done before.
There are few informations about the members. Who are involved in the project now? Who is the creative core of the band?
As I told you, the creative core of the band is Winter. It is his band, he writes the most of the music and it is his own band and he expresses his own imagionation with these songs. He started Forest Silence as a one man band but when he needed people to realize the more black metal part of Forest Silence, he asked us to help him. Right now I’m playing the guitars (Andras/Sear Bliss) and the drummer of Sear Bliss plays the drums. The rest of the instruments (keyboards, bass, vocals) are handled by Winter.
The tracks of Philosophy of Winter are powerful yet very melodic. It's very hard to have a day without whistling a riff of the album. How do you create such hypnotic themes? What is your state of mind?
We exactly know what we want to express. The season winter is our biggest influence, it has a great impact on us and we are totally obsessed when we create these songs and the calmness and coldness of winter reflect on our state of mind.
What do you want the listeners should feel? To me, you want us to travel in the snow-covered forests of Hungary, feeling the cold wind and the dead season. Philosophy of Winter is a journey though nature. What is your objective through music and lyrics?
The only objective is to express what we feel and to transform our passion towards winter into sounds. It’s good to hear that people understand our music and are able to travel with us on this journey.
I feel similarities with the efficiency and the melody of bands like Thy Serpent. What are the musical references of Forest Silence?
Actually, we don’t know Thy Serpent’s music that much. Winter listens to black metal since 1986 and I know a lot of old bands inspired him in some ways and also the era of the early 90’s black metal scene.
The sound is very powerful. It reminds me the Bornholm album. Where have you recorded the album?
We recorded it with a very professional producer with whom we work on Sear Bliss album’s too. He contributed a lot to this powerful sound. By the way, we recorded Philosophy Of Winter in the town where we live, Szombathely.
Many bands are claiming to go back to the roots of black metal and prefer a rawer sound. Why do you chose a powerful and clear sound? This is unusual in the black metal scene nowadays.
As I told you before, we think the most important is to be unique. I see no reason to copy other bands’ sound. It’s quite a lame thing. We went to the studio and tried to find a sound which fits the best our songs.
Have you planned to play on stage or is it a studio project?
Forest Silence will never play live. This music is not for collective listening.
What are your objectives with Forest Silence? Must we wait four long years before a new album will be released?
Everything depends on Winter. He wrote some new stuff and there is a plan of releasing a split CD with The Eye from France.
Coud you recommend some hungarian bands to us? I guess you will talk about Sear Bliss...
I’m very busy with Sear Bliss at the moment as we will record our new album very soon. It will be released by Candlelight Records in the summer. To answer your question, there are some good bands in Hungary, however I don’t know the scene that much. Anyway, I would recommend Nefarious for example.
Do you appreciate french metal bands? Black metal bands?
There are some extremely good French bands I like: Spektr, Blut Aus Nord and Deathspell Omega. They are awesome.
Thanks for your answers. You have the final words!
Thank you for your support!
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Pour changer un peu des interviews de musiciens, VS a rencontré par mail interposé le graphiste des albums de DARK DOMINATION, Antonin Delas. Cet artiste atypique et morbide réalise des peintures et illustrations pour des groupes de métal, en plus de son métier. Bienvenue aux portes de la Mort...