Conversations From The Abyss - An Interview with Erik "E" Danielsson of Watain

Erik ""E" Danielsson of Watain 

Watain is a band that can be pretty much labeled as the face of true, yet modern Black Metal. Hailing from the town of Uppsala, Sweden, there has been very little which hasn’t been said about Erik “E” Danielsson’s three piece. Controversial as can be, and producing quality music since their debut, Rabid Death’s Curse, Watain has been one of the most talked about names in Black Metal. Touring with some of the biggest names in Metal both as support and headliner, as well as appearing in such grand festivals as Wacken, Sonisphere, Party San and pretty much any other festival you can name, there seems to be no stopping this bunch. After 4 albums, and on the brink of their first DVD, Opus Diaboli, I had the pleasure of discussing recent (and not so recent) happenings with vocalist and mastermind, Erik “E” Danielsson




M- Hello Erik, how are you?

E.D- Well it’s been an interesting times, we’re supposed to go to USA, but once again the land of the free made it a bit complicated, and we’re not leaving until Sunday. Everything’s upside down here, just came back from a rehearsal.

M- It seems that Watain is one of the strongest forces in modern Black Metal. Spearheading the motion of oldschool Black Metal revival joined by other bands such as Taake and others, what is your opinion of the modern Black Metal scene?

E.D- With the risk of sounding like an asshole, I care less about it. I think everyone has a certain amount of focus that you can spend on different things in life. I think doing this stuff for 13 years, my focus has become stronger and stronger and more focused on Watain. Which, in turn has become something that is now a world in it’s own. It’s a music genre in it’s own to me. That in turn makes me less and less interested in what other Black Metal bands do and yeah, when it comes to Black Metal, I’ve been there when the greatest bands were around. When Dissection were there and Nifelheim were there, with their original line up. I’ve seen, from my point of view, the most interesting things I wanted to see. I consider myself blessed for having been a part of all of this. I, the way I focus on Black Metal is from a Watain prospective. What we can do to make the art form progress in the right direction, I cared much more about the BM perspective before Watain, or when it was on its way to become what is. The greater Watain becomes in my life, the greater meaning it has, the less everything else means to me. Then again, I’m still sitting here in my Sarcofago shirt. It’s strange, I don’t know if I get my point across.


M- So you consider yourself completely separate from Black Metal? Is there no connection whatsoever?




E.D- I will always consider Black Metal to be one of the most potent and interesting forms of art in this age, just like everyone else who has a bit of intelligent I can see the many mistakes that happened in the movement and the many flaws. It’s a genre that consists of a lot of cry babies and children and people who desperately want to be a part of something that their not. But BM is also the most interesting subculture, and it has the most genuine artists in the music world. It’s always two sided to me, and will always mean much to me.




M- What is the mission statement of Watain? What do you seek to accomplish with the band?


E.D- I see it like this, being in Watain, for me personally, has changed everything. It allows me to live outside of the common worldd. In the Watain universe, rather than the human universe, so to speak. That is Watain’s most important meaning to me. It gives me a platform to live and breathe from. It is a place of freedom for me, where I can live and breathe the way I want to. The goal is to maintain that world, to make it glimmer and burn bright. To make it as important and meaningful as possible. We’re at a point now, where I feel Watain is right where it should be. The goal is in itself to maintain who we are, and to maintain the journey and the path we have chosen. Because I think a lot of people have a tendency to stray and be misled from the path in life, and I myself, don’t see any other way. I don’t see a way to be led from where I am now. The goal is to continue and live like this as long as I can, and to give it all I can.

M- I appreciate the sense of Idealism in a way, for example, we ran an interview with Shining which a lot of people raised their nose against and called “poser.” It’s sad that people can’t embrace an ideal which is bigger than themselves


E.D- The common man will always be a bit afraid of idealism. Be afraid of people with a strong mindset, afraid of difference, afraid of people who don’t follow the common herd. That’s proof of that, what I’m doing or what Niklas is doing is right, someone said that “ you can measure the quality of your life and the relevance by the amount of antagonism you have to face.” I think that’s a very interesting way to look at that.

M- what does the dark represent for you? “Lawless Darkness” for me I took as the evil without boundaries, do you support evil without boundaries?


E.D- I think that the question of good and evil is one that has to be deeply compensated in the heart of every man. You have to make up what you yourself consider good and evil, what’s interesting with darkness is that it doesn’t demand the same kind of questioning . Darkness is always undefined, and is always unexplored, and the things that exist in darkness can be anything because they are not yet defined. They have the potential to be anything, that anyone who takes part of that darkness can take the power to create. Light is something that defines, something that dwells in the light is entirely defined and has its shape and form, and it is what it is. It’s built by the law, it’s restricted by what you see. It’s a deep subject, it’s hard to tell you this all in a concise matter, but what attracted me about darkness is the everlasting potential that it can be anything and nothing. While anything that is in the light is already done and created, and is , therefore in my eyes, pretty empty.






M- How is it different to be a part of such an extreme and different religious school of thought in a day to day life? How does it effect you personally?


E.D- I mean Satan is the antagonist and the opposer. What is being opposed is the stagnation of society and the status quo, the upholding of law and order. What that means, on a physical material level, is living outside of society. Trying to have as little to have and do with the social and moral codes of society. What it all comes down to is that Satanism is based on the flame of the spirit. The flame has no other law than that of itself. That’s what it means to me in my daily life. I don’t consider myself the follower of any law other than my own, my fire , which is also the fire of the devil. I think a lot of people would call my life quite a hard life, quite far away from what people consider a normal life. I always move around, I never worked. There’s a freedom to it, which doesn’t exist in a commoners life. If you don’t consider yourself a member of society and a follower of law, then you’re going to have problems. The lives of Satanists are harsh and most will be unable to live like that.


M- Where do you take the influences for your music? Both musically and non musically of course


E.D- Of course I get inspired from the music I listen to when it comes to writing. I can be very influenced by emotions and by music a lot. But the thing is one has to realize is why they inspire me is because that they talk to my heart. I get inspired by music that reflects what I feel, which in turn means what I express is what’s inside my heart. I donno, it’s hard. The whole process of writing music and writing lyrics is to me still today, after many years of doing it, it’s still something very unconcrete. It’s something that’s hard to define and talk about. It’s a very intimate process. It is something that’s always been there. The need to express myself has always been there, I can’t say what it’s there that’s pushing me. It’s just something I have to do.


M- what are you listening to recently? What modern bands have striked your fancy? I know my countrymen, Behemoth, are your touring partner as well as In Solitude and Devil’s Blood…


E.D- Behemoth to me, is more interesting artisticly than musically. Their sound is not my cup of tea, but I really like the way they do things. I like that they’re an aspiring bands. They have artistic values in them still, it’s not just bullshit. But I can say that I’m really into bands like Devil’s Blood and In Solitude. Their both gonna be on the U.S tour, it’s not so often these days you find bands like these. It’s just I’m older now than I’ve discovered Metal one developes more and more with age. You’re not as easily impressed as you were 15.


M- ah, I’m only 17, but I guess I can’t really compare

E.D- laughs I wish I was 17. Now a days I’m much more critical, but to talk about modern bands. I love In Solitude, Devil’s Blood, they have more satanic spirit than most BM bands of today. I tend to listen mostly to old music, when it comes to new music it’s those two bands.


Since when have you been a Satanist? Since what age do you feel a connection with him?


To be completely honest, lets put it like this, I’ve had music as far back as I can remember. Music in the sense of that I’ve really listened to it. I’ve had cassettes since I was 5-6 years old t I’ve listened to every day with stuff like the Beatles and others. Even back then it was a way to escape the regular life around me . To reach a higher state of existence although I was far too young to realize it, although that’s how it felt. When heavy metal and extreme metal came into my life I took that feeling and added to it the danger and darkness of Metal music, to make this escape. The world I started to escape into and to explore was the fiery wilderness of heavy metal. It was never a question that I one day realized that it had to had a spiritual connection, I always saw it like that. It’s always been the case, it’s a bridge between this world and something else. When I started getting into Black & Death Metal, I was already into all things related to anarchy, darkness and fire. It was all that I liked. Finally I found music that embodied it and placed it in a god like position. Of course when you reach the age of 12 and 13 , people started to make up their own minds, and by then I was deeper into all these things. By then I was already a fascinated teenager. But it was important to me to define those things, and feelings that I felt, it was important to define and name my feelings. The symbols and images and feelings of satanic nature appeal to me more than anything else. They are what I’ve been looking for.

M- Also, what inspires you to write your lyrics? And how do you feel you have developed as a writer from the days of The Essence of Black Purity all the way to Lawless Darkness?


E.D- I think it’s like this, in the beginning we had one hammer of pretty shitty quality and ten names. So we had to build something with that , and as we developed as a band we developed our tool box. We took everything from pliers and rope and fire and spirit into everything else into that tool box. Now we have that arsenal of tools to say the same things we said back then, you acquire more skills the older you get and music you write. It’s just a different state of progression and you come to handle your tools as you grow as an artist. It comes to the fact your able to express yourself more concretely and more distinguished than when you were younger .


M- How do you feel Watain’s stage show supports the music? Is it another vehicle of expression? Do you feel it helps bring people to the light- or the dark, about Watain?


E.D- To me it’s like, what we do on the stage is a concert, like everyone else we have amps and instruments and P.A, but the concept of the rock concert has been almost the same since the 60’s. It’s always been some guys on stage playing their songs. Then some bands tried to do a more theatrical approach. With Watain we feel a bit like we want to expand and progress the concept of a rock concert into something more. I think it could be so much more, and that is why we include ceremonial and ritualistic ingredients we make it so called “theatrical” I say dramatic. It’s very visual. To me nothing else makes any sense really, a Watain concert can be really a direct visual representation of what you hear. We aim to take those ideas as far as we possibly can.




M- what are some of your favorite places to preform? What shows bring you the most pleasure and challenge as a band? Any particularly memorable moments?


E.D- It’s a classic thing, I enjoyed performing in front of people that are not used to see what their seeing. I enjoyed playing for people who are genuinely interested and respect what they see on stage and ready to open up. This kind of audience you usually find in countries that are a bit less liberal. Countries that in society has a tight grip around the citizen. Like U.S.A, one of the worst countries that I know politically and religiously, yet it’s one of the most rewarding countries to play in. You play in front of people who are so relieved to be played infront of by bands like Watain, who go against what they know. Also like in Eastern Europe and South America. A heart that yearns to break free, it’s very rewarding to play infront of these people.







M- Watain seems to be a very tightly knitted pack, from Pelle “P” Forsberg and Håkan “H” Jonsson, how do you keep things together all these years? Does the same power that propel you propel them?


E.D- I think what kept us together, has a lot to do with our background. When we were all initiated into the black metal movement, years before Watain, we realized pretty quickly that this was something we will be a part of for the rest of our lives. We took things pretty seriously and not like some hobby on the side. The more Watain grows into a world, there’s no really difference between Watainand our lives. Watain is our lives. We always think , even if we don’t want to, what life would be like without Watain. I think even if we wanted to, it’d be hard. Our common view of Watain as something that, is really our lives. It’s be had to get away from.

M- A lot of musicians in Black Metal write Satanist lyrics without knowing shit, but you’re the real article. How does it feel to be one of the few real ones? Do you hate the posers?


E.D - To me it’s like, I don’t know how else to look it at then it’s just a bunch of kids who play around with fire. But the difference is that fire isn’t even real, it’s just in their heads. It’s fire that someone drew on a piece of paper, it’s not a fire that burns. I think it’s waste and of course I get pissed off, because these things mean so much to me. I consider myself to not be one of these loft or confused kids to not be playing with something they don’t understand. Those who play with fire eventually get burnt. If you call death, it’ll come. Death and the Devil might be cool words in Heavy Metal songs, but their also real and existing forces which will manifest if their called upon, I myself have spent my whole life preparing myself and making myself suitable to meet these forces. Those bands aren’t prepared, their children who might any day who might stand face to face with something they might not even survive. That’s the way I see it.



M- so here comes the obvious question, from an Israeli webzine at least. Party San. 2006. Absurd shirts and Heiling. What happened?

E.D - Well, what happened was that one of us was wearing an Absurd shirt, and got into an argument with a writer for Rock Hard magazine. A big fight commenced from the Rock Hard guys. Then it got into kind of a fight, and then two hours later, the same people were buying us drinks in the bar. What happened, was that’s the whole story. But there were a lot of other journalists there, mediawhores who made it into a bigger thing than it was. The latest thing I’ve heard is that we gone onstage during the whole festival show in Absurd tee shirts and heiling. They made a hen out of a feather. People who want to find the devil and can’t find it in any other way than the political ideology that died 50 years ago. For me it feels so unclean to put a political tag on Watain, its done by people who have no conception of what to think. It’s like calling the Church communist, we’re not a political band. We have no facial values.



M- In addition, you are not only a musician, but you do artwork. I heard you were also involved with the writing of Jon “Metallion” Kristiansen’s Slayer magazine compilation and the 20^th edition, how do you find the time? Are you driven purely by passion?


E.D- That’s a very good question, the day I know the answer to it I will let you know! I have no fucking idea how I can do all these things…I try not to think about it and “just do it.” Sometimes I realize that this is not going to work, but I don’t, watch football. I don’t go out eating. I don’t go to the movies. I don’t do these things that most people do. This is what I do 24 hours a day.

M- Also, you produce quite kickass artwork, since when have you been drawing?


E.D- Most of the time I work with Collage, and I have very primitive methods which people wouldn’t even believe if they saw the way I do stuff. I basically have a room in the rehersal room, which looks like big creative chaos, which is where I do everything. Most of it is from myself, but sometimes I ask my friends. I cut and paste stuff and steal stuff from here and there.

M- I know Opus Diaboli, your first DVD is coming May 7^th, how do you feel about it? how is it different to make your first own DVD? Also, the artwork and movie trailers seem to utilize your artistic expertise.

E.D - It’s a different project in a lot of ways, first of all , I have never done anything movie wise. I recorded a bunch of albums but I’ve never done a movie. It’s an entirely different project it was a much longer process than recording an album. That was different and it was very inspiring, the first thing I thought when it was done is that I want to make another movie. We’re also releasing it ourselves which makes for a lot of new ways of having to do things. It feels very hand made, it feels everything comes straight from the band, even the release itself which is a very special thing to me. I hope people will give it the patience and time it deserves. It’s a pretty heavy mother fucker.




M- yeah, like Big Boss from Root, it’s a pretty heavy mother fucker

E.D- he’s heavy in a while different way laughs

M- Did you feel any different preforming knowing you were being filmed? What is going to be on the DVD other than the performance itself?

E.D- First of all, I didn’t think about the cameras. It’s hard to explain but when were on stage it’s a different thing. I’m somewhere else, I’m happy that it can be that way, it would mean a lot of stress and nervousness otherwise. I end up in a different kind of universe when I’m onstage. I didn’t pay too much attention to the photographers and film crew. The live performance is 40% of the dvd, the rest is other stuff. It’s like a mix, it’s a collage of a lot of different things. Stuff we filmed just for the DVD which is more artistic and ceremonial, and there are a lot of interviews and voice over, spoken words part with interesting footage. Some archive footage from old tours, all the way from the 90’s and up till now, it’s a rich,” spicy” movie, a lot of stuff in there.

and here the phone disconnected….twice, but yours truly remembered the African Americans in the 50’s! “we shall persevere!”




M- Hey Erik! Sorry for all the issues, lets get this done

E.D- it’s fine man, don’t worry about it I’m used to it

M- So, what’s on the nearby horizon for Watain other than what we discussed?

E.DWe’re doing the tour now in the U.S.A, then we have two more festivals in the end of the summer. Which will be the whole ending to the whole Lawless Darkness era. After that it’s, silence and secrecy. We’ve been touring for two years now and a lot before that and we feel that we want to be apart from the world now. And maybe spend time together in ac completely different place, and the only thing I know is that there’s a lot of music written, and a lot of ideas. But other things that people will find pretty interesting. We keep the information within the band and speak when it’s time.

M- Any last words to your fans in Israel, and there are quite a few?

E.D- We have been trying pretty hard to come to Israel and play at some point, I was about to come with Dissection when I played bass with them. I guess after the whole media blow up in 2006 it will be difficult, but I would still really like to do it someday. It would feel a bit like placing a pile of shit on an altar or a church, it would feel very good to do it. Until then, I just hope people will spread the word about us down there and we’ll try to get as many people to understand us you know, because sooner or later we’ll have to come.

Standing Up And Fighting In A Broadway Theater- An Interview with Mathias Nygård of Turisas

Mathias Nygård of Turisas

I think many of us, in this generation of Metal are unaware of how lucky we are. Right now, there’s an affluence of Metal gigs, a small renaissance or so of Metal in Israel, there’s a selection and the matter of choice. It is not too far ago I hear of the days everyone use to go to every gig because that’s “what there was.” This year alone, 2013, we’re already growing steadily a very respectable amount of concerts in Israel, and the ones that will kick it off are the Turisas and Salem double pack. Headliners Turisas are one of the foremost and strongest powers in the Folk Metal uprising. A band priding itself on the basis of it’s brand of Folk Metal entitled Battle Metal, characterized by it’s epic grandiose and war themed music and lyrics, Turisas are definitely one of the more unique leaders of this movement. Instantly recognizable by Mattias “Warlord Nygård” D.G Nygård’s unique vocals and the menacing demeanor of this face paint laden warriors , this is not one of your run of mil bands that repeats itself 9000 times. Straight outta Hämeenlinna, I was fortunate enough to get the chance to speak with Warlord Nygård about Turisas, Folk Metal and the upcoming.


M.N- Hello it’s Mattias on the phone

Benek- Hello Mattias, heard I cut out quite a conversation…

m-N Don’t worry about it…I mean I was talking to Yishai, he was doing an interview as well.

Benek- Well more bang for your buck, how are you? How’s the tour?

M.N- It’s good so far, we have one more week to go here in the USA, we have 4 or 5 weeks behind us already. After were done here we’re heading to SA for a couple of weeks. It’s been a long tour it’s two months back to back on the road. Of course it’ll be nice to go back home, but the shows have been great as well.

So, lets go back to front, how did Turisas form? What was the main concept behind the band?

Well we formed the band, Jussi (Wickström) the guitar player, and myself. Mainly we were really bored, didn’t have really anything to do, and we were very much into Metal at the time, and listening to music together. Then we just decided, “hey, lets start a band” and we both had some background playing in some smaller bands. But we didn’t really have any ambitions or anything, we started from a total 0, and we didn’t know how to play that well or anything so it was kind of natural growth and from there step by step we have gone from having nothing to do to it becoming a hobby to a serious hobby to a profession. So the development has been good, it hasn’t always been easy but it has paid off I guess. As for the band’s name, a lot of influences in our early days came from Finnish folklore and mythology so we wanted a name that suited that, so we picked a name that is sort of the Finnish god of war in early references and it sounded cool. We also liked that it wasn’t an English word that anyone could interpret but it’s just “Turisas “ and we stuck with it since.


What is the meaning of the red and black paint?
It sounds a bit funny right now but when we started out, the second wave of Black Metal was becoming very popular and all the bands were still doing all the corpse paint and stuff at that time and now it feels a bit funny, because we’ve drifted so far apart. But at the time we felt we were coming from that background and that scene. We wanted to keep the visual element that those BM bands had. We felt our music is still so different from their dark image and it wouldn’t suit us that well, so we decided to change it around a bit and we went away from black leather to more earthly tones and furs. The actual face painting just came from us wanting to have splatters of blood on our face and some dirt, which we did. On Battle Metal and even on The Varangian Way we didn’t do face painting as we do it today. Only when we started touring it got out of hand, when we played shows there was someone putting a bit more blood or dirt on their face than everyone else, and we mauled it into the face paint we have today, it’s not that we had a production meeting, sitting down, seeing what we have to do.

what was the Finnish scene back in 1997 like in comparison with now? How did things change?

We were kind of influenced by the whole , the whole scene was so small that it was nothing like it is today. Anything like a Folk Metal scene didn’t exist at all, we were kind of influenced by the early stages of Viking Metal like Enslaved or Einherjer from Norway and some Symphonic Metal stuff like Bal-Sagoth from the U.K which was a really big influence with a lot of keyboard stuff and a lot of melodies but from the very start we felt that our music didn’t sound like anything that was out there yet. Also, we’re not from Helsinki so we weren’t from that scene either. It wasn’t till a little bit later that we’ve learned about the other bands. We came across demo cd/ cassettes from Ensiferum and Moonsorrow from Finland we realized there are others bands that are doing sort of the same thing we are, sounding kind of similar. But everything was super small and there was nothing like Pagan fest and big festivals booking Folk or Battle Metal bands. Back then there was nothing, we started out playing some really tiny shows and everything was sort of very small scale and nobody from any of those bands imagined that 10-15 years the whole thing could grow as big as it had today.

Also, Turisas is one of the few bands to have a truly strong following both in the places where Metal is popular and even in small countries like Israel since the days of the first album, how did it feels to get so famous so fast

Well of course it was, from starting out, when releasing the debut I think it was of course exciting because going from being a demo band nobody’s heard of except for the local juice house. Then you have a record label who released the record in all of Europe and even globally. By the way, I think that when you are in the middle of it you don’t really notice it kind of growing, only now we can look back and say “ah at that point we had some success.” Even now, here we are in Dallas, Texas, it just feels very normal in a way. All of a sudden we realize, it just feels natural getting here. I never felt it getting out of hand or exploding. The first album was already successful, but then the Varangian Way came out in 2007 and that got us even more attention and kind of everything built up very naturally, and we never felt like we’re on any rocket ride to success.

B- So were not gonna see Turisas sneakers any time soon, or you dating super models?

M.N- Not yet not…if anyone is interesting you can give em my phone number!

B- What inspired you go in this direction? Both musically and thematically?

M.N-I think we first of, we never considered ourselves or really thought of “Lets do a Viking image as such” it was more that we wanted a visual thing for the band and I think the Viking tag was added by record labels and marketing. We never really considered Viking themes to be the essence of the band in that way, the first album has a song about the 30 years war in Europe which was in the 17^th century, so it’s far out from any Viking era. The Varangian Way was a concept album dealing with that historical time period, but on the other hand it also dealt with the more Eastern regions, not only the normal pop culture Viking scenes you normally get. We never looked at ourselves as “a band about Vikings” it just how it sort of ended up in the end. I think that like, on the new album we just finished working on before leaving for this tour. It’s not a concept album like the Varangian Way, it’s not really tied to any time or place.

What inspires you personally so deeply about this type of history, about travel the Varingians,t he Vikings and other types of nomads?

I never actually looked at that, but when you point it out that journey or journey approach, or the theme of traveling is a theme that repeats itself in our music and in our songs quite a lot. I don’t know, maybe it’s something to do with that feeling of being on the way, going somewhere all the time. Because that’s basically what we do all the time, we tour, and on a more philosophical level, it’s all about trying finding your place in the world. Even when we’re not on the road travelling is something I love a lot , and going to new places and meeting new people, and learning about different cultures. That’s super exciting, that’s the most important thing I can think of , to spend my money on, is to see the world, and luckily , in my profession, being a band, I can do that.


I see Metal as very historically inspired, much more so than most other musical geners, what do you think is there to be learned from history? Why do you think the bond is so deep?
ummmm Good question by the way, in 80% of the time, it’s actually more of a connection with history at best, a lot of times its about the romantic idea of a time in the past, but it’s something that’s been coming and going in trends and popular culture for centuries. Starting out with Wagner and the mid 19^th century with the rise of romantic themes, poets and Operas and everything. In the 30’s, people were super fascinated with Egypt, and the 70’s you got fantasy and stuff like that with Tolkein and LOTR, it goes in waves. In the 70’s you had Rock bands and Pop bands dealing with these themes. And in the 80s and 90s you’ve got Punk which was a total anti reaction to that again. Maybe in the 2000s, this decade, something that not only in Metal music but pop culture in general is coming back to that again, you see all these historical based movies and things coming out all the time. I think it’s more of a global trend. But you’re right there, in Metal music there’s a heavy dealing with those kind of themes. If you’re not singing about Satan or your love story gone bad…that’s kind of the third obvious choice.

If it’s not Satan, or your love story gone bad I guess it’s history or NSBM (laughs.) What else inspires other than history? For example, what bands or media really inspire you?

Because I’m working with music everyday and all the time, I am not the biggest consumer of music. I don’t collect CDs and records, and I don’t follow it that actively to be honest. When I do listen to music , it’s not even Metal a lot of the time, it’s been kind of rare that I’ve come across any Metal that feels inspiring and new and fresh to me, maybe Gojira from France being one of those Metal bands I’ve been listening to lately. But really it’s been anything from Electronic to Folk bands. It’s anything from going to the art gallery to sometimes just following other forms of art it can all inspire, it’s so far away you can pick up ideas that aren’t obviously connected to rock and Metal music and come up with more interesting fusions.

what’s your writing process like for Turisas lyrics and music? Who is the main contributor?

That’s pretty much me, I feel like most of the songs and the lyrics are mine, usually I’m the one who sets the directions. But on the new album, the new guys or Ollie (Vänskä) or Jussi (Wickström) wrote or we cowrote stuff together. There are a couple of songs we ripped out together, but on the end it falls to my desk but the other guys from the band slap me with ideas and I pick what I like and whether to use it or not.


Fair enough fair enough, it’s your baby.. So now lets jump ahead, how do you feel about Stand up and Fight (most frustrating name for the handicapped Turisas fan) in contrast to your older albums? How did you arrive at the point from The Varingian Way and Battle Metal?

Ummm, I think with every album we’ve done we tried to reinvent ourselves to some extent , and we only released material when we felt we have something new to give. In many ways the more successful route would be that once you came up with a thing, would be to keep nailing the same style, coming out with an album every year, and keep yourself in the press all the time. For us it’s been important that it’ll be stuff that stands for ourselves and feels interesting to ourselves. Music that honors the band, the shows our sounds but now looking back to Battle Metal, although we still play a lot of songs from it live, it can be a bit painful for me personally. Though it can be heart warming as it has a lot of that first album excitement.


What makes it unique and different than the rest of your albums?


I think, kind of instead of making an album that sounds like a cinematic score to a movie we were flirting quite a bit with musicals and the Broadway approach. To some people that can be a bit much to handle, but I think in Stand Up & Fight we had 80’s stadium rock , musicals, and the songwriting style in that field that we incorporated with stuff we’ve done in the past. It’s a very orchestrated album, the orchestra plays a huge part in it, thematically it continues from the Varangian Way but it’s set up in a different way so it’s not as chronological or as straight forward. I think the sound is pretty much dominated by the orchestral sound, I think it’s very uplifting. It’s not very dark at all, it’s more of a, sort of a, motivational album (laughs)

Being one of the elders of the scene, who are some of your favorite contemporaries?

Well of course all of the bands are bands that we have spend a lot of time meeting up with, and do a lot of the same tours, like last year we toured with Arkona in NA and we toured with Finntroll a while ago. Every time we meet it’s like a family get together, but musically, Moonsorrow has been one of the bands that done their own thing. They’ve just done what they feel like doing and that’s it, I like that approach in what they do. I have to admit, before we toured with Finntroll, two years ago I hadn’t really listened to their music that closely at all, but I understood it better after I heard and saw them live night after night. Henri “Trollhorn” Sorvali who’s the main songwriter, he’s very talented, you have a guy who has so many projects who does Moonsorrow and Finntroll. He has a lot of crazy ideas and he’s not afraid to execute them either. I appreciate him being true to himself.

B- About Finn, their new EP is coming out soon…

M.N- Yeah I think Ollie our violin player played on some of their new tracks.

Considering it has already been out for two years, is there any talk of a new album? Or what’s up next in Turisas future?

Well the album is pretty much done; I mean our aim was to finish it completely before heading out leaving for this tour in the end of January. We were working most of last year in the studio, working on the new album and recording it, when we get back from SA we still need to work out some final things for about a week. Then its going right away to be mixed in London. Then in Spring there’s going to be a single or a video, or something coming out of the album already. And it’s gonna be out in summer, it’s more or less done already, it’s in final touches,

Any word as to themes or a title for the album? Anything really you can tell us?

Well we haven’t decided a title for the album yet, but once again it takes a different approach than the previous albums. This time around we wanted to avoid that whole lot of metal that is completely computerized and done entirely in Protools and tis riggered to the bone. It can be ,in extreme music, very effective, but it also kills so much out of the music itself. So We rented this big house in the middle of nowhere in Finland and set up our recording gear out there. we recorded most of it ourselves and have a sort of very organic approach to the whole production, so it’s gonna be a bit different than what we’ve done in the past. It’s also gonna have a couple of faster songs. A lot of Stand up and Fight was almost entirely mid tempo. And this new album is going to have a couple of faster, even punky songs, so I’m kind of excited, that it’s a very varied album. There are songs on it that remind you of the albums and music we’ve done in the past , the basic Turisas sound is still definitely there, there’s a lot of choirs and stuff like that but there’s a lot of new interesting influences in there, it’s going to be a very varied patch.

As to avoid sounding computerized, Are you working with a real choir? And orchestras?

Yeah, on Stand up and Fight we had strings and brass sections and we’ve done that on this album too, but instead of pushing that larger than life sound that everyone seems to be doing now a days we wanted to make it more organic, our refrences were listening to old Beatles albums with the French horns here and there , and that sounded like a wise studio sound. We arranged it very differently than what bands like DImmu Borgir do. Normally we do our choirs ourselves, this time we use ourselves plus a couple of guys from other bands in Finalnd and we have a good couple of days singing. Guys from Finnish bands Kiuas and Wintersun, a group of people we put together and did choirs.


much thanks, anything special planned for Turisas’ raid in Israel?!

Well its gonna be a special show to us, it’s gonna be our first show there obviously and also none of us have visited Israel or is Jewish , so it’s our first time there ever. We’rel ooking forward to it a lot. Normally we are on tour for two months and play shows every night, but this time we fly out to play one club show and come back. It’s more special in that way so we don’t have that weeks and weeks of touring behind us, it’s kind of cool and I’m sure we’re gonna do a very full setlist. We also don’t have that whole thing of “we played so many times here before” so it’s gonna be out of all albums and new stuff.

any last words to the crowds in Israel?

Come see us! April 4^th at Reading 3, even if you hate our band, if you’ll see us live you’ll love us

Wrong- Pessimistic Outcomes Review

Wrong - Pessimistic Outcomes 

Band- Wrong
Album- Pessimistic Outcomes
Score- 8/10
Origin- Madrid, Spain
Label- Xtreem Music


Anyone in my close circle of friends in the last few months has probably heard of the Black Metal band named Wrong. Ever since i've heard the bands debut album, Memories of Sorrow a few weeks ago on Terrorizer's website, i've been absolutely hooked. Ever since I got my mittens on it, i've been craving to write a piece about it for Metalist. Their brand of depressive Black Metal which is not so much DSBM, as a depressing glimpse onto Black Metal is unique not only on its own merit, but on the merit of its make.

You see, the two bands members, J.L “Phlegeton” Rey and David “DP” (yes, make the porno jokes) Perez are both very far removed from the world of traditional Black Metal. First and foremost, they come from the very small and under-appreciated Black Metal scene in Madrid, Spain. But that's not even it, they are actually both more famous for their main projects which are far removed from the world of Black Metal. Phlegeton for example, is much more well known as the vocalist of Brutal DM band Wormed (fun fact, who played alongside Viscera Trail) and DP was involved with a few important Thrash bands of the Madrid scene , namely Neverdie and The YTriple Corporation.

So, as luck would have it, on the eve of my discovery they were edging on the release of their new album, Pessimistic Outcomes. Now, to write a review of this is both a fan's dread and a reviewers greatest joy. From a fan's prospective, i'd be honestly pissed if they were to muck up the second album. I mean how many bands do you know which had a great debut and then everything went to shits? (The Gathering comes to mind) It's not called the second album block for nothing. Meanwhile as a reviewer it gives me an intersection which is nothing if not interesting to write about. It's the band making their intermediary steps into establishing their band's personality, or, burning the bridge to their first creation to take a turn.

With Pessimistic Outcomes, Wrong took further steps into darkness rather than change direction all together, and I believed it paid off quite well. For those who have made their haj complete by hearing Memories of Sorrow as well, could tell that Wrong´s style is not exactly oldschool Black Metal, nor is it DSBM though. It kind of walks the middle, with a strong leaning towards an organic mix but with very strong depressive elements that kind of remind one of early Shining. Also lyrically, they resemble Shining quite a lot. Though a note I appreciate about Wrong is, that while far from spotless, the lyrics describe depression and darkness in a way that is not overly saturated, but rather relateable. Although the occasional grammar mistake, (and there are some spicy ones mind you,) the lyrics themselves pass a feeling of murky, fogged darkness that is unique to the band.

Anyway, the product itself. How does Pessimistic Outcomes fair against Memories of Sorrow? Or hell, in general in a year where it's hard to be a Black Metaller ( I know I wouldn't like to drop my album the same year Mayhem, Kampfar, and Nocturnal Breed do theirs?) After small sounds of a man grasping for air, you get treated to one of , in my opinion, cool aspets of Wrong's music- the piano. While never intrusive, the piano parts are almost always done to rather annotate and accentuate movements in the music rather than move it forwards. Thru The Grey Path To Nowhere then begins with riffs that kind of show the typicality of Wrong's music. Somewhere between melancholic beauty and absolute suicidal fog to choke on. The tortured cries that suprisingly stem from Phlegeton (if you've ever heard Wormed, you'd honestly not believe it was the same guy. Hell I talked to him and I still don't) befit the music greatly. They're not the most varied of growls, but his vocal style that is somewhere between Abbath, Attila Csihar and Nocturno Culto actually sounds great with the music. I much rather this than most DSBM's supremely high pitched shrieks ala Lifelover and others.

I guess a part of what I love about Wrong is that oldschool mentality of having many influences and kind of putting it in a cooking pot together. There are parts that wouldn't shame a much more by the book Black Metal band, especially in the drumming, but the style of the guitar work and the piano inlays recall to mind a Shining spin on Lifelover (second time mentioning both, yeah sue me.) The second track “His Hatred Breathes” to me encapsulates the beauty the depressive side of Black Metal. The nitty, depressing gritty of digging your nails through life, music to those depressing hours you lay in your bed and pass thought by thought in agony.

Meanwhile, the rest of the album continues largely along the same lines. I guess that this would be a negative for some people. Like, the songs, although not musically, tend to reflect the same types of emotions going through. Yet, what did strike me is that it didn't get boring at all. All through the title track, I was thinking about the music I was listening to, and it hit me that the emotional part speaks to you so well that you don't notice the limited color palette. Between the music and the lyrics, the shades of black are so diverse that you never really find a reason to look for other colors. This is especially clear (the opposite of black, ba dum tishhh) on my favorite track, Dragging My Soul Until The Sunset. While usually I tend to discourage bands from doing a ten plus minutes track unless they really have strong material to fill it all up, Wrong clearly did. They made a piece that really transfers the feeling of a lethargic soul, passing onto the afterlife. The many different parts of the song kind of come together as a journey to the end. 11 minutes of a slow goodbye.

Overall, the opinion thickens around the last track. This album, while not perfect, is an absolute joy for a fan of Black Metal. Is it an instant classic? No, is it a 5/5 top of the year's list release? Also no, but it's definitely a glimmering new release from a wonderful band, that seems to have their feet and nose in the right direction. I for one, would definitely keep an eye on these ruffians, with 2 great albums in 2 years, they show no signs of stopping.

Constructing Darkness- An Interview with Mikael Stanne of Dark Tranquility

Mikael Stanne of Dark Tranquility 

It seems almost so trivial right now that it's hard to imagine how new the Swedish Melodic Death Metal scene is. While the Death Metal scene is say, edging on its 30's. Meanwhile the Thrash and Heavy are hitting their 40's, the first albums of the wildly popular and wildly emulated Goteborg scene are only turning 20 now. In 20 years, these albums have had an impact which is almost unrivaled in other scenes. Bands like Dark Tranquility, At The Gates and In Flames began a revolution which sparked hundreds upon hundreds of bands worldwide who could come close, but never quite capture their spirit. Well, 20 or so years after Skydancer, I caught up with one of the most important figures of the Goteborg scene, leader and singer of Dark Tranquility, a true character of the international Metal scene, Mikael Stanne. Results ensue


B- Hallo Mikael! How are you?


M- I'm good , i'm good, i'm in Melbourne Australia right, heading to Adelaide. We're at the airport, it's very early morning here (I guess he means in the camp, as it's 2 pm over there...) and we had a fantastic show in Melbourne. Was super cool.

B- So, Dark Tranquillity is such a hard working band and something is always happening...I don't know where to start! How do you feel about your latest EP A Memory Construct?

M- I feel really strongly about it, it is a cool thing to do, something special for the second part of the tour. So we figured, we wanted to give something special to the fans who waited to see us, and it's only on vinyl, it's really cool. Totally a collectors item, and totally for the die hard fans and the collectors out there. It just seemed like something fun and special to do, and something I look forward to when I go to shows. To find something unique, something you can't get anywhere else. I actually met some guys last night who bought it on Ebay.

B- It seems almost parallel to Zero Distance, why do you feel the necessity to release it separately rather than with the whole package?

M- For sure, but it's just good to have something in between albums. Something that in itself promotes the tours. That's definitely what we did with Zero Distance, one year touring, then we released that song and continued for another. Maybe it's not something we plan on doing in advance, but it does the trick. If we have some extra songs, left over but good from the recording, that don't fit the album, then we think ah we should do something with it. So yeah, first it kind of makes sense, and it is a cool thing to do.


B- On a side note, how do you maintain such a grand amount of energy and enthusiasm 20 years into the band?

M- I donno, I think every night something gets you going. Something about the audience gets you inspired and you pull energy from it. The energy the crowd brings effects us, we're on tour, we play every night, pretty exhausting to be on the tour bus and not sleep enough. So we're traveling every day, but you spend 23 hours doing noting, waiting around, standing in line, and those 1-2 hours onstage, that's all the matters. Till that I have to make sure that we can provide the best experience for the audience that paid to see us. But I do tend to have a ton of fun on stage and I also think Melbourne last night was one of the highlights of this tour, without a doubt. Sometimes I feel the need to be a part of the crowd and just jump in (laughs.) Because it's fun, and I love, for my favorite bands, I always got front row, and feel the energy of being in the crowd. I love that feeling so. I choose to come and join them.

B- How do you feel the band life has effected your personal life?

M- It's tough but i'm used to it of course. Touring life is crazy, but at home it's sane and great. But I like it like that, my whole life together is nice, calm, and fantastic the way it is. I try to separate work and family, I mean I work from home occasionally for paperwork and stuff but try to just hang out with my family when i'm home. It's a big difference but I like the fact it keeps me balanced. You get pampered and get treated like a kid on tour sometimes, to make everything work. But at home you get to meet reality and be an adult again, do everything yourself. It's a good balance, sometimes we're all away from home for longer than we'd like. But at the same time that means that we can be home more once we finally arrive. Sometimes I hate it, being away, but at the same time I know that in 2 weeks from now i'll be home for 2 months and it'll be awesome.

B- Well! We touched on a big note, Construct, it's been out for a while now, how do you feel about it?

M- I'm really, really, really happy with it. We struggled with it for a long long time , and it took a long time for us to get into the right way and just do it. But once we finished it we were really happy with the outcome. We had a blast finishing it actually, and we play a lot of these new songs on this tour. The crowd also seems to only want more, and what better review can we possibly get?

B- You said in an interview for Terrorizer that unlike We Are The Void, that the ideas when you started writing for Construct just flowed through naturally. Why do you feel that happened? How did that effect the album?

M- I think we just, we focused on songs and melodies. It wasn't as much of a collaborative effort as We Are The Void was. We sat in the rehearsal room for a year and bounced ideas on and off, it came to the point of just being super frustrating, a lot of good things came from it. But 3 days out of 5 we did nothing. This time we though “screw it, we'll just go into the studio directly” and bounce ideas off each other there. So 3 of us started writing, splinters of songs, and we started building from there, all the sudden we had great songs and I started writing the lyrics, so we had finally new material! We've never done that before, and it made me want to write in a different way as well. As I wanted it to be very honest, very true, as the music called for it in a way. So, it's just the way of writing, and it inspired me to write lyrically differently. But the process itself for writing lyrics didn't really change, I either stay up late at night or until the morning with coffee and anxiety.

B- How is it different from previous Dark Tranquility albums?

M- The way we wrote it, made it change a lot. It wasn't just about the cool riffs or different leads. It was about the song, the power of chord progression and emotion.
What are some of the themes of the album? What would you say the lyrics and general idea are?
Basically, trust issues and skepticism i'd say. It's about personal relationships, how that effects you, about the people you trust and don't, and how you fail each other in many ways. Looking at it from a more “scientific” standpoint and less of an emotional one. It's kind of dissecting relationships, or friendships, or romance, in a cold, “scientific” viewpoint. That basically talks of issues, some of the stuff I was going through at the time, and it helped me get through the hardships I had. It's more focused, it's more honest, and because we chose * to mix it, it sounds better than everything we've ever done. You know sound is half the name of the game, as it will determine what people can hear of your work and how. I really like listening to it from a good stereo system really loud.


B- What's the idea behind the name “Construct”?

M- Construct is a construction you make up in your mind and that becomes reality. A bigger way of looking at it is also related to religion. Which is one of the things that frustrate me the most,when it comes to....everything. That people would rather believe than know, and I guess that's a part of the lyrics too. How when there are things we don't understand we like to substitute truth and substitute reality. Because we choose to believe in something imaginary, which is something you can make up in your mind, that is a construct.


B- Also, Construct has shown a major comeback in the way of the clean vocals, why do you think that they came in so strongly on here?


M- It just made sense, the songs called for it. The songs are more melodic, and focused onmelody, and it made me want to try some stuff. Because we wrote in the studio we got to experiment a lot and try out different things, so we we're like lets try more clean material. We saw how it worked, and usually , when we're in the cutting room, we're like “fuck it, it doesn't work” but with the new writing way, we had to be confident and more spontaneous. Experimental in a way. I really enjoyed it, loved it.



B- I also know Niklas (Sundin,guitars) all the artwork, how did that come about?

M- He was pretty damn hesitant at first as he was super busy with the writing of the album, and I start looking for other artists. I found a few I was drawn to colaborate with, but I didn't have a title yet. So I didn't really know what to tell the artists. Once I did, I told Niklas “what do you think about Construct?” and he was like “I love it.” Then the next morning he sent over the album cover. He was just up all night, painting it, completing it. I was really happy , as I always want Niklas to do the cover but he feels sometimes that he doesn't have the time or hes busy doing other stuff. We use it as a backdrop in our live show as well and everything.


B- In addition, for the 20 years anniversary of Skydancer, lets go a bit back. How would you describe the early days of DT? Those times were probably very different from what the band is like now?

M- Oh wow, we were just kids you know. 19 when we wrote Skydancer. We had all these grand ideas, we were like “holy shit, we gotta record an album, lets make the most out of it.” We wanted everything, you know, we wanted orchestra, keyboards, female vocals, and we wanted it to sound epic and majestic. We had all these grand ideas that now seem pretentious looking back. Recording it was kind of a reality check, and for me, it was an experience. We found early on, “oh yeah , it doesn't work” and not everything sounds great in the studio, it depends on how you play! So we took our time, practiced a lot. Hours, days, weeks to record album. We don't have much to show for it (laughs) but it was a ton of fun and I remember it fondly. I just remember being frustrated not being able to put in all the stuff we wanted.




B- Are there any plans of including more Skydancer materials in the set-list now?

M- Yeah, we used to do one Skydancer song with a guest vocalist, which we haven't done since. Which is really sad, we tried some songs out to see if it works, but it didn't work out. When we did preform A Bolt of Blazing Gold, it was with Mariangela Demurtas of Tristania, who joined us every night onstage for that song. But she probably won't do it again.

B- First and foremost, one of the few factual questions in this interview, how did you come in contact with the band?

M- It was Niklas and I sitting in our living rooms. We rented guitars and talked to friends from our same street, like “hey man, you wanna be in a band? You can play drums, you can play bass,s you can sing.” We formed the band out of boredom, at the time we just sat around and tried to figure out how to play music based on our favorite albums. Just try to sound as cool as them, we pretty much grew up together. Niklas and I are for example friends since we were 6 years old.

B- Why did you transition from guitars to vocals?

M- Oh I don't know. I wanted to be a singer I guess, I didn't feel comfortable playing guitar. Every rehearsal I was singing when Anders wasn't around, and it was just what I wanted to do. So when, after we recorded Skydancer, I told Anders that I wanted to be the singer, and he said fine, but he can't play the guitar parts. So he took over my old position in In Flames and I did the opposite. It just fit me better, as DT was my main band, and I just love screaming, I love making noise, expressing myself in a way. Of course it had its ups and downs, sometimes you feel really shitty about what you do, and sometimes you feel really great about what you do. But now, 25 years later I can see I made the right choice.

B- How do you feel you've developed as a musician/artist since the early days of Dark Tranquility?



M- I mean in the beginning it was all about trying to sound as good as my favorite vocalists. Like Mille Petrozza, David Vincent and stuff like that, now a days I am looking for emotions rather than a pure sound. I want to convey the lyrics in a way, I want people to really get what the song is about and how I feel about that. It's something you learn along the way, it's a different form of expression than just screaming your lungs out. But this is how it becomes nuanced and interesting. That's the biggest challenge,but it's the one I enjoy the most.

B- And perhaps most importantly, how do you feel the Metal scene around you has changed since those days? How do you feel the Swedish Metal scene has changed since the days DT ATG and IF were neighbors

M- There's a lot more bands now, of course when we started it was super tiny. A couple of bands popped up in the early 90's, but it was still like a “secret society” type thing. There were a couple of bands in Stockholm and a couple of bands in Gothenburg, and the number was increasing. But now, it's a fantastic music scene. I meet people all the time who show me there stuff and I listen to new bands, I still go to shows pretty much every week. It's really exciting, especially now as people have stopped comparing themselves to us, or At The Gates, or for the matter, Entombed. A lot of bands find their own identity, and the weekly shows have helped bands get nicer venues to preform in.

B- How do you feel about the explosion in popularity of Melodic Death Metal or Gothenburg Death Metal since the early days?

M- I remember being frustrated around 96' or 97' , that all the sudden we were lumped together as one sound, or one style of music. Because we were definitely trying to sound original, but now I just don't care. As long as people appreciate what we do, and what our friends do, I don't mind. It even became like a seal of quality, the “Gothenburg sound.” Ofcourse I remember when we did Skydancer, and people didn't get what we did at all. We were too melodic to be Death Metal and too angry to be Power Metal or whatever, nobody really understood. We thought “you'll get it eventually.” We just kept doing what we were doing, and sure enough, people got it. Powerful, emotional, and inventive music. We never had to compromise outside of the band. We're still doing it, and it's a great accomplishment.

B- Speaking of which, ATG working on a new album, any comments about that?

M- Really really excited, I spoke to Anders yesterday a little bit, and he's just been writing and writing and writing. It'ss really cool, I know it's an enormous amount of pressure on them, but i'm glad they've finally decided to do it. There's been talk for years and years, and years but they've always been like ahhhhh we don't know, we'll see, but now it's finally here. I'm super excited, and i've heard a few demos, couldn't be happier.


B- So Israel for the second time in what, two years! How do you feel?

M- I feel really good, we had such a fantastic time last time. We've been talking to Yishai, the promoter, who's a really cool guy, and he told us “we want you guys to come back.” So we said fuck yeah we'll come! So, really really nice.

B- Any special plans for your trip here?

M- Not that I know of, unfortunately. We're only gonna be there for the day as afterwards we're headed straight to Greece. Last time we went sight seeing and to Jerusalem, but this time it's get in, play, scream, get drunk, and leave!

B- What's after? What's in Dark Tranquility's nearby future after the excursion here?

M- We do two more shows, and then we get a month off. Which is nice, as we've been touring pretty constantly since November. Then we have a week in Russia in May I think, then we take the summer off. Only festivals. For the fall there'll be some more touring, probably one more in Europe and one more in the USA.

B- And last but not least, a word to the crowd?
M- We're just super happy to get the chance to come back. We'll have a cool night, a cool show, and we're looking forward to it.