I spoke with the artist Severoth this week read on to hear about life in the Ukraine, conflict with the Russians, his black metal influences and much more
* You are based in the Ukraine correct? How is life there? Please tell our readers what its like
– Hi, Yes, I’m from Ukraine. Well, I don’t lived in other countries to compare, so I’d say all is OK. At least I’m still alive.
* Your province is Dnipropetrovsk Oblast correct? My Ukrainian friends say this is the big industrial part of the country – Birmingham England (the industrial part of England) has spawned some of the best metal bands in the world ? (Black Sabbath, Judas Priest etc) do you think coming from an Industrial place makes you become more creative as an artist?
Yes, I live in Dnipro.
This is big industrial city indeed, but I don’t think that this inspires me somehow… I don’t very like big amounts of people (and people at all) and prefer to be in solitude or with my family. I feel much better when I go to my special places outside town or in my journeys through Carpathian Mountains.
* One of my favorite bands Drudkh is also from the Ukraine – why do you think so much good Black metal comes from the Ukraine and Eastern Europe these days?
I think this is connected to history of our land. It filled with betrayals and blood. Our language was forbidden more than 30 times (and they’ve done it. Many people here speak Russian…) Countries tried to occupy our lands for generations (and they did it too with soviet union until 1991). In 1920s Soviets killed mostly all Ukrainian traditional musicians and then many poets who write in Ukrainian language. They did Holodomor in 1932-1933. I think we have much hatred in our hearts. Good reason to play BM, heh?
* Countries like Poland still have a very strong Catholic influence in the society (probably why so many “satanic” bands come from there) is The Ukraine a Catholic strong hold too?
We have strong influence of church on people, but this is orthodox church. Some catholic influence we have too. in Western Ukraine.
* Is there much tension between people from the Ukraine and Russians? Living in America it is not easy to see through the propaganda of the mainstream media to know what is really going on there.
We have war in country. They started this war. I consider Russians as enemies. That’s all.
* What subjects do you sing about?
I’d call it “Nature Philosophy”. Lyrics are just my minds while I walking among forests and mountains. Also Ukrainian classical poetry influenced me heavily.
* Which bands inspired you to become a Black metal musician?
Burzum
* How do you write your songs? Do you start with a keyboard part? A guitar riff? or is it more the idea to create a “mood”?
Definitely a guitar riff. Often I hear some melodies in my head and then I pick them on guitar. All keyboard layers I do after guitars are done.
* As a one man project do you have any plans to play live in the future? If so would you play with backing tracks or would you prefer a live band?
I don’t think that there would be some live performances of Severoth. My other project MOROK has much more chances to do live shows. I know some good friendly musicians, so gather a live line up would be easy to do. Also I already play live as drummer in Endless Battle.
* Have you traveled to many countries outside the Ukraine? If so what were your favorites?
I was in Latvia once. We play gig with Endless Battle there. To get there we crossed Poland and Lithuania. Good countries. I liked that I saw there.
* Have you ever visited the USA? If so what did you think about it?
No, I’m never been in USA.
* What can we expect from Severoth in 2017?
Third album. I’m working on it right now.
* Any final words to your friends and fans?
Be yourself.
Every few years a record label comes along and really shakes things up in the music industry, labels like Metal Blade, Earache and Relapse spring to mind. In case you haven’t noticed in recent years that label is Transcending Obscurity records based in India! This week I spoke to main man Kunal on the Black Metal scene in India, bandcamp versus physical releases, “Vedic” metal and much more! Read on
* So where about in India are you from? My very limited knowledge of India is that the province of Bangalore is hungry for anything western and are huge metal fans. I have also been told Northern India (farming land) is very beautiful and not over crowded at all.
Thank you very much first and foremost! This is very much appreciated. I’m from Mumbai aka Bombay, India. It’s the commercial capital of our country and indeed, the most developed city. Despite the congestion, I love the fact that people here are among the most professional ones and that they are open-minded, which is not easy to find in an orthodox country like India. India is like a mini-Europe you can say. Every state has its own culture and heritage. You are correct that parts of Northern India are indeed beautiful and cities like Jaipur and Udaipur in particular are gorgeous and have significant historical value. The congestion can be found mostly in the developed cities as a result of better job opportunities there.
* What do you think the advantages of being based in India are for running a worldwide metal label – what do you think the disadvantages are? I know many guys in metal bands who would LOVE to fly out and play shows in India (not just the big name bands either)
I think the only advantage is that the word here travels fast and people know your work soon enough. But there really aren’t enough metalheads here as there are in the western countries. One of the biggest disadvantages is the fact that there are no vinyl or tape manufacturing companies over here and it’s an area where my label is admittedly lagging behind. I hope with tie-ups and distribution, that becomes a possibility for Transcending Obscurity Records some time this year. Where it comes to live shows, the Indian audience is usually very enthusiastic and supportive.
* Being in the sub continent of Asia have you forged any partnerships with the metal scenes in China? Korea? Japan? Malaysia? Have you done much or any traveling to these countries at all?
I have done more of that you can say with India’s neighbours in Pakistan and Bangladesh significantly. There’s still a language or awareness problem where it comes to China, but I’ve signed three bands from Singapore this year and have been in talks with one from South Korea. Things should be better next year when I’ll be making a foray into the Indonesian metal scene as well as Japan, hopefully! I do wish to resume doing shows as I did earlier but only time will tell when I’ll be able to do that, what with my incredibly busy schedule these days.
* Like I said above I am not very well versed with the Black metal scene in your part of India. What got you into black metal – was it from some of the second wave bands Mayhem? Dimmu Borgir? Burzum etc or did you discover Black Metal via Death metal?
Emperor were one of the first black metal bands I heard. They were quite respected back in the day and even though it took me a while to get into it, with better sounding tapes, I came to highly appreciate that genre, especially nowadays. The texture and atmosphere is something that can’t be easily replicated with other styles. I think out of the five main genres (death, black, thrash, doom and grind), black metal is the most atmospheric and leaves a lasting impact.
* How easy is it in India to keep up with Black metal news and new bands?
The word of mouth and Facebook keeps you abreast of such developments in the black metal realm, but every now and then, you find yourself surprised with new black metal bands emerging. I guess it’s the same everywhere in that regard, except for the fact that motivation and the facilities to start one here aren’t the best, admittedly.
* Are there any Black metal bands who write about the old Indian gods or beliefs? (as Scandinavian ones write about the old Norse Gods)
90% of the bands here are directly influenced by the western ones – heck, some even write about Christianity even though it doesn’t really affect them, which I find ridiculous. Heathen Beast are perhaps the only black metal band actually employing traditional Indian instruments such as sitar, tabla, etc. Rudra from Singapore, who are hailed as pioneers of ‘Vedic Metal’ are hugely instrumental in fostering the ‘Indian’ element in metal music this part of the world in particular.
* What made you want to start a record label in the “digital age”? I am a great believer in that the digital age has made things better AND worse for bands and record labels alike but I would like to hear your perspective on this.
I honestly prefer the era of physical products. If I have to pay for something, I’d much rather have a physical version with me. It’s the same with a book. But on the other hand, there’s this convenience of instantly getting a digital copy without having to incur ever-increasing international shipping costs and sometimes risk damage to the product. The biggest problem with digital formats is that it’s extremely susceptible to piracy. The so-called fans would much rather torrent off something for free than value the music and pay for it. There are costs involved, to say the least, even in putting it out. It’s a lot worse this side of the world but I’m hoping by putting them across multiple platforms for dirt cheap, at least some will respect the artist and pick up an official copy. It’s not that they can’t afford it; we’re talking about mostly an English-speaking upper-middle class of metal audience in the country who can afford going to expensive pubs and shows, but shy away from picking up an official copy of an album. It’s just taken for granted and the fact that they claim to listen to it, apparently justifies their act of downloading it illegally. With so many streams, surely they can preview the material beforehand but it’s just an excuse and they just want to take the easier way out much to the detriment of everyone involved in putting out an album.
* How do you find your bands and what is the criteria for you signing them? (For the record I think you have great taste and are really uncovering some amazing music here!)
To be honest, I’m not very rigid with regards to the approach. I don’t care if someone has dropped me a song link on Facebook or some hugely respected band member has personally recommended the band to me. I sincerely check out every decent proposal from a band even though that’s very time consuming. I consider myself fortunate to come across some fantastic bands. My label isn’t the biggest out there, so sure, I do face rejections and find bands opting for a more prominent and a US-based/European-based label over one that’s from India, despite my deal being a far better one, but all said and done, it’s been fruitful and I hope to get a chance to work with more such great acts. I mostly look for originality or some form of innovation in their music, but at the end of the day, it should sound good to my ears. I really don’t care where the band is from or how often do they tour live. I’m not the best businessman in that sense but I can sleep peacefully at night knowing that I’ve done something right despite the increased risks in case of some brand new bands.
* What would you say has been your best success as a record label so far?
I was first of all quite surprised with the response to the release of Affliction Gate (France) which has already been sold out. Seedna (Sweden) picked up tremendously well even though I expected better from Swampcult (Netherlands) and even Abyssus (Greece) which were released around the same time. With that said, even Stench Price (International) and Echelon (International) did pretty well comparatively but it’s too soon to talk about the late-2016 releases perhaps. The best success of 2016 would probably have to be Rudra (Singapore) though. They are legends here and I’m hoping for even more sales via word-of-mouth.
* Do you have a check list of goals that you want to achieve as a label? Example: finding an unknown band from say South Korea or new Zealand and making them into a worldwide name band?
Actually I do! It entails venturing into formats such as vinyl and tape, securing US distribution through a tie-up of sorts, working with bands of some repute and well, that’s about it haha. I almost put in the same level of promotional effort behind every band, and frankly, it’s tiring at times. I feel like I have to start all over again with every release and I dread that process nowadays. It’s never easy, at least until you’ve been around for quite some time and have established a name for yourself as a label. But it’s also a great feeling when it catches on and then you get to breathe a sigh of relief haha. But it’s rarely on some kind of an autopilot mode, if you get my point, especially in the case of smaller bands. At times I have to remain regretful of it not doing well despite my high hopes and tremendous effort for the same.
* Do you ever foresee a time when Black metal would become as popular as it is? I just saw the Enslaved 25th anniversary show in NYC early December and I am sure if we both asked them 25 years ago would you still be doing this now they would be “what? no way!’
I think it’s partly to do with the evolution of the genre. Enslaved for instance aren’t playing the kind of black metal they played on ‘Vikingligr veldi’ or ‘Frost’. I think it’s only logical and that’s the best chance bands have to expose their music to a wider audience. This is the way metal will grow and sustain itself, despite the formation of several new sub-genres in the last few years. I met a kid at an art school who, upon being quizzed about metal, replied, “I only listen to sludge.” Gone are the days when you could expect a metalhead to appreciate all metal sub-genres. It’s getting compartmentalized and not in a necessarily healthy way. The audience is getting fragmented and perhaps the more “progressive” influences would still appeal to a normal rock fan or perhaps even a casual open-minded listener. So it’s difficult for the old timers to digest this, and I’d much rather that the ‘legendary’ bands would start new bands playing a different expression of the music than to sully their name playing music that’s extremely diluted. Some pull it off well but most of them lose their potency or relevancy, especially in death metal.
* You work with a lot of bands pushing the boundaries of what defines “black metal”, experimental, atmospheric etc etc What are your thoughts on the way Black Metal has morphed over the years? (For me Ulver’s early records sounded like darkthrone wannabes and then they did an album pretty much folk music yet it was still considered Black metal is a prime example of how quickly the genre was being re-defined)
I think the genre has seen most growth along with perhaps doom metal (if you were to consider sludge as a part or an extension of doom). I’m very glad it sidestepped the overdone Christianity bit and started doing something more pleasant and even personal. It’s a genre where it’s easier to blend influences from other styles and yet not betray the black metal sound. It allows for a lot more experimentation and the structures aren’t necessarily confined to a strict template. I want to work with bands that have their own feel to it, their own personal touch. Seedna, Norse, Somnium Nox on the label for instance all have their own sound and atmosphere. It’s not interchangeable but it’s something that is inherent in those bands. It’s increasingly becoming an art form, an experience.
* Is piracy an issue in India or is that more for big name bands like Iron Maiden – I know in places like China and south America up to 90% of music cds can be pirate copies.
As I touched up on the subject earlier, it’s a huge issue. I know for a fact many of the band members themselves endorse or don’t mind illegal downloading – that’s because they do it too. They’re content. Very few would actually buy an original copy after having downloaded it and even enjoyed it. That’s the problem. I’ve been forced to use a Bandcamp pro account with selective song streaming because otherwise they’ll just rip off an entire stream. I have to pay for the pressing, promotion, hosting, advertisement, distribution, not to mention sometimes giving bands royalties upfront, but with no one actually supporting the music the way they should, it’s not looking good. I think the initiative must come from the bands themselves. They should be setting a better example instead of whining all the time why people don’t come to their shows and how the scene is dying. They’re partly responsible for that too if they don’t support the scene or other deserving bands and expect everyone else to do that for their own band. I’m tired of losing money and these days I’m just focusing on the international market where most buyers, if they like the music, they pick up a copy regardless of the format. That’s the reason I’m working with fewer bands from India and supplanting them with international ones. I can’t put out everything that’s being recorded and with the sub-labels having nearly fulfilled their purpose, it’s time to focus only on the main label now, Transcending Obscurity Records.
* Do you have ties to the promoters of Bangalore Open air? If so what are the chances of them bringing some of your bands out to play the festival? Would you ever consider a Transcending Obscurity music festival?
You sure have done your homework haha! That’s easily the biggest metal festival in the country but again, despite the promoter Salman doing a commendable job, the support could be better. He has often included my sub-label bands for his shows and it’s been great for exposure. I can only hope that some day he can even include some of the international bands on my label for his festival.
I have done a show in my city called Transcending Obscurity Fest just a few years back. Nine bands from across the nation played for that one. I do hope to start doing shows again, but not now, only a couple of years later when I can find some more time besides my label/PR activities.
* Speaking of festivals are there any festivals you personally wish you could attend? Wacken? Hellfest? Maryland death fest? Bloodstock Uk etc?
Oh I’d love to attend Maryland Deathfest in the US and also Obscene Extreme Fest in Czech Republic! Travelling there is damn expensive for sure but here’s hoping some day I can be there for at least one of them! I also intend to travel in and around Asia to attend shows there from now on.
* What can we expect musically from Transcending Obscurity in 2017?
In addition to the releases that are already up for pre-orders this year, we’re looking at new releases of Drug Honkey (US), Mindkult (US), Norse (Australia), MRTVI (UK), Somnium Nox (Australia), Arkheth (Australia) and biggies in Paganizer (Sweden) and Ursinne (International). There’s also physical releases of Lurk (Finland) and Warcrab (UK) planned and possibly another Deceased (US) album reissue. I’m constantly in touch with bands but these are confirmed releases so far and should be out or up for pre-orders by mid-2017.
* Any final words to all your friends and fans?
Thank you so much for this well-thought interview! I’m doing my best here and it’s exhausting but I’m determined. Please check out our NEW Facebook page only for the label here – https://www.facebook.com/transcendingobscurityrecords/
We have a flat rate worldwide shipping of just $3.99 USD and I hope more people become aware of our label and find something of interest! If there are areas where we can improve, please let us know and we’ll do our best.
CARACH ANGREN have kicked off their winter tour with FLESHGOD APOCALYPSE at the Backstage in Munich, Germany last Saturday in support of their latest horror metal masterpiece ‘This Is No Fairytale’.
The Dutch master of horror metal and the Italian opera fanatics will continue all month and hit 10 more European countries before a final curtain at Haunting the Chapel in the French city of Metz on the 28th of January. A full list of confirmed shows can be found below.
Multinational black metal band Liber Null – composed of drummer Thorns (Blut Aus Nord, Darvaza, Fides Inversa, Frostmoon Eclipe, etc.), guitarist/bassist Ades, and vocalist Psaalm (Frostmoon Eclipse) – premieres the full-album stream of the band’s debut album “I – The Serpent”, out in stores now via Osmose Productions.
Check out now “I – The Serpent” in its entirety here.
I spoke to Brisbane Black metal band Graveir’s singer, Gloom on life on the gold coast (Think The Jersey Shore), Black Metal in Indonesia and the wall separating God from Humanity – this was a fun interview to do – so make sure you read it!
* So first and foremost you guys are from the Gold Coast in Australia..What’s it like to live there ?
We are actually from Brisbane, the Gold Coast is a separate city further south. Personally having lived in a number of cities I enjoy Brisbane, despite its humid and unpleasant summer the lifestyle is far more relaxed than other cities and it is close to nature. It has developed its own character in recent years with a number of restaurants, bars and music venues opening.
* Is there much of a metal scene in Brisbane? I would imagine its predominately techno party music there..no?
It’s in reasonable health with a handful of good bands, venues and regular international and local shows. As always the number of people attending shows could be better but this is a problem everywhere.
I don’t really pay much attention to forms of music I am uninterested in so I can’t speak to that in any detail. Brisbane/Gold Coast/Sunshine Coast has always seemed to produce a large number of death metal bands. Portal, Temple Nightside, Disentomb, Laceration Mantra, Impetuous Ritual and Grave Upheaval are some of the current bands that spring to mind.
* How hard is it to keep a group of like minded band members together? I speak to a lot of BM bands that end up being one man projects or duos just as its so hard to find 4-5 guys all on the same wave length?
It is both difficult and incredibly easy at the same time. Creating the right environment and bringing in people in who will thrive in that environment is the key. Graveir had been something I had been working on for a number of years prior to moving to Brisbane but it was always intended to be a band. I was content to let it sit for as long as it needed before entrusting it to others so have been fortunate enough to have chosen well to the point where we all hold ownership of the band and have the same understanding of what is and isn’t right for Graveir.
Everyone owns the band and must take responsibility for its well being by word, thought or deed. The greater quantum of effort goes into creating and maintaining a collaborative and productive working environment. It is natural for everyone to have periods where motivation waxes and wanes, the other members should act as the counterbalance to that.
* Growing up what got you into black metal? I know Death metal has been huge down there for a long time and bands like the Berzerker did well down there (In fact doesn’t Luke Kenny spend half his life in Brisbane these days?)
I’d say it was a natural progression of constantly searching for new music and moving to things that are faster and heavier until you reach a point where you want more than just heaviness and go looking for deeper emotional and philosophical content and a sense of conviction within the music.
Queensland produces quite a few death metal bands and it is a style that continues to be well received. As for The Berzerker I don’t believe they have been active for some time at least not to the best of my knowledge.
* Unlike many Black metal bands these days who record on home studios you guys hired the local professional studio – what made you guys choose this route? Was it easy or tough to get the in house engineer (producer) to go with your sound?
Recording at home is an option however would require far more time and effort on our part, we have enough comfort to demo material and to record dry guitar tracks but a bigger project would be a large learning curve and perhaps not the best way to properly present the material. Choosing to record at Adversary Studios in Sydney was an easy decision for us. Aaron has been a friend of ours for many years so already understands us and were looking for recording wise intrinsically and he shares similar tastes and interests so is very much in his element from a recording standpoint.
* From memory Queensland used to be very conservative back in the 70s and 80s? Do you still get many upright concerned citizens turning their noses up at you (or worse) when you play local shows?
It’s never occurred in the time I’ve lived here. Queensland is conservative but that’s somewhat split between those who are conservative versus those who would just prefer the government had less interference in peoples day to day lives. I think the areas that are largely conservative tend to be further north and fall more into the latter category.
* Do you guys play regular shows in Queensland or do you have to travel to NSW and Victoria to do so?
We have had a pretty steady run of shows along the east coast this year (Melbourne, Wollongong, Sydney, Brisbane). As far as shows are concerned it is our preference not to play more than 2-3 times a year in any one location. Furthermore we choose to do shows based on our interest in the lineup and will not do shows simply for the sake of doing a show. Playing shows is not a money making venture so that leaves personal interest as the only valid reason to do anything.
* Have you toured the whole country yet? Unlike America I am sure there are very few places to play out side of the major cities?
You are correct, outside of the capital cities and the smaller regional cities there are very few places to play and the distance between locations often necessitates long drives or costly airline travel. The east coast run is the cheapest and easiest to do by far. If the right lineup was put together we’d welcome the opportunity to play some of our more remote capitals like Adelaide, Perth and Hobart
* Have you guys made contact with Black metal fans in Asia at all? I know China has a big BM scene although I would imagine places like Indonesia would not take kindly to any form of “blasphemy”
We’ve has very little contact with Asia thus far, but hopefully that will change this year. You may be surprised about Indonesia. It has a number of large metal festivals and is by all reports an excellent place to play with attendances in the thousands. Indonesians tend to favor grindcore and brutal death metal and the president Joko Widodo is a Napalm Death fan. In comparison Australia has no real large scale extreme metal festivals and attendance would be in the hundreds at best.
In fact, Japan and Indonesia are probably the two main Asian destinations as far as playing shows is concerned. As far as blasphemy goes I think most countries couldn’t care less unless you blaspheme against the dominant religion. Any anti-religious themes within our music tend to be more by implication and subtext rather than overt blasphemy so it would be a difficult to mount much of an argument.
* How did you guys get to be on that Terrorizer compilation cd? You get any interesting feedback because of that?
Promo is a surprisingly not as difficult as people may think. Either one of two things happens someone approaches you with an offer or you approach them and you take things from there. In the case of Terrorizer I simply emailed them an enquiry and they got straight back in touch with me with the terms to which we agreed and that was it really. Bands will regularly get approached with various offers or requests.
If you are going to spend money do some research and spend wisely. Any major publication is guaranteed to require payment, Terrorizer is no exception however it was reasonable for what they were offering and there has been an increase in activity on our websites so I would consider it a wise investment.
Nothing by way of feedback as a result but as a wholly independent, self-managed band it never hurts to have another channel to get your music out to people.
* Iconostasis by definition is a wall of icons and religious paintings – why did you guys decided to name your latest album that?
The title was XI’s idea and one which perfectly reflects the band. An Iconostasis is more specifically supposed to be a representation of the link between God and humanity, however common people are forbidden to enter the doorway in the Iconostasis so from another angle it may also be viewed as the wall separating God from humanity reflecting the arrogance of organized religion and the submission of those it considers inferior. At yet another level it can be viewed that religion is the wall separating individuals from the God within themselves which is each persons own ability to project the force of their will, strength and intellect into the universe and by doing so shape the world around them.
A lot of our lyrical content focuses on the exploration of the sacred and the profane often being one and the same dependent on perspective so the title and artwork seemed a perfect distillation of that concept.
* Are any of you guys practicing pagans in real life? if so what faith?
Not really no. Religion holds more of an interest for me as a sociological construct. Religion makes far less sense today than it ever did. For example polytheistic religions such as the Greek and Egyptian pantheons of Gods made far more sense representing facets of nature or of humanity. These gods were used as a form of explanation of the operation of nature and society and these gods having been created by humans were not infallible all powerful beings, they were subject to cruel, petty and irrational behavior and in that regard were no better than the people who worshiped them.
Monotheism if anything is lazy creative writing, where stories, powers and characters can be condensed into a single being with no explanation other than “God is all powerful, just because”. Monotheism starts from the position “there is only one true God, and it is mine” which must inevitably result in conflict where more than one religion exists. Polytheism allows for the worship of any number of gods for any number of purposes without one necessarily being true over another. I’d identify more with trying to act consistently in line with one’s own personal code of ethics and morals over blindly adopting someone else’s. This is a sentiment shared by the other members as well.
* Does the band have any goals to play Europe or any of the Americas?
The goal is always to play on lineups that we would go see if we weren’t playing on them. Whether the opportunities present themselves here at home or overseas is of no consequence. The chance to see more of the world is always welcomed however.
* What can we expect from Graveir in 2017?
There will be a number of smaller releases throughout the year which should keep everyone busy while we work on the follow up to Iconostasis. We have some plans in the works with regards to shows but discussions are still in very early stages.
* Any final words for your fans?
We are humbled by the support. 2017 will not be an idle year for us.
Murdryck have been around for some time now and just seem to be getting better and better I spoke to Skärseld from the band on their “reboot”, the various metal scenes in Sweden, how come some many great metal bands come out of a country the size of Sweden, growing up in Scotland and much more.
* You’ve been at this for some time now – my biggest question to you is what made the switch between your dark ambient sound to a more classic Black metal sound?
Ok, well I think it’s fairer to say the band is a reboot and the Black Metal angle wasn’t something we drifted into. It was never my intention to move Murdryck towards a new sound. The intention was to start a new Black Metal band that had the key ingredients I wanted to hear. After trying to come up with a name for a new band I decided to take the name with me to the new style. Murdryck was never a band that was well known on the scene at the time or at any point afterwards so it seemed a reasonable idea to keep the name.
* Does the name Murdryck mean anything in English?
It’s a made up word. At the time of Murdryck’s original creation I was extremely inspired by the more ambient side of Black Metal and became immersed in the atmospherics people were adding to their albums in the mid 90s. I’d always liked soundtrack music with dark synths and simple textures. I think simple music can be entirely captivating when done in this way.
* You are based in the town of Vänersborg Sweden? is there much or a metal scene there or does everyone just converge on Gothenburg? If so how far is Gothenburg from you?
People always ask about ”the scene”. I don’t think there’s ever been a scene anyway for this kind of music. At best, a large group of associates who know each other or of each other. I’ve always been a satellite my whole life. Never really part of anything just doing my own thing. We do have a rockbar, Backstage, in the town adjacent to Vänersborg and that’s pretty amazing in reality that a town that size can sustain a rock bar. It’s the local hangout for people of all ages and all musical forms from punk to metal and the subgenres contained within. Backstage do a lot for the smaller bands by giving them gigs without asking for anything. They also manage to bring in more known touring bands sometimes which is pretty cool. Paul Di’Anno has played there, Chris Holmes from WASP, Anvil have played there. Gothenburg is about an hour on the train. I rarely go there. I rarely go out to be honest. I just can’t be fucked with a night life. Plus I’m pretty asocial anyway so these things are just a hassle for me rather than things I enjoy.
* Do you think there is much rivalry between the cities of Gothenburg and Stockholm?
I don’t think there’s any rivalries within Metal music at all. Swedes are not culturally bred for confrontation anyway. If you play with a band at a show you usually get to know them and they become friends or at least an acquaintance you can call upon if you need help with anything. I’m not the kind of person who goes around being everyone’s best pal but I’m happy to help anyone if they ask. I do think a lot of other people have an agenda when they befriend another band and suddenly they call them their best mates or brothers in arms and all that crap.
* The Country of Sweden is smaller than New York City – why do you think so many good bands come out of Sweden? is there something in the water there?
I can’t offer anything other than my limited perspective since I wasn’t around in Sweden at the time a lot of black and death bands were kicking off in the early 90s and becoming recognized for being a quality act.
I am from England originally and spent my formative years in Scotland. I had one friend who liked metal back in those days and I was treated like a total outcast for being into metal. Like some kind of zoo animal almost. There were few opportunities for me to play in a band or even see gigs. I’d have to travel to Glasgow which was a long way. I’d watch bands like Carcass and Cradle of Filth play to around 30-50 people back then. For me, being into metal was a completely private affair but it was exciting. I’d order mail order cassettes and CDs from small distros and read fanzines. I’ve been in Sweden 16 years now and my experience here is that people do not follow any rigid social structures like other countries. You can be whatever you want to be an no one gives a shit. On the other hand, Sweden does have a kind of copy-cat culture. As soon as any trend kicks off in the US people here are doing it. Hanging around in clown outfits or whatever, we are doing it.
The people here are quite peer influenced. It’s incredible how many people do the same cultural stuff despite having completely different interests. So to answer your question I think not having any social stigma to being a metal head means the number of people listening to metal per capita is quite high. The copy-cat culture creates a diverse musical platform. There’s another reason too…getting a rehearsal room here is cheap as you can get subsidies for it. It means anyone at any age can play music and not be restricted by lack of income.
* What bands were an inspiration for you to get into Black metal?
The inspiration to get into Black Metal came from the early days. Burzum, Gehenna, stuff like that it. Originally it came from Norway because that’s where the music came from. I think what I share with a lot of Swedes though is a love for Iron Maiden and bands from the 80s. Megadeth, WASP, Slayer. I think musically I am more inspired by these bands (as are a lot of Swedish BM bands) but have added the black influence from the bands from the 90s. We get compared a lot to Dissection. Which is great but at the same time it’s odd cos I’ve never been a big fan. I’ve heard them. They were ahead of their time in their day but I can only name a couple of songs when I hear them. My guess is that Murdryck and Dissection are influenced by the same things. It would be a lie to say a band like Dissection haven’t influenced in some respect. The BM bands Murdryck are inspired by have been inspired by Dissection. So a more indirect influence I guess.
* Your lyrics have a biblical theme to them – do you believe that we live on after death? That we have had past lives?
Metal Archives is great for spreading false information. The lyrics have never been biblically influenced. The lyrics are dark in nature but somewhat semi abstract. They are thematic but they are not biblical.
I don’t believe in life after death. You go out as you were born. There was nothing before you were born and there will be nothing afterwards. I dislike the term Atheist. It tags a lack of belief as a belief system. But we don’t have words for not believing in Fairies or Father Christmas. You don’t say ”I am an a-fairyiest. I don’t believe in Santa I’m a-santaist.”
* You seem to write most lyrics in English – I know many Swedes are extremely fluent in English yet some bands choose to sing in Swedish?
English is much more diverse language than Swedish. You don’t realize it as a native speaker but it’s fantastically rich. There are hundreds of ways to say the same thing. It’s an art form to write English. I think Swedish is a little less expressive in that sense but Swedish can be very cool to write in when the music calls for it. We don’t consciously aim to capture a greater audience but a universal language is easier for people to catch on to.
* After making so many releases now you guys must be seasoned veterans – what in your mind is the best way to record your albums now?
I consider this a new band. The only thing seasoned about me is my age but I have been inactive from music for a long time previous to this incarnation of Murdryck. I played bass guitar for a short period with Lord Belial to help them out with a few gigs when their current bassist couldn’t commit. I guess from there I caught the bug again to get creative. I’ve always had an interest in recording and mixing music so for us the home studio is where all our creations happen. I usually make the songs on the computer in demo form then the arrangements are made from the demo. This comes from jamming mostly. Unfortunately, I am not the kind of person who has music in my head that I can pluck an idea and write it down. I jam until i get something that I think has potential. This can inspire to hear something in my head later or to add a texture but the songs are rarely formed without improvisation. Sometimes a song can develop and the end result have none of the original ideas.
Finally, everything’s redone properly in a studio environment at my house. It makes no sense for a band this size to be spending money at a studio. The results wouldn’t be as good either because I can spend as much time in my studio as I like perfecting everything. If we had a big budget and several weeks to record and mix I wouldn’t mind letting someone else have a go to see if a producer and professional mixer/mastering engineer can make a big difference to our sound. But the recording is a big part of the creativity for me. Bands our size and even larger are spending their own money to finance studio recordings. I’d rather put hat money into something I can keep or use again. At least owning a studio I have a chance to recuperate some costs doing mixing work for others. Not wishing to toot my own horn but not everyone has the capability to record and mix at home to a good standard. It takes years of practice and knowledge to be able to mix well and understand all the software and hardware in the studio. I couldn’t go to a professional studio and mix though. I’d be lost. But in the environment I control I can do a pretty good job.
* Are any of the band practicing pagans..if so what faith?
Fuck no.
* I know you are planning on live shows and tours soon – in an ideal world what would be your two most interesting countries to tour? Japan? South America? Russia? etc
Touring is an unrealistic goal for us. I don’t have the motivation to spend weeks away from work and home. I don’t really like it that much anyway. A few gigs here and there can be fun but usually it’s a pain in the ass. I’d like to be able to go and play in Germany. It’s close enough and far away enough to be interesting and is culturally rich. Japan and South America would be cool I guess but it’s not something I dream about. Being asocial and a bit stuck in my ways I am not the easiest person to be on the road with. I don’t like going out for beers every night and the routine of gigging isn’t really that fun. It’s just a lot of work and little time to do anything. There’s so much wasted time just hanging around waiting for things to happen.
* Have any of the band been to the USA before and if so what did they think?
No.
* What can we expect from Murdryck in 2017?
Well, there’s been no official announcement and this is the first interview I’ve done for a few months but we have had a restructuring in the band. Our bass player moved to guitar and vocals. Our guitarist and left and returned as our bass player. The previous vocalist is no longer with us.
Right now I am working on the recording of our new material. It’s more than likely to be an EP and appear around April 2017. I’d like to do an album though tbh but we have agreed with the record label to try and have at least an EP ready for March/April. With the way it’s going it’s doable but we don’t have enough new material for an album as of today. If we miss the April deadline then I think a new album is more likely around October 2017.
* Any final words to your fans?
Yeah we appreciate all our fans that take an interest in the music but the people who are prepared to put some money into our digital downloads or buy our physical CDs are really our supporters. I personally believe if you spend money on something you have a deeper connection to what you buy into rather than if it’s free. When things are free you’ve nothing to invest in. If you pay for something you’ll get more out of it. It also goes some way to helping the band recoup their costs.
Announces USA tour dates with Darkest Hour, Ringworm, Rivers of Nihil
Brooklyn-based experimental metal outfit Tombs has entered Mana Recording Studio (manarecording.com) in St. Petersburg, FL to begin recording their fourth full-length. Produced once again by Erik Rutan (Hate Eternal), this currently untitled album is set for a summer release via Metal Blade Records.
Guitarist/vocalist Mike Hill comments: “I’ve been gearing up for this moment for all of past year. Rutan is a master and I’m intending on us delivering the most punishing Tombs record to-date.”
After recording this upcoming album, Tombs will head back out on the road in March, joining Darkest Hour, Ringworm, and Rivers of Nihil for a USA tour. See below for all dates!
Tombs tour dates w/ Darkest Hour, Ringworm, Rivers of Nihil
Mar. 5 – Portland, OR – Analog Theater
Mar. 6 – Seattle, WA – Studio Seven
Mar. 8 – San Francisco, CA – DNA Lounge
Mar. 9 – Sacramento, CA – Colonial Theater Mar. 10 – Los Angeles, CA – The Regent
Mar. 11 – San Diego, CA – Brick By Brick
Mar. 12 – Phoenix, AZ – Club Red
Mar. 13 – Tucson, AZ – Club XS
Mar. 14 – Albuquerque, NM – Blu Phoenix Venue
Mar. 15 – Lubbock, TX – Backstage Lubbock
Mar. 16 – Austin, TX – Grizzly Hall
Mar. 17 – Houston, TX – White Oak
Mar. 18 – San Antonio, TX – The Korova
Mar. 19 – Dallas, TX – Gas Monkey Bar and Grill
Mar. 21 – Cincinnati, OH – Northside Yacht Club
Blending bleak, post-punk minimalism with the ferocious attack of sludge and traditional black metal, Tombs has established themselves as an act that’s as committed to consistency as it is to growth, developing smoothly (but never predictably) over the course of their career, and earning a multitude of accolades along the way (including “album of the year” from Decibel Magazine for 2011’s Path Of Totality!). In addition to their acclaimed releases, Tombs has also become revered for their captivating live shows, touring extensively with an array of artists such asEyehategod, Pelican, Isis, Wolves In The Throne Room, The Secret, Ulcerate, Pallbearer, and1349, plus appearing at renowned festivals: Roskilde Festival in Denmark, Roadburn in The Netherlands, and Psycho California and Maryland Deathfest in the USA. Now, with their upcoming fourth full-length, the quintet is poised to continue the momentum that’s been building since their formation in 2007. Stay tuned for more news coming soon!
Tombs line-up:
Mike Hill – Guitar/Vocals
Charlie Schmid – Drums
Ben Brand – Bass
Evan Void – Guitar
Fade Kainer – Synth / Vocals
I recently spoke with legendary Greek Black metal band Kawir – we talked about what it takes to be in a band for over 25 years, the Greek Black metal scene, being a practicing pagan, playing shows in South America and much more.
1.Kawir has been going for over 3 decades now – why do you think you have managed to keep going for so long – especially when the average band lasts about 5 years? What’s the secret?
Well you have to have confidence in your ability and the fire inside you otherwise as you said you will not last.
The secret is that I never saw it as an obligation so when I was feeling that now is the time I started to compose and recording,that’s why in almost 25 years we have released 6 full length albums!
2.You had an early release on legendary label Cacophonous – how did that come to be?
Yeah back in 1993 we were in contact with Mirai(Sigh) and we anted to make a split together so we sent the material to Cacophonous they liked it and release the legendary split!
3. Greece has been known for its Epic metal bands but not so much its black metal – how did you discover black metal and what attracted you to playing it more than say Epic Death metal?
Actually as a part of the scene from the end of 80s(Nocturnal Death,Zemial) I was listening more Classic Heavy Metal and the first albums of Morbid Angel ,ASPHYX etc. but in the start of 90s I was felt more close to the black metal as it was more Philosophical and rebellion against the monotheistic religions.
4. How is the black metal scene in Greece? Are some towns stronger than others for our type of music?
Well Athens were always strong but the last years Thessaloniki started to have a good scene also.
5. Some non English speaking bands make a point to sing in English however you guys have stayed true to your native tongue which i think is great, do you feel it limits foreign audiences at all to enjoying your songs?
No there is no limit ,we are keeping the ancient values ,Ancient Greek language were the official language of the known world for thousand years even in Roman Empire all the books were written in Ancient Greek but also the new testament which is paradox for me as the First Christian Emperors were forbidden the Ancient Greek Language!
6. You guys sing a lot about Hellenic paganism – are any of the band members practicing pagans? if so what faith?
Actually yes I am practicing ,the correct term is Hellenic Polytheism.We are fighting for our recognition and our rights to perform our rituals again in our Ancient Temples.
7. You guys played Brazil this year – was that your first visit there? how did you enjoy it?
It was our first time in the American Soil (Brazil ,Chile and Canada).We liked it a lot ,the crowd was perfect gave us a lot energy and our performance there was total crazy.We gave them a promise that with the next album we will be back.
8. Have you done much touring of the USA? If not are there any places here you would love to play?
We never had the opportunity to tour in USA we would like to come and see the life there and play for the maniacs.
9. I know the band has played Finland before but have you ever played Norway or Sweden? If so how were you received playing there?
Yeah we have a lot of friends in Finland, we had a Finish tour back in 2007 with Skyforger and we played in Steelfest 2 years ago.Great memories I have to say.
It was supposed to play in Norway back in 2007 but it was canceled so we never played till now in Norway and Sweden.
10. Any final words?
A big thanks for all the support form our fans all these years I have to say the best are coming.Hails!!!
Check out a new Windswept track here from Drudkh mastermind Roman Sayenko. This album is now available for pre-order from the good folks at Seasons of Mist records – I know that I am ordering my vinyl copy this weekend – sick!
Taken from the forthcoming album “The Great Cold Steppe”. Release Date: March 31st, 2017.
In case you missed it Sweden’s Seedna released one of the best Atmospheric Black Metal albums of 2016. As you know if I’m into a band I have to dig deeper and want to know more about them. I spoke to the guys in Seedna this week and we covered everything from the “Lidkoping Sound” to playing in a stone cellar to 6 people in a tiny village to multi instrumentalist Olle’s departure from the band – read on.
* You guys are from Lidkoping if I am not mistaken..how is the music scene there as opposed to the more well known cities of Stockholm and Gothenburg? Americans talk about the Gothenburg sound – do you think there is a traditional “Lidkoping sound?
Erik – Lidköping isn’t a very big town, around 40000 people live here, so the music scene is rather small and the bands that form here are everything between Punk to Metal. It´s scattered between the genres, a typical Lidköping sound doesn’t exist I believe. Not compared to the Gothenburg sound anyways.
Max – With the internet, I think stuff like that is less present. Many parts of the world have access to everything now and get inspired from all kinds of people and places. I have this idea or impression that the local scene in different cities was more prominent and alive before the internet. It surely exist to some extent. But not so much around here, what I can tell. Definitely not in our kind of genre.
* How did you guys get into Black metal? What was the gateway bands for you guys?
Erik – The band that got me interested in the more extreme form of metal was Cradle of Filth, a friend sent me some song when i was 15-16 years old and told me to listen to them. It was nothing I have ever heard before and I was mesmerised with the evil sound. I later came across Dark Funeral and got totally sold on Black Metal for a while.
Johan – It all started with Cradle of Filth and Dimmu Borgir, but I like most kinds of dark music.
Max – Mayhem, Burzum and Dissection were probably the first bands mostly responsible for bringing me into the different areas of Black Metal and beyond.
* What inspired you guys to take Black metal in the direction that you did?
Erik – We didn’t have any particular genre in our minds when we made “Forlorn”, at least not me. The biggest inspiration i have is my own emotions and creating music is a very good way of channeling them.
Johan – What keeps me going is actually playing and performing the music. It’s so much fun to play music, that is why we do it. Atmospheric music is the best music sometimes and we needed the whole kind of atmospheric vibe to create Forlorn, not only the heavy metal parts. Kind of inspired from old school stuff too I guess. I think we all like these mood-changes, differences and happenings through the record. It connects to your inner self, filled with many different feelings. You never feel the same all the time.
Max – We don’t really think of it as we are taking a certain genre in a certain direction. It just happened to be that the outcome of our different inspirations forged together with the vision of creating something that is dark and ambient sounded like “atmospheric black metal” to most people.
* What kind of music do you guys listen to in your free time? Any surprises for us?
Erik – For the most part it is Post-Rock, Post-Metal and Doom. Black Metal and Hardcore is something I listen to as well but not as much.
Johan – Check out the records Catch Thirty-Three with Meshuggah, Land Of The Evening Star with Dark Forest , Runaljod trilogy with Wardruna, Visor Om Slutet with Finntroll, Dakhmandal with Dark Buddha Rising, Ghosts I-IV with Nine Inch Nails, Udu Wudu with Magma, The Rifts with A Swarm Of The Sun, Untitled ( ) with Sigur Rós, Drifters/Love Is The Devil with Dirty Beaches. Some of my favorites.
Max – I’m mostly into old school type metal and bands that have that special spirit and energy. It’s something that is hard to put into words but appeals to me very much. But I am also interested in other genres outside of metal like for example dark ambient, traditional and classical music. Even some electronic and experimental stuff.
With to many bands to mention I’m just going to recommend a few very dear albums from different Swedish metal bands that comes to mind. I think they are well worth checking out if you haven’t heard of them. “A Flame To The Ground Beneath” by Lost Horizon, “Sister” by In Solitude, “Wolverine Blues” by Entombed.
* Were you guys pleased with the amazing response you got from your latest album “Forlorn?”
Erik – The response we got for “Forlorn” was beyond my beliefs, it is a powerful feeling when something you have laid down a lot of emotion and work into gets so much positive critic. I am very happy for all that.
Johan – Yes it was really great for us and we are very thankful.
Max – It has been very inspirational and rewarding to see that this record that we worked so hard on is appreciated by others. Firstly, we do it for ourselves. Chasing this vision, trying to make it into an actual piece of art that we are satisfied with and proud of. Then, if others appreciate it and get something out of listening and experiencing it is just great. That is some sort of proof that we are making an impact on people and hopefully bring them to open their minds and think.
* What was your favorite review of the album? Which publication?
Johan – ..maybe No Clean Singing.
Max – For me it was this one from Angry Metal Guy when he began describing a nightmare. Later contemplating whether falling asleep to “Forlorn” was the cause of this dream haha. “Falling asleep to” can sound negative, but I see it positively. In a way, we aspire to bring the listener to another “dimension”. As pretentious as it may seem, a dream world is the perfect place really haha.
* How did you approach writing the album? Did you start with moods or was it like a traditional band – a guitar riff and then built upon it?
Erik – When we create music it usually starts with us jamming and improvising with things we have had in our minds for a while, sometimes we all get in a sort of trance and just keep going without stopping. It is in those times we know we have something good going so we start to jam and improvise more on that particular sound or riff we liked, and we lay down structures as times go by. For “Forlorn” we had a somewhat clear concept of the feeling we wanted for the album so we jammed a lot with that in mind.
Johan – I’d say that most of it was created in the rehearsal room, but of course some ideas comes even after rehearsing, when you’re home doing something else. We have tried to build on guitar riffs but it’s not our way of doing it. We often just start playing, everybody at the same time or maybe two at a time or maybe even one of us play solo for the others. Then you listen and work with what you hear. I think that is what is happening every rehearsal now. So we are very much a band that is working in different moods, modes, themes, scenery and atmospheres. And then you start answering a lot of questions that comes from within, is it dark? is it powerful? is it sad? You have to know what you want and then you try to grasp it. Find those dark tones, combined with the heavy sound, some touch of sadness, a sparkling of melancholy and a soft distant trembling earthquake, to link up with those burdened feelings you can get sometimes from everyday life.
Max – Starting out jamming on ideas that would become “Wander”. Wanting to make this massive epic song that was like a journey, a story. I think we talked about making it a “one-song EP” haha. But the story grew, as did our vision. Different events and atmospheres in the story pushed for more and different kinds of songs. Some we made with the specific mood in mind. Some ideas were written before, and we thought their feeling fitted perfectly.
* I presume the hourglass on the cover of Forlorn is representative of Life and Death – I am a great believer in Life-Death – rebirth. do any of the band hold these kind of beliefs? Odinism? the Old gods or ??
Johan – I admit that I am fascinated by the old norse religion. And of course something comes after death. Why wouldn’t it. Even if it’s nothingness, our perception of time wouldn’t exist anymore, I really wonder what would that be like. An eternity through time passing by in the blink of an eye? The world is exciting with all these questions we can’t answer.
Max – There is this mystery. Not knowing what comes next when we die. The whole spiritual world. Ancient and modern religions. Forces of nature. The meaning of life. The whole concept about the album is really up for interpretation, if you want to read between the lines and project your own thoughts. It is not about preaching and give you answers. But rather about making you question.
* I know Olle played some traditional instruments on the recording of this album. Was that something he learned just for the album or was it something he had been doing for many years now?
Erik – It was actually something he learned for live performances, we want the feeling of us performing a ritual live. So Olle started to experiment with a lot of different traditional instruments to get the ritualistic feeling and it all just fitted so well in “Forlorn”. Rainmaker, Singing bowls, Seadrum and Spring Drum is just some of the instruments that was used.
Johan – Music to me is a bit different than just being tied to one or different instruments. An instrument is a tool a musician uses to create music and to express feelings. I actually think anyone can pick up any instrument and join in and make sound to add to the music. And for us all to listen to and enjoy.
* Can you talk about Olle leaving the band? How do you think it will affect new music from Seedna?
Erik – When Olle told us he wanted to leave Seedna it came somewhat of a surprise to me, we had just released “Forlorn” on Transcending Obscurity and got amazing response and great reviews. It was a rough time for all of us when we wrote the music because we all have very strong opinions of how we want our music to sound, but I believe it is because of our strong personalities that we were able to create good music. So it was a sad day for everyone in Seedna.
We had to cancel our plans for playing live in the autumn. Me, Max and Johan agreed that all of us should do vocals from now on and it worked out great!
Johan – We still feel good, I mean, of course there will be change in how things are done. Less involved in creating means more of those involved in creating.
Max – To me it wasn’t a big surprise as he had been a bit absent in the last months following up to his departure. He wanted to take a step back, focus on other stuff in life. Ultimately he also wanted to take a different path musically, which is totally fine and understandable. This experimental approach that we have isn’t for everyone. It is kind of like a new era for Seedna. For our latest music video we made a recording of “Frozen” to show the new sound with the three of us screaming together. Seedna without Olle will definitely be something different lyrically and in the vocal part of the music. We are very excited to see what we will come up with in this new formation. So far it is feeling really good and promising.
* What can we expect musically from Seedna in 2017?
Max – We are working on new material at the moment. Talking about probably recording this year, not promising anything tho hehe. We are developing, as always, new sounds and themes. Our next release will be different from our previous ones for sure. But that has been the thing about every recording right from the start anyway haha.
* I know the band have toured Sweden and some parts of the Norway – what’s been your favorite place to play live so far?
Erik – A small village called Uddebo in Sweden. We played in a stone cellar of an old, almost a dilapidated house were 6 people lived in a collective, they were so nice and welcoming. Everyone knew each other, I guess it’s like that in small villages.
Johan – Uddebo as Erik said, we had to improvise our intro a little bit because of a faulty cable to the bass, I recall. So we jammed until Erik fixed it. And the smoke machine added an insanely amount of smoke that quickly filled the whole small room we played in. I couldn’t even see the crowd, nor could they see me. Imagine this together with the crowd already having a good time and then add dark atmospheric drone-music for what felt like more than 5 minutes just as an intro. And then we started our setlist.
* Is there much difference playing to Norwegian fans than Swedish fans?
Erik – I can’t really say that it is a lot of difference between the two, both countries like to get drunk and head bang!
Johan – No idea, I can’t really focus on much else but the performance and what the other members are doing when we are playing, keeping an eye out.
Max – If they are not drunk, and if it is not a “big” band, Scandinavians can in general be a pretty lame crowd for local scenes in my experience, sadly. Not that it affects us negatively like it could with “rock’n’roll” kind of bands.. We get a positive response from many of them anyway, as we can be kind of an introvert experience.
* Are there any plans for the band to play the USA? Also have any of the band visited the USA before and did they like it?
Erik – Currently we have no plans to play in the USA, but if we get the opportunity we will take it for sure!
Max – We would love to go there. But it seems to be a lot of work getting it all together with the visas and stuff. Since we aren’t an established touring band yet, we will most likely tour Europe first when we come around to it.
* Do the band have any “wish list” places they would like to play?
Erik – Every country is on my wish list but Japan and Russia is my dream countries to play in.
Japan because it such a crazy country and have a lot of good and interesting music.
Russia because we simply have a lot of fans there, would be awesome to meet them.
Johan – Finland and Iceland.
* Any final words to your friends and fans?
Erik – Hail Satan Worship Doom.
Johan – What he said.
Max – Agreed. And hail to all our supporters.
Thanks guys and many thanks to Kunal for making this interview happen!
