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◆出所
「SMNnews」
http://www.smnnews.com/interviews/satyr.php
◆本文
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Satyr, vocals - SATYRICON - April 18th, 2003
Satyricon's ultimate return to the USA - What did frontman Satyr have to say?
by Rod Breslau, Mike Solomon - SMNnews.com
−−−本文開始−−−
SMNnews: Satyr, how has the tour been so far?
Satyr: We’ve been haunted by technical difficulties so far, but we’ve received very good receptions from every crowd.
SMNnews: Alright, well I’m just going to run down the list and ask you some questions. How has the tour been so far with Trym instead of Frost?
Satyr: Well, obviously he came in at the very last minute, so a lot of it has been trying to get everything together, rehearsing, even in the bus with a track CD and drum pads. So he’s getting there, getting better and better every night, but obviously it’s hard for him to come in at the very last minute. But as I said, this tour has been haunted by technical problems for us, but we’re still getting a really good reception every night.
SMNnews: So the fans have reacted well even though Frost wasn’t there?
Satyr: I think they appreciate the fact that we still made it, you know?
SMNnews: You haven’t been to the United States since 1999, I think with Immortal…
Satyr: 2000.
SMNnews: …do you guys have any future touring plans for the United States?
Satyr: We’re still working on the situation with Frost, and it’s also a question of how long tour support busses are going to last. But we plan to do as much as possible throughout 2004. Joey Jordison wants to bring the band out with SLIPKNOT, there are a lot of prospects like that. We want to do a headlining tour where we can play all of our songs and present the full thing.
SMNnews: Is EatUrMusic doing well for you? Is it a good label?
Satyr: The label seems to be in many ways to have sort of a “startup disease” in the way that it’s a new label. But at the same time you’ve also got the fine tuned machinery of Columbia Records as it is a sub-label of Columbia. The first impression was really good, and we’ll see how it goes.
SMNnews: I’ve seen commercials on MTV already and FUSE, are they planning on hitting the American market hard with promotion?
Satyr: I think they are, there are always limits for how hard they are going to hit with a black metal band, but this being a black metal band and a black metal record, they have high ambitions for the band, and that’s why we chose to work for them.
SMNnews: Is there any reason you picked EatUrMusic over Century Media and the like?
Satyr: Yea, because we wanted someone with high ambitions on the bands behalf, and that was the problem that we were facing. You have a good label such as Century Media, but they realize SATYRICON is a popular band, and they like it, but to me it doesn’t seem like they think that we can become the band we are in Europe, in America, and EatUrMusic definitely had those kind of ambitions, so that’s why we went for them, also for nationwide distribution and all that.
SMNnews: Some people think that because you signed to a sub-label of Columbia, that fans think you’re not as black metal anymore, or have sold out so to speak, what do you think?
Satyr: Who is black metal in America? Black metal is a new thing in America and we’ve been doing this forever. If anyone was to ever question a band like SATYRICON it would be absolutely ridiculous (laughs).
SMNnews: I know you’re going to be on Headbanger’s Ball next week, did the shoot go well?
Satyr: That went well, it was really cool. You know I grew up watching Headbanger’s Ball. I guess you had a different thing in America, but in Europe it was Vanessa Warwick who hosted Headbanger’s Ball and it was on from midnight to 2AM on Sundays, so it wasn’t like the best time having to get up on Monday morning to go to school. And I taped all the shows, so it’s cool to be on Headbanger’s Ball.
SMNnews: Who were you’re influences back then?
Satyr: My influences back then, musically? I started writing music when I was 16 and I guess I didn’t have any influences as far as “I want to sound like this or that band”, it’s just more a question of trying to find my own way of doing things, my own style. That is why SATYRICON is a respected band because other respected bands, we represent a direction of our own. That should be any songwriter and band’s goal, finding your own ways.
SMNnews: So since you’re going to be on Headbanger’s Ball, the “Fuel For Hatred” video was already played, do you plan on making another one for “Volcano”?
Satyr: Ahh… there’s no budget for that. It cost a lot of money to work with Jonas Åkerlund and also making the American version of the video cost a lot of money. But for the next record we’re working with him again and I am very much looking forward to that because working with him is one of the most memorable moments of my entire musical career.
SMNnews: Will we ever see the “Mother North” video on Headbanger’s Ball?
Satyr: Umm… I kind of doubt that.
SMNnews: For the setlist, I’ve heard that you play a lot of songs off of “Volcano”, is that because Trym just couldn’t learn all the songs in time?
Satyr: In Europe when we toured for the album, we did a full headlining set, we had a couple of songs from “The Shadowthrone”, three songs from “Nemesis Divina”, two or three songs from “Rebel Extravaganza”, four or five songs from “Volcano”, and I guess one song off of the first album too. But now there is no time for that, we wanted to promote the new record in America, and we try and put at least two older songs every night, at least two. Sometimes they give us thirty minutes, sometimes they give us forty minutes, I guess tonight we’re playing three or four “Volcano” songs and a couple of old songs.
SMNnews: Are you guys happy with “Volcano” in general as an album.
Satyr: No, not at all (laughs). I think it’s the best SATYRICON album ever. It has probably the best combination of what I’m looking for in music, atmosphere and directness in a very aggressive way. And that’s a very underestimated combination, that’s really hard to make something that’s atmospheric and aggressive at the same time. Usually you have those mellow, down key records that are the kind of records you want to listen to with the lights down and just chill, or you have the brutal records. But to find a combination that works without sounding like it’s reaching in too many directions at the same time is hard, and I think we succeeded with that fully for the first time and I also like the production on this record better than any production we’ve ever done before.
SMNnews: Have the older fans of the older music reacted well to “Volcano”?
Satyr: Extremely well. We’re very happy that we’ve gained respect and credit for the work we’ve done on this record from all the old school people, and at the same time gaining new fans the entire world over.
SMNnews: Some die-hard fans have commented about the new SATYRICON, saying it’s too far from what it used to be. I mean, the sound isn’t that much different from “The Shadowthrone” to here, but would you consider doing an album with a sound reminiscent of your older work?
Satyr: I think anyone saying that it’s weird that an album from 2004 sounds different from an album from 1994 has got to be completely retarded. Of course! It’s ten years! Do people expect an artist to have no creative progression and development or maturity? I mean, we move forward, that’s what we strive for, it’s not only something that just happens, that’s what we’re looking to do. Satyricon is based on a really solid foundation and then we go from there. And since that foundation is so solid, that’s why we feel very confident and calm about it. We’re not stressed and we’re not trying to fit with a flavor of the month for the market. We do what we do because we know that we’re doing the right thing.
SMNnews: With EMPEROR and IMMORTAL retiring recently and other bands like WINDIR not being able to continue, what are your thoughts on the black metal scene of today.
Satyr: Well, I guess WINDIR were not really one of the big bands, but still, I think that DARKTHRONE, which are to me, and to many others, the most important band Norway and the scene has ever had, actually more important than MAYHEM. They’re still around, they have a new album called “Sardonic Wrath” coming out in September. MAYHEM just came out with a new album that I haven’t heard much of yet but supposedly it’s really good. DISIPLIN, a new band, came out with their self-titled record about six months ago, it’s probably the most promising Norwegian black metal band in seven or eight years. And out of the ashes of EMPEROR came ZYKLON. We’re doing good.
SMNnews: Is Moonfog doing well?
Satyr: Yea, it’s good.
SMNnews: I know DODHEIMSGARD have been in the studio for like three years or something…
Satyr: A year, since June last summer. You know what, when it comes to them, I just don’t pay attention, I’m like “Ok, just do whatever you want and tell me when you’re done” because they have their own way of doing things and they’re a bit difficult to deal with. But I love what they do, and I like the guys, I just let them do what they want to do, and if it takes two or three years, it doesn’t matter, they’ll give me the master when it’s finished (laughs).
SMNnews: Have you guys been writing new material?
Satyr: A little bit. I don’t like touring and writing new music at the same time. I don’t feel like I have to either, I’m not in a hurry. But obviously, in between tours I get a little bit of time to sit down as long as I’m inspired. I have the main theme for maybe six or seven songs, but I’m not going to start working on that for real until probably the end of the year when I can actually sit down and work for months and months.
SMNnews: Do you think you’ll tour more?
Satyr: I don’t think we’ll tour Europe that much more with this record…
SMNnews: Do you think you’ll come back here?
Satyr: Yea.
SMNnews: Any rumored tours you would come back on, anything trying to be put together? Like the olden days or the super tours with IMMORTAL and EMPEROR and everyone on one tour?
Satyr: I would love for something like that to happen. I know that SLIPKNOT wants to bring SATYRICON out in the states. We want to do a headlining tour of our own, and I said to our agent that I think it would be cool to bring ENSLAVED and ZYKLON, and if Moonfog could afford it, I’d definitely like to bring DISIPLIN, but it all depends. It’s hard for Norwegian bands to come tour because it costs a lot just to get here.
SMNnews: With issues, and papers, and busses and…
Satyr: Yea…
SMNnews: What differences have you noticed between the United States crowds and the European crowds?
Satyr: As I said when we started this interview, there is no black metal scene in America, there are no black metal people in the same way that there are black metal people in Europe, I mean, of course there are very few, but not thousands and thousands like you have in Europe. I guess that’s why we’re here now, because it’s happening now. This is what European bands have been waiting for, because death metal died in Europe almost ten years ago. And when I say died, I mean really dead, no one cares about death metal. There are a few bands that lived through it like MORBID ANGEL, obviously because they’re such a great band, and a handful of examples, but as far as the scene goes, completely dead. Me and my friends are always wondering “How come this shit doesn’t make it to America?” and the answer for that is probably lack of distribution, no bands on tour. Seems to me throughout the last years there have been some entry level black metal bands making it here in the states, and that has created an opening for the real bands to come over, and that’s what we’re seeing now. That’s also good for SATYRICON to have the opportunity to take part in shaping a black metal scene which is now on the rise in America. I’d much rather have a band like ourselves and our colleagues in Norway shape the direction of an American black metal scene as the entry level bands that have been touring as of lately.
SMNnews: Do you think it will take off?
Satyr: Well, it’s very much up to you guys, but I think the possibility is there now with bands getting better distribution and getting the chance to go out on tour. But I want to see black metal culture. I think that’s what we need. We need people who are willing to live the black metal life. The way it has been before, you just have all these people and you know they’re not into it for real and they say “Ahh… that was some kick ass shit” and you’re just like “Yea, whatever”, because you know that they’re not into what black metal is about. But, there are very few people who understand it, and now, the chance is there to establish it for real.
SMNnews: There’s a guy called Kyle, he works for KEP Productions he does ABAZAGORATH and ENGORGE, some of the United States underground black metal bands. He started “The Black Circle”, which is supposedly like what the inner circle was back in the day for the American scene, and he’s trying to resurrect the black metal feeling back here in America. Do you think that would work at all
Satyr: Uhh… no, I don’t think so. But I think what’s going to help it is that there are some people that have been around for a long time trying to show… Ok, see, this is what I think black metal culture is about. When SATYRICON did a cover of “INRI” by Sarcófago, to me, that’s black metal culture, because that is a very important band that no kid would ever pick up on if a band like SATYRICON, EMPEROR, MAYHEM, or some contemporary band did a cover version of them. Stuff like that, that is what’s going to help start black metal culture, because they have to know the roots of black metal, they have to understand that it came from VENOM, BATHORY, CELTIC FROST, POSSESSED, all these bands, and then you have the second wave with DARKTHRONE, MAYHEM, SATYRICON, EMPEROR, BURZUM, ENSLAVED, all these bands. And you kind of have to understand where it’s coming from, to live, breathe, eat, sleep black metal and understanding the culture and the music has a lot to do about historical incite. And I think what’s going to introduce that are people with experience from the scene. And not necessarily having an inner circle or black circle.
SMNnews: Just one more question, a fan wrote this on the site, I’m not exactly sure what it refers to, but is that really Lene Marlin on the DVD?
Satyr: It was just a funny thing. We were playing in Italy, and there was someone who looked incredibly like her. It looked like her, the way she looked at the time, and we were like “What the fuck?”, it was like a stand-in, so we filmed her.
SMNnews: So it wasn’t her then?
Satyr: No, no its fake.
SMNnews: Ok, that’s it.
Satyr: Thank you very much.
−−−本文終了−−−
◆備考
下記、mp3フォーマットでも聞けます。
http://www.smnpromotions.com/sin/satyriconi.mp3
「SMNnews」
http://www.smnnews.com/interviews/satyr.php
◆本文
−−−ヘッダ−−−
Satyr, vocals - SATYRICON - April 18th, 2003
Satyricon's ultimate return to the USA - What did frontman Satyr have to say?
by Rod Breslau, Mike Solomon - SMNnews.com
−−−本文開始−−−
SMNnews: Satyr, how has the tour been so far?
Satyr: We’ve been haunted by technical difficulties so far, but we’ve received very good receptions from every crowd.
SMNnews: Alright, well I’m just going to run down the list and ask you some questions. How has the tour been so far with Trym instead of Frost?
Satyr: Well, obviously he came in at the very last minute, so a lot of it has been trying to get everything together, rehearsing, even in the bus with a track CD and drum pads. So he’s getting there, getting better and better every night, but obviously it’s hard for him to come in at the very last minute. But as I said, this tour has been haunted by technical problems for us, but we’re still getting a really good reception every night.
SMNnews: So the fans have reacted well even though Frost wasn’t there?
Satyr: I think they appreciate the fact that we still made it, you know?
SMNnews: You haven’t been to the United States since 1999, I think with Immortal…
Satyr: 2000.
SMNnews: …do you guys have any future touring plans for the United States?
Satyr: We’re still working on the situation with Frost, and it’s also a question of how long tour support busses are going to last. But we plan to do as much as possible throughout 2004. Joey Jordison wants to bring the band out with SLIPKNOT, there are a lot of prospects like that. We want to do a headlining tour where we can play all of our songs and present the full thing.
SMNnews: Is EatUrMusic doing well for you? Is it a good label?
Satyr: The label seems to be in many ways to have sort of a “startup disease” in the way that it’s a new label. But at the same time you’ve also got the fine tuned machinery of Columbia Records as it is a sub-label of Columbia. The first impression was really good, and we’ll see how it goes.
SMNnews: I’ve seen commercials on MTV already and FUSE, are they planning on hitting the American market hard with promotion?
Satyr: I think they are, there are always limits for how hard they are going to hit with a black metal band, but this being a black metal band and a black metal record, they have high ambitions for the band, and that’s why we chose to work for them.
SMNnews: Is there any reason you picked EatUrMusic over Century Media and the like?
Satyr: Yea, because we wanted someone with high ambitions on the bands behalf, and that was the problem that we were facing. You have a good label such as Century Media, but they realize SATYRICON is a popular band, and they like it, but to me it doesn’t seem like they think that we can become the band we are in Europe, in America, and EatUrMusic definitely had those kind of ambitions, so that’s why we went for them, also for nationwide distribution and all that.
SMNnews: Some people think that because you signed to a sub-label of Columbia, that fans think you’re not as black metal anymore, or have sold out so to speak, what do you think?
Satyr: Who is black metal in America? Black metal is a new thing in America and we’ve been doing this forever. If anyone was to ever question a band like SATYRICON it would be absolutely ridiculous (laughs).
SMNnews: I know you’re going to be on Headbanger’s Ball next week, did the shoot go well?
Satyr: That went well, it was really cool. You know I grew up watching Headbanger’s Ball. I guess you had a different thing in America, but in Europe it was Vanessa Warwick who hosted Headbanger’s Ball and it was on from midnight to 2AM on Sundays, so it wasn’t like the best time having to get up on Monday morning to go to school. And I taped all the shows, so it’s cool to be on Headbanger’s Ball.
SMNnews: Who were you’re influences back then?
Satyr: My influences back then, musically? I started writing music when I was 16 and I guess I didn’t have any influences as far as “I want to sound like this or that band”, it’s just more a question of trying to find my own way of doing things, my own style. That is why SATYRICON is a respected band because other respected bands, we represent a direction of our own. That should be any songwriter and band’s goal, finding your own ways.
SMNnews: So since you’re going to be on Headbanger’s Ball, the “Fuel For Hatred” video was already played, do you plan on making another one for “Volcano”?
Satyr: Ahh… there’s no budget for that. It cost a lot of money to work with Jonas Åkerlund and also making the American version of the video cost a lot of money. But for the next record we’re working with him again and I am very much looking forward to that because working with him is one of the most memorable moments of my entire musical career.
SMNnews: Will we ever see the “Mother North” video on Headbanger’s Ball?
Satyr: Umm… I kind of doubt that.
SMNnews: For the setlist, I’ve heard that you play a lot of songs off of “Volcano”, is that because Trym just couldn’t learn all the songs in time?
Satyr: In Europe when we toured for the album, we did a full headlining set, we had a couple of songs from “The Shadowthrone”, three songs from “Nemesis Divina”, two or three songs from “Rebel Extravaganza”, four or five songs from “Volcano”, and I guess one song off of the first album too. But now there is no time for that, we wanted to promote the new record in America, and we try and put at least two older songs every night, at least two. Sometimes they give us thirty minutes, sometimes they give us forty minutes, I guess tonight we’re playing three or four “Volcano” songs and a couple of old songs.
SMNnews: Are you guys happy with “Volcano” in general as an album.
Satyr: No, not at all (laughs). I think it’s the best SATYRICON album ever. It has probably the best combination of what I’m looking for in music, atmosphere and directness in a very aggressive way. And that’s a very underestimated combination, that’s really hard to make something that’s atmospheric and aggressive at the same time. Usually you have those mellow, down key records that are the kind of records you want to listen to with the lights down and just chill, or you have the brutal records. But to find a combination that works without sounding like it’s reaching in too many directions at the same time is hard, and I think we succeeded with that fully for the first time and I also like the production on this record better than any production we’ve ever done before.
SMNnews: Have the older fans of the older music reacted well to “Volcano”?
Satyr: Extremely well. We’re very happy that we’ve gained respect and credit for the work we’ve done on this record from all the old school people, and at the same time gaining new fans the entire world over.
SMNnews: Some die-hard fans have commented about the new SATYRICON, saying it’s too far from what it used to be. I mean, the sound isn’t that much different from “The Shadowthrone” to here, but would you consider doing an album with a sound reminiscent of your older work?
Satyr: I think anyone saying that it’s weird that an album from 2004 sounds different from an album from 1994 has got to be completely retarded. Of course! It’s ten years! Do people expect an artist to have no creative progression and development or maturity? I mean, we move forward, that’s what we strive for, it’s not only something that just happens, that’s what we’re looking to do. Satyricon is based on a really solid foundation and then we go from there. And since that foundation is so solid, that’s why we feel very confident and calm about it. We’re not stressed and we’re not trying to fit with a flavor of the month for the market. We do what we do because we know that we’re doing the right thing.
SMNnews: With EMPEROR and IMMORTAL retiring recently and other bands like WINDIR not being able to continue, what are your thoughts on the black metal scene of today.
Satyr: Well, I guess WINDIR were not really one of the big bands, but still, I think that DARKTHRONE, which are to me, and to many others, the most important band Norway and the scene has ever had, actually more important than MAYHEM. They’re still around, they have a new album called “Sardonic Wrath” coming out in September. MAYHEM just came out with a new album that I haven’t heard much of yet but supposedly it’s really good. DISIPLIN, a new band, came out with their self-titled record about six months ago, it’s probably the most promising Norwegian black metal band in seven or eight years. And out of the ashes of EMPEROR came ZYKLON. We’re doing good.
SMNnews: Is Moonfog doing well?
Satyr: Yea, it’s good.
SMNnews: I know DODHEIMSGARD have been in the studio for like three years or something…
Satyr: A year, since June last summer. You know what, when it comes to them, I just don’t pay attention, I’m like “Ok, just do whatever you want and tell me when you’re done” because they have their own way of doing things and they’re a bit difficult to deal with. But I love what they do, and I like the guys, I just let them do what they want to do, and if it takes two or three years, it doesn’t matter, they’ll give me the master when it’s finished (laughs).
SMNnews: Have you guys been writing new material?
Satyr: A little bit. I don’t like touring and writing new music at the same time. I don’t feel like I have to either, I’m not in a hurry. But obviously, in between tours I get a little bit of time to sit down as long as I’m inspired. I have the main theme for maybe six or seven songs, but I’m not going to start working on that for real until probably the end of the year when I can actually sit down and work for months and months.
SMNnews: Do you think you’ll tour more?
Satyr: I don’t think we’ll tour Europe that much more with this record…
SMNnews: Do you think you’ll come back here?
Satyr: Yea.
SMNnews: Any rumored tours you would come back on, anything trying to be put together? Like the olden days or the super tours with IMMORTAL and EMPEROR and everyone on one tour?
Satyr: I would love for something like that to happen. I know that SLIPKNOT wants to bring SATYRICON out in the states. We want to do a headlining tour of our own, and I said to our agent that I think it would be cool to bring ENSLAVED and ZYKLON, and if Moonfog could afford it, I’d definitely like to bring DISIPLIN, but it all depends. It’s hard for Norwegian bands to come tour because it costs a lot just to get here.
SMNnews: With issues, and papers, and busses and…
Satyr: Yea…
SMNnews: What differences have you noticed between the United States crowds and the European crowds?
Satyr: As I said when we started this interview, there is no black metal scene in America, there are no black metal people in the same way that there are black metal people in Europe, I mean, of course there are very few, but not thousands and thousands like you have in Europe. I guess that’s why we’re here now, because it’s happening now. This is what European bands have been waiting for, because death metal died in Europe almost ten years ago. And when I say died, I mean really dead, no one cares about death metal. There are a few bands that lived through it like MORBID ANGEL, obviously because they’re such a great band, and a handful of examples, but as far as the scene goes, completely dead. Me and my friends are always wondering “How come this shit doesn’t make it to America?” and the answer for that is probably lack of distribution, no bands on tour. Seems to me throughout the last years there have been some entry level black metal bands making it here in the states, and that has created an opening for the real bands to come over, and that’s what we’re seeing now. That’s also good for SATYRICON to have the opportunity to take part in shaping a black metal scene which is now on the rise in America. I’d much rather have a band like ourselves and our colleagues in Norway shape the direction of an American black metal scene as the entry level bands that have been touring as of lately.
SMNnews: Do you think it will take off?
Satyr: Well, it’s very much up to you guys, but I think the possibility is there now with bands getting better distribution and getting the chance to go out on tour. But I want to see black metal culture. I think that’s what we need. We need people who are willing to live the black metal life. The way it has been before, you just have all these people and you know they’re not into it for real and they say “Ahh… that was some kick ass shit” and you’re just like “Yea, whatever”, because you know that they’re not into what black metal is about. But, there are very few people who understand it, and now, the chance is there to establish it for real.
SMNnews: There’s a guy called Kyle, he works for KEP Productions he does ABAZAGORATH and ENGORGE, some of the United States underground black metal bands. He started “The Black Circle”, which is supposedly like what the inner circle was back in the day for the American scene, and he’s trying to resurrect the black metal feeling back here in America. Do you think that would work at all
Satyr: Uhh… no, I don’t think so. But I think what’s going to help it is that there are some people that have been around for a long time trying to show… Ok, see, this is what I think black metal culture is about. When SATYRICON did a cover of “INRI” by Sarcófago, to me, that’s black metal culture, because that is a very important band that no kid would ever pick up on if a band like SATYRICON, EMPEROR, MAYHEM, or some contemporary band did a cover version of them. Stuff like that, that is what’s going to help start black metal culture, because they have to know the roots of black metal, they have to understand that it came from VENOM, BATHORY, CELTIC FROST, POSSESSED, all these bands, and then you have the second wave with DARKTHRONE, MAYHEM, SATYRICON, EMPEROR, BURZUM, ENSLAVED, all these bands. And you kind of have to understand where it’s coming from, to live, breathe, eat, sleep black metal and understanding the culture and the music has a lot to do about historical incite. And I think what’s going to introduce that are people with experience from the scene. And not necessarily having an inner circle or black circle.
SMNnews: Just one more question, a fan wrote this on the site, I’m not exactly sure what it refers to, but is that really Lene Marlin on the DVD?
Satyr: It was just a funny thing. We were playing in Italy, and there was someone who looked incredibly like her. It looked like her, the way she looked at the time, and we were like “What the fuck?”, it was like a stand-in, so we filmed her.
SMNnews: So it wasn’t her then?
Satyr: No, no its fake.
SMNnews: Ok, that’s it.
Satyr: Thank you very much.
−−−本文終了−−−
◆備考
下記、mp3フォーマットでも聞けます。
http://www.smnpromotions.com/sin/satyriconi.mp3
◆出所：
「Chronicles Of Chaos」
【http://www.chroniclesofchaos.com/articles/chats/1-259_satyricon.aspx】
◆本文：
−−−ヘッダ−−−
In a Moment of Clarity, the Rebels Return
CoC talks to Satyr of Satyricon (again)
by: Paul Schwarz
Some of you may recall CoC featuring Satyricon back in #38. Then, _Rebel Extravaganza_ was but a speck on the musical horizon scheduled for completion and subsequent release when the heat of Summer would be fading into memory and the cold of Autumn approaching. It is somehow appropriate that _Rebel Extravaganza_ was unleashed as one season was at the point of turning into another, for it marks not only a new direction for the band but, I would certainly argue, a new era in black metal. A bold statement? Maybe, but certainly if such statements can ever be justified, then they can be justified in the case of Satyricon. You can decide for yourself whether you agree with me about _Rebel Extravaganza_, and in the meantime, if you are interested in the ideas behind it or just the life that the members of Satyricon lead, you can check out this interview. I hope it answers your questions, or at least questions your preconceived answers.
−−−本文開始−−−
CoC: How are you doing?
Satyr: Well, it could have been better, because there has been a lot of stress. In order to save money, Nuclear Blast has sent us around Europe with some sort of travel agency, so we had to get up at five o'clock this morning to catch the plane, and everything was extremely delayed. And on top of that, they didn't manage to get Frost's luggage on the aircraft, so we don't know where that's at, and then we came here and it's an extremely nice office they've got. They showed us their new band room and that's really cool and then they put up the phones to do the interviews and just said, "You can't smoke here". And I said, "Are you serious this is a heavy metal label? And this is the band room and you can't smoke cigarettes in here?" And they said no. And I said I would anyway, but they said they were serious, so, it seems, I can't.
CoC: When we talked before you mentioned that for _Rebel Extravaganza_ you'd be using a lot of other players for the album -- different contributors. I was wondering how well that worked out in the end in terms of the results.
S: I was very happy with it. I mean, what I've always said about the contributions those people made is that none of them really did that much because they really just did the odd riff here and there, but the small things they did were very important for the totality of the album. I mean, Fenris only played tambourine on one riff, and we had SW from Thorns just doing some extra guitar in the odd place here and there, but it's often like that; all those small things. So I was really happy with that.
CoC: The hidden "intro" at the beginning of the album, is that what Grotsky [Apotygma Bezerk (thanks again, Josh) --Paul] contributed?
S: No. That's not really a hidden intro; what it is, is the song "Down South, Up North". The thing is when we did "Down South, Up North" -- which is like the ninth track on the album --, when I started listening to the songs and picking the order and all that, I just thought to myself that there was a sort of, how should I put it?, destruction.
CoC: You mean by having "Down South, Up North" as the ninth track?
S: Yeah. It was something that broke the continuous feeling that I wanted. And at the same time I didn't want to just put it away, because I was happy with the way it turned out; it just didn't fit in with my idea of the continuous feeling of the album. So what we did was just take that little part and make it some sort of, how do you call it?, interlude, or something like that, and we just put the song in front instead of after the songs, because putting it after the songs is so dull.
CoC: So the ninth track is now a different intro?
S: No, track number nine is just an excerpt from "DS,UN". It has just been taken out of the song, really, cut out and pasted into a new place. So it is exactly the same.
CoC: Personally, I felt that there's quite an interesting raw and bare approach to _Rebel Extravaganza_. It is almost an industrial approach, I'd say, in terms of the structure of the album...
S: Very primal.
CoC: Yeah, but it is played in what I'd call a black metal style. I was wondering if this was a feel you were -intending- to get?
S: Yeah. I mean, the fans and the press have been saying that we're becoming an industrial band. We always felt like we were a progressive black metal band and that part of being progressive is adding new elements to the music. This time around I felt that the next step should be something a bit more fresh and modern and one of the things we did was that we basically stopped using the old-fashioned keyboards and started working on this whole analogue sense instead. In the past, we usually, if we felt something was missing -- something which we couldn't put our finger on or something else --, we would try with a synthesiser, and this time we tried either with adding more guitar -- or with weird effects on the guitars and stuff like that -- or we tried working with samples or sound effects, whatever. Just another way of approaching things. So, to me, this is very, very black metal, but it's got that fresh and modern spice to it. And that was the intention from the start. It is also obviously very important to us to do something which is challenging for ourselves. It is really boring to do the same thing all over again.
CoC: Unfortunately I only have a promo with no lyrics sheet, so could you tell me about the kind of lyrics you've written for the album, the themes you've concentrated on? Because one of the things I've noticed, and a couple of people I know have mentioned, is that you actually have swearing on _RE_, which you seem to have used pretty effectively, but that is a slight difference and I think the lyrical themes are a little bit more modern and maybe even slightly urban, though I'm not sure about that.
S: The English have been saying that, actually. It's only English people who've mentioned both the swearing and the urban themes. There might be some truth to that; if you listen to Cypress Hill there's really no effect, because they're just saying "motherfucker" this and that all the time. So the swearing becomes desensitised. So the thing was basically about just like underlining the statement with swearing as you would do in normal life. That's a bit different from country to country. I know the Swedes, they just keep on going like, "Hello, Satyr, fucking good seeing you again". That's how they are, but that's not the thing in Norway: you use your swearing when you're pissed off -- you want to underline something, and you swear. That is what I did, and it felt natural, really. I've been trying to use quite direct language, as I felt that the music is quite direct and the same goes for vocal production. I tried to take off the reverb on vocals in order to get the vocals more up-front and closer [to the listener]. That's very important. If you have a lot of this chorus and reverb, the vocals get really distant, and for me it is not about level, having it loud enough, it's just like having it up-front, so then you need to go easy on the reverb. With the lyrics as well, it was all part of the process of being direct and the lyrics are very direct in the sense that there's no sophisticated language at all. I guess in a way you could call it some kind of futuristic street language or something. <chuckles>
CoC: I completely agree that it is not as complex, but from the actual song titles I imagine the lyrics behind them seem to be a lot more metaphorical and a lot less literal on _RE_. _Dark Medieval Times_, _The Shadowthrone_ and _Nemesis Divina_ were a little more like storytelling, whereas this is more like you're expressing your feelings through some kind of metaphor, like "Havoc Vulture" and "Supersonic Journey".
S: Yeah. Absolutely correct. I mean, the thing is I like working with metaphors a lot, you know, and it's always... I like, in a way, the middle way -- sometimes a tree is a tree, you know, and it shouldn't be called anything more than a tree. But, you know, other times you could go a little bit further and... there is an expression in Norwegian called <goruns greten>, which means adding all that unnecessary stuff in order to make it sound bigger and more poetic and all that. Then like working a little bit in-between in that grey sound you have there, and that's maybe where those metaphors come in. The new lyrics are basically very much a reflection of whatever is going on in my mind at the time. I mean, there's a lot of people -- you haven't read all the lyrics, have you?
CoC: I haven't been able to read any of them, I haven't got a lyrics sheet.
S: OK. No, because there is a line which is not being sung, but in the lyrics of "Tied in Bronze Chains", it says: "Where have all the flowers gone in October 1997", and I don't sing "...in October 1997", but it says that in the booklet. [In fact, what is written in the booklet is actually "(So) where do all the flowers come from (in October 1997)", and that is what he sings (without the October part). --Pedro] The reason for that was that I was using a metaphor of a certain feeling that I had -in- October 1997. So, the reason for me saying that is just to make it even more clear that it's a reflection of whatever is going on in my mind at the time. As we were using a metaphor in that lyric about something very specific right then, you know. It was not a general state of mind. It was a state of mind in October 1997.
CoC: Moving on to the choice of title. I think in some ways you've rebelled with this album, against certain trends in black metal, or just certain tendencies black metal bands have these days: you've gone less symphonic when it is becoming more popular to be more symphonic. So, does the title reflect that, that you're trying to -rebel- against that?
S: It is, a bit. The title is reflecting a bit of the lyrical and the musical content of the album, and also the attitude behind the album. It also reflects a little bit what Satyricon is about, because Satyricon is a little bit extravagant and a little bit controversial. That's it, really.
CoC: I was going to focus quickly on your use of the word "extravaganza". I pedantically looked it up in the dictionary and it was listed as being any "lavish or fanciful display in composition" [Collins English Dictionary --Paul]. I was curious, because I would say that, if anything, this album is less "lavish and fanciful" than any of your previous albums. I was wondering if you had a different understanding of the word or whether you disagreed that it's not "lavish and fanciful", or whether it is used ironically?
S: No. Really, directly translated into Norwegian it means -- I'm trying to find the English word for it now -- it's called <'o'ther d'o'de> in Norwegian, which means like... I'll ask Frost. <speaks to Frost in Norwegian briefly> He's thinking now. <pause> "With great splendor", maybe?
CoC: Ah, yeah, I can see what you're saying there. Okay.
S: That's quite close, at least.
CoC: You're saying it is more "monumental", maybe?
S: Yeah, yeah. It's like taking it just one step further than anything else. Even though those photos and the -- dammit, there's some stupid kids in the warehouse staring at us all the time.
CoC: <I laugh> What, across the street or something?
S: No, there's a window between us so they're sitting there with the new Nuclear Blast catalogue and they're pointing at the front cover, which has a picture of us. <I laugh again> Stupid. I think they even work here, that's the worst thing. But anyway, where were we?
CoC: You were beginning to talk about the photos...
S: Yeah, I was going to say -- even though the photos are in a way filthy and they've got this dirty feeling to them and all that, and the music is all very direct, in your face -- you have the extravagant feeling to it with this... do you only have a promo CD?
CoC: I only have a card promo.
S: Well, the presentation, the booklet, is monumental. With this extremely thick glossy paper, which is like twenty pages, and it is just like an orgy in extravagant photos and artwork. Also, the way the album opens, with this extremely heavy theme -- which starts "Tied in Bronze Chains" -- and then followed up by this total rape part which comes afterward [with "Filthgrinder"]. It reflects a little bit of everything with the use of the word extravagant.
CoC: You've always done very good presentation, with _Nemesis Divina_ and _The Shadowthrone_.
S: That's also just a reflection of what we're interested in, let's say in private life. You know, art and a general interest in aesthetics.
CoC: Do you think the material on _RE_ will work better live because it relies less on the keyboards and the subtler melodic elements, because it is a little more "in your face"?
S: Yeah, it could be both things, really. I think that's obviously a point, that it's more direct and that it's more aggressive and down-to-earth. It's more live in that way. Also to me it was very important to make it sound live on the album, in the way that I don't want something overproduced and I think it adds some primal raw feeling to it, and that's going to reflect in a good way live. The problem with it that I see is that there are a lot of extremely fast parts on the album and I always find -- whether it's us or it's Emperor or Morbid Angel, whatever --, I just find fast parts not to work live.
CoC: Yeah, especially if the sound system isn't really up to it.
S: Yeah. I have experience at gigs with those parts working as well, but usually it's the opposite, so I always have been wondering how Marduk is doing live. <laughs>
Well, that's it. I have every hope that Satyricon make it to a town near you, and especially near me, soon, and that they sound as good as Marduk -- as anyone who has seen them live will testify -- in fact do in the flesh.
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−−−フッタ−−−
(article submitted 9/12/1999)
「Chronicles Of Chaos」
【http://www.chroniclesofchaos.com/articles/chats/1-259_satyricon.aspx】
◆本文：
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In a Moment of Clarity, the Rebels Return
CoC talks to Satyr of Satyricon (again)
by: Paul Schwarz
Some of you may recall CoC featuring Satyricon back in #38. Then, _Rebel Extravaganza_ was but a speck on the musical horizon scheduled for completion and subsequent release when the heat of Summer would be fading into memory and the cold of Autumn approaching. It is somehow appropriate that _Rebel Extravaganza_ was unleashed as one season was at the point of turning into another, for it marks not only a new direction for the band but, I would certainly argue, a new era in black metal. A bold statement? Maybe, but certainly if such statements can ever be justified, then they can be justified in the case of Satyricon. You can decide for yourself whether you agree with me about _Rebel Extravaganza_, and in the meantime, if you are interested in the ideas behind it or just the life that the members of Satyricon lead, you can check out this interview. I hope it answers your questions, or at least questions your preconceived answers.
−−−本文開始−−−
CoC: How are you doing?
Satyr: Well, it could have been better, because there has been a lot of stress. In order to save money, Nuclear Blast has sent us around Europe with some sort of travel agency, so we had to get up at five o'clock this morning to catch the plane, and everything was extremely delayed. And on top of that, they didn't manage to get Frost's luggage on the aircraft, so we don't know where that's at, and then we came here and it's an extremely nice office they've got. They showed us their new band room and that's really cool and then they put up the phones to do the interviews and just said, "You can't smoke here". And I said, "Are you serious this is a heavy metal label? And this is the band room and you can't smoke cigarettes in here?" And they said no. And I said I would anyway, but they said they were serious, so, it seems, I can't.
CoC: When we talked before you mentioned that for _Rebel Extravaganza_ you'd be using a lot of other players for the album -- different contributors. I was wondering how well that worked out in the end in terms of the results.
S: I was very happy with it. I mean, what I've always said about the contributions those people made is that none of them really did that much because they really just did the odd riff here and there, but the small things they did were very important for the totality of the album. I mean, Fenris only played tambourine on one riff, and we had SW from Thorns just doing some extra guitar in the odd place here and there, but it's often like that; all those small things. So I was really happy with that.
CoC: The hidden "intro" at the beginning of the album, is that what Grotsky [Apotygma Bezerk (thanks again, Josh) --Paul] contributed?
S: No. That's not really a hidden intro; what it is, is the song "Down South, Up North". The thing is when we did "Down South, Up North" -- which is like the ninth track on the album --, when I started listening to the songs and picking the order and all that, I just thought to myself that there was a sort of, how should I put it?, destruction.
CoC: You mean by having "Down South, Up North" as the ninth track?
S: Yeah. It was something that broke the continuous feeling that I wanted. And at the same time I didn't want to just put it away, because I was happy with the way it turned out; it just didn't fit in with my idea of the continuous feeling of the album. So what we did was just take that little part and make it some sort of, how do you call it?, interlude, or something like that, and we just put the song in front instead of after the songs, because putting it after the songs is so dull.
CoC: So the ninth track is now a different intro?
S: No, track number nine is just an excerpt from "DS,UN". It has just been taken out of the song, really, cut out and pasted into a new place. So it is exactly the same.
CoC: Personally, I felt that there's quite an interesting raw and bare approach to _Rebel Extravaganza_. It is almost an industrial approach, I'd say, in terms of the structure of the album...
S: Very primal.
CoC: Yeah, but it is played in what I'd call a black metal style. I was wondering if this was a feel you were -intending- to get?
S: Yeah. I mean, the fans and the press have been saying that we're becoming an industrial band. We always felt like we were a progressive black metal band and that part of being progressive is adding new elements to the music. This time around I felt that the next step should be something a bit more fresh and modern and one of the things we did was that we basically stopped using the old-fashioned keyboards and started working on this whole analogue sense instead. In the past, we usually, if we felt something was missing -- something which we couldn't put our finger on or something else --, we would try with a synthesiser, and this time we tried either with adding more guitar -- or with weird effects on the guitars and stuff like that -- or we tried working with samples or sound effects, whatever. Just another way of approaching things. So, to me, this is very, very black metal, but it's got that fresh and modern spice to it. And that was the intention from the start. It is also obviously very important to us to do something which is challenging for ourselves. It is really boring to do the same thing all over again.
CoC: Unfortunately I only have a promo with no lyrics sheet, so could you tell me about the kind of lyrics you've written for the album, the themes you've concentrated on? Because one of the things I've noticed, and a couple of people I know have mentioned, is that you actually have swearing on _RE_, which you seem to have used pretty effectively, but that is a slight difference and I think the lyrical themes are a little bit more modern and maybe even slightly urban, though I'm not sure about that.
S: The English have been saying that, actually. It's only English people who've mentioned both the swearing and the urban themes. There might be some truth to that; if you listen to Cypress Hill there's really no effect, because they're just saying "motherfucker" this and that all the time. So the swearing becomes desensitised. So the thing was basically about just like underlining the statement with swearing as you would do in normal life. That's a bit different from country to country. I know the Swedes, they just keep on going like, "Hello, Satyr, fucking good seeing you again". That's how they are, but that's not the thing in Norway: you use your swearing when you're pissed off -- you want to underline something, and you swear. That is what I did, and it felt natural, really. I've been trying to use quite direct language, as I felt that the music is quite direct and the same goes for vocal production. I tried to take off the reverb on vocals in order to get the vocals more up-front and closer [to the listener]. That's very important. If you have a lot of this chorus and reverb, the vocals get really distant, and for me it is not about level, having it loud enough, it's just like having it up-front, so then you need to go easy on the reverb. With the lyrics as well, it was all part of the process of being direct and the lyrics are very direct in the sense that there's no sophisticated language at all. I guess in a way you could call it some kind of futuristic street language or something. <chuckles>
CoC: I completely agree that it is not as complex, but from the actual song titles I imagine the lyrics behind them seem to be a lot more metaphorical and a lot less literal on _RE_. _Dark Medieval Times_, _The Shadowthrone_ and _Nemesis Divina_ were a little more like storytelling, whereas this is more like you're expressing your feelings through some kind of metaphor, like "Havoc Vulture" and "Supersonic Journey".
S: Yeah. Absolutely correct. I mean, the thing is I like working with metaphors a lot, you know, and it's always... I like, in a way, the middle way -- sometimes a tree is a tree, you know, and it shouldn't be called anything more than a tree. But, you know, other times you could go a little bit further and... there is an expression in Norwegian called <goruns greten>, which means adding all that unnecessary stuff in order to make it sound bigger and more poetic and all that. Then like working a little bit in-between in that grey sound you have there, and that's maybe where those metaphors come in. The new lyrics are basically very much a reflection of whatever is going on in my mind at the time. I mean, there's a lot of people -- you haven't read all the lyrics, have you?
CoC: I haven't been able to read any of them, I haven't got a lyrics sheet.
S: OK. No, because there is a line which is not being sung, but in the lyrics of "Tied in Bronze Chains", it says: "Where have all the flowers gone in October 1997", and I don't sing "...in October 1997", but it says that in the booklet. [In fact, what is written in the booklet is actually "(So) where do all the flowers come from (in October 1997)", and that is what he sings (without the October part). --Pedro] The reason for that was that I was using a metaphor of a certain feeling that I had -in- October 1997. So, the reason for me saying that is just to make it even more clear that it's a reflection of whatever is going on in my mind at the time. As we were using a metaphor in that lyric about something very specific right then, you know. It was not a general state of mind. It was a state of mind in October 1997.
CoC: Moving on to the choice of title. I think in some ways you've rebelled with this album, against certain trends in black metal, or just certain tendencies black metal bands have these days: you've gone less symphonic when it is becoming more popular to be more symphonic. So, does the title reflect that, that you're trying to -rebel- against that?
S: It is, a bit. The title is reflecting a bit of the lyrical and the musical content of the album, and also the attitude behind the album. It also reflects a little bit what Satyricon is about, because Satyricon is a little bit extravagant and a little bit controversial. That's it, really.
CoC: I was going to focus quickly on your use of the word "extravaganza". I pedantically looked it up in the dictionary and it was listed as being any "lavish or fanciful display in composition" [Collins English Dictionary --Paul]. I was curious, because I would say that, if anything, this album is less "lavish and fanciful" than any of your previous albums. I was wondering if you had a different understanding of the word or whether you disagreed that it's not "lavish and fanciful", or whether it is used ironically?
S: No. Really, directly translated into Norwegian it means -- I'm trying to find the English word for it now -- it's called <'o'ther d'o'de> in Norwegian, which means like... I'll ask Frost. <speaks to Frost in Norwegian briefly> He's thinking now. <pause> "With great splendor", maybe?
CoC: Ah, yeah, I can see what you're saying there. Okay.
S: That's quite close, at least.
CoC: You're saying it is more "monumental", maybe?
S: Yeah, yeah. It's like taking it just one step further than anything else. Even though those photos and the -- dammit, there's some stupid kids in the warehouse staring at us all the time.
CoC: <I laugh> What, across the street or something?
S: No, there's a window between us so they're sitting there with the new Nuclear Blast catalogue and they're pointing at the front cover, which has a picture of us. <I laugh again> Stupid. I think they even work here, that's the worst thing. But anyway, where were we?
CoC: You were beginning to talk about the photos...
S: Yeah, I was going to say -- even though the photos are in a way filthy and they've got this dirty feeling to them and all that, and the music is all very direct, in your face -- you have the extravagant feeling to it with this... do you only have a promo CD?
CoC: I only have a card promo.
S: Well, the presentation, the booklet, is monumental. With this extremely thick glossy paper, which is like twenty pages, and it is just like an orgy in extravagant photos and artwork. Also, the way the album opens, with this extremely heavy theme -- which starts "Tied in Bronze Chains" -- and then followed up by this total rape part which comes afterward [with "Filthgrinder"]. It reflects a little bit of everything with the use of the word extravagant.
CoC: You've always done very good presentation, with _Nemesis Divina_ and _The Shadowthrone_.
S: That's also just a reflection of what we're interested in, let's say in private life. You know, art and a general interest in aesthetics.
CoC: Do you think the material on _RE_ will work better live because it relies less on the keyboards and the subtler melodic elements, because it is a little more "in your face"?
S: Yeah, it could be both things, really. I think that's obviously a point, that it's more direct and that it's more aggressive and down-to-earth. It's more live in that way. Also to me it was very important to make it sound live on the album, in the way that I don't want something overproduced and I think it adds some primal raw feeling to it, and that's going to reflect in a good way live. The problem with it that I see is that there are a lot of extremely fast parts on the album and I always find -- whether it's us or it's Emperor or Morbid Angel, whatever --, I just find fast parts not to work live.
CoC: Yeah, especially if the sound system isn't really up to it.
S: Yeah. I have experience at gigs with those parts working as well, but usually it's the opposite, so I always have been wondering how Marduk is doing live. <laughs>
Well, that's it. I have every hope that Satyricon make it to a town near you, and especially near me, soon, and that they sound as good as Marduk -- as anyone who has seen them live will testify -- in fact do in the flesh.
−−−本文終了−−−
−−−フッタ−−−
(article submitted 9/12/1999)
◆出所：
「Chronicles Of Chaos」
【http://www.chroniclesofchaos.com/articles/chats/1-216_satyricon.aspx】
◆本文：
−−−ヘッダ−−−
An Extravagant Rebel Conquest
CoC talks to Satyr of Satyricon
by: Paul Schwarz
Satyricon are one of the finest black metal bands in the world today. Yet, as seems to be the case with many of black metal's legendary names, Satyricon are not as well known, popular or, on a mass level, highly regarded as newer acts such as Cradle of Filth and Dimmu Borgir are. Satyricon do not headline main stages at festivals who have Sepultura lined-up as the next day's headliners (which is the case with Dimmu Borgir at this year's March Metal Meltdown). Some claim, and it is not an entirely unfounded claim, that Satyricon choose to stay "under ground". There is some truth to this claim, but the realities of the scene mean that it is not a simple -choice- of being popular or not being popular, especially on your own terms. Satyricon have never compromised their vision of what black metal is about. They have never bowed to commercial pressure or the pressure of some of their more conservative peers. Their first two albums (_Dark Medieval Times_ and _The Shadowthrone_) were well noted by those in the black metal scene and did more than simply follow what others were doing at the time. After the mid-nineties' deluge, Satyricon emerged again triumphant with _Nemesis Divina_, their third full length offering. Adopting a slightly different, faster style than their earlier material, Satyricon nonetheless gave us a very mature, complex and exceptionally well produced album which still stands as one of my favorite black metal albums. Now, after experimenting with the _Megiddo_ EP, Satyricon are ready to return with a new full length. Set for an August release, the title of this as-yet-unrecorded album is _Rebel Extravaganza_. I had the privilege of talking to Satyr, one half of the band's nucleus, of which drummer Frost is the other, about the upcoming album and his attitudes to and views on the black metal scene. I hope his answers are as enlightening and interesting to you as some of them were to me. Thanks to Mat McNerny for his help brainstorming the questions for this interview.
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CoC: The new album is called _Rebel Extravaganza_. Why did you choose this title? To me it doesn't sound like a "traditional" black metal album title.
Satyr: To be honest, I don't know, really, 'cause it is the same thing that happened with the last album, _Nemesis Divina_, the same thing that happened with _The Shadowthrone_ and _Dark Medieval Times_ as well. [It] just fell in my head and it felt totally natural, you know, it's kind of representative of my way of thinking when it comes to the new songs and the lyrics as well. I wouldn't say that the word "rebel" is unconventional in black metal, but "extravaganza" is very much about what we've done, for several years now. Satyricon is definitely an extravagant band, so as I said, I have [an] equally hard time to explain _Nemesis Divina_, really. I could try to come up with different theories, but it just fell in my head.
CoC: How do you think the sound [of the new songs] differs, how has it moved on from _Nemesis Divina_? If people were to have heard the last album, and they pick up this new one, what do you think they'd find different from what they might expect, maybe?
S: Well, Samoth from Emperor was here listening to the rehearsal with all the new songs, and he said that he thought it was very much us, but it was harder, and it's probably true, but there's more than that. You can hear the trademark of the band in the songs, even though it's a vast progression from _Nemesis Divina_. _Nemesis Divina_ is like three years old now, so there would have to be something very wrong with the whole thing if nothing had happened since then, obviously. So, probably a bit harder, probably less medieval and Nordic, but [still] very much us.
CoC: How do you see the scene today, do you think that it compares to the old one, or do you think that there are a lot of differences now, in the bands that appear or the music they play?
S: Umm...
CoC: Do you think that black metal has evolved or that it's stayed similar?
S: Oh, it has definitely evolved a lot, but I would say that in '92/'93 black metal gave me much more of a kick than it does today. Let's say if... I haven't heard the new Emperor album yet, but I guess I'll like it and I guess I'll think it's good, but I am also pretty sure that it won't give me this big kick, the same kick _A Blaze in the Northern Sky_ [Darkthrone -- Paul] gave me the first time I heard it. So the magic is gone really, but there is still quality around and I'm happy to see that at least the best bands, apart from Dissection, are still going.
CoC: Do you think that by remaining in the scene, Satyricon are producing something new while still providing a link to the previous scene, because you've been around throughout the various different developments?
S: What I try to do is also to send a message through the music. A message about how black metal should be done, at least in the way I like it, because I think when you write music you often tend to try to make the kinds of things that you want to hear yourself. The way I think of this kind of music is the way I do it, in my own band. And what I hope is that we can try to influence the third wave of black metal bands to think more in the way of the first and the second wave. There's definitely a need for new thinking and progression, but there are some things, like the extended use of female vocals and this kind of gothic romance, which I find totally unsuitable for at least my way of thinking about black metal.
CoC: Leading on from that, [with] bands like [the typical bands to mention] Dimmu Borgir and Cradle of Filth, do you think that by using keyboards or female vocals, by making the style more popular, they, in some way, help it, by getting more people exposed to the more underground stuff, because, in interviews or whatever, they'll mention the older bands?
S: Well, they help it and destroy it at the same time, you know. They help get more people into listening to more extreme music, and they help, obviously, other black metal bands who have, well at least in my view, a more interesting message than they have, to come through. But in a way they destroy it as well, because, you know, they're so big, so they set a lot of standards for how things are meant to be done and that will influence some bands too -- as someone here in Norway said, I would rather breed the black metal kids on Darkthrone than Cradle of Filth, you know. Without that meaning that there is something wrong with Cradle of Filth, I just think there is more -edge- to bands like Darkthrone.
CoC: Do you think that, by the character of the scene changing so much from how it was five or six years ago, by bands being, this is one way of putting it, less "drawn" to a certain way of being, of playing black metal, do you think it allows bands, now, to be more creative, by there not being such a strict "way to play", maybe?
S: Yes, I do.
CoC: So you think that allows you, Satyricon, to be more creative than you could've been?
S: I don't think -- actually, I think my answer is yes, but I think we are an exception, because the way I understand your question you are probably referring to, what shall I say, the power of people like Euronymous, for example [I acknowledge this -- Paul] and the kind of influence they had, and in some ways that was positive, because some people have shown their real faces after his death and I would actually have preferred them to stay with their fake faces because I dislike their real faces so much. But in our case, I never cared about his rules or anything like that, actually, I had a bit of a conflict going with him and I think that was due to the fact that he couldn't accept that I was a youngster coming from nowhere, more or less not giving a shit about his ideas. And I told him that as well, and he definitely disliked that, but yes, I think it is positive that there has to be some quality acts to set a standard for the rest, but there shouldn't be rules about what you should do and what you can't do.
CoC: Would you say there is music or things in the world which specifically do influence you? Do you think that you could identify certain influences which either influenced you to start the band in the first place, or to still create music or to create [specific] past works?
S: Well, I think the drive behind the beginning was, apart from the whole thing with Darkthrone and all that, then the second wave of black metal, it was also me, and the others who were with me then, our huge fascination for the old acts, such as Celtic Frost, Bathory and Venom, all that. And today I don't think I am so inspired by music, I don't listen much to music, I listen to music in the car, but I usually get enough because we rehearse and I play guitar at home and I write lyrics, and I get enough music in my life. I work in the music business as well, so I don't need to use my spare time to listen to music, but in the car I listen to some music. Some electronic and industrial acts have given me impulses and I think it's a very positive thing to listen to lots of different kinds of genres, to get impulses and to make yourself richer musically. Because if you don't know what's going on you have no chance to develop. How can I, for example, develop my way of singing if the only way I know is to scream? But fortunately I listen to lots of other music and get impulses, rather than inspiration.
CoC: Regarding the use of the media to expose your music more, do you think doing things in the past like the very well produced "Mother North" video -- do you think that you will continue to use media to bring attention to your music more...
S: In terms of advertising?
CoC: In terms of advertising and also the presentation, do you think that that matters as much in black metal as it does in other styles of music? Because I think that sometimes, with some bands, there is a tendency to want to remain limited to a certain number of people, to not attempt to draw other people in, to allow them to come in themselves, as it were. Not that I'm criticising that.
S: Yeah, yeah, I understand, but that is not the way I am thinking. I fully respect that way of thinking, but I don't think any band should be forced to expose themselves or to limit themselves, it should be a freedom of choice, you know, where you want your band to go and I definitely find the video media very interesting and I know that we will do a video for the album. I don't know what it is going to be like, I just know we are going to do a video and I'll have to think about it. It'll probably happen during Summer or something, 'cause the MCD is going to be out in April or May and the album in August. I think, actually, the record company are going to do some short clips or something for TV advertising in Germany, which is pretty new, and, to be honest, I actually don't like TV advertising with music -- just five seconds and it's all over, and next up is, uh, a commercial for diapers or something --, so I think it is totally unsuitable, but, in a way, you know, it is obviously very good for the band, lots of people that wouldn't have heard about the album otherwise might find it interesting and go to the record store and check it out -- you know, listen to the album and make a decision whether to buy it or not. So, I guess...
CoC: It might be the lesser of two evils, maybe?
S: I guess so. I think it is also just a natural development of the whole thing, you know, we have the internet replacing the old correspondence of underground with regular slow mail, and now you have the internet replacing that whole underground, and, I think, in the coming years, TV advertising and such will, not replace, but I think more and more it will go over to that instead of advertising in magazines, because the rates for advertising in magazines are sick, you know, you have to sell so many extra albums to make it worth it. I think it is probably easier to reach out through television. I think radio would've been definitely the best thing, but the problem is that there are not many radio stations who allow metal programs, and if they have metal programs it's probably in the middle of the night on a Wednesday or something.
CoC: And it is only a small audience who might know about it.
S: Yeah, it's like twenty people who are regulars and there's probably one or two more dropping by just by coincidence.
CoC: You have a new member on this album, apparently?
S: No new members.
CoC: No?
S: We are working with lots of different people, but we found out that there's too many problems with all the other guys and... basically we've done it ourselves all the time, we've brought some other people in on all the albums, but, you know, when it all comes down it's just like, as you Englishmen say, "at the end of the day", there has only been me and Frost, you know.
CoC: So Daemon [ex-Dismember], would no longer be in the band?
S: No, you know, if you want to you can -- I'll be happy to see if you could -- set up a "wanted" poster, because he's been gone for six months; that's what I've said to every journalist. He was supposed to go to Sweden for one week and that's like, seven or eight months ago or something, and we haven't heard anything ever since. So I don't know what he's up to, but that's the kind of things that usually happen. Strange things, people disappearing or people lacking the interest to work as hard as we want to, or maybe they think it is too much of a hassle, so we're just gonna keep on going with just the two of us, as a band. But we have our own live line-up; basically the same line-up as we had at Dynamo, and, on the album, we're gonna bring in Fenriz, doing some percussion, we're gonna bring in Mikael, from Thorns, to do some guest guitar things, and Sanrabb from Gehenna is gonna do some guitars on the MCD. We'll also bring in another guitarist, in addition to myself, on the album, and bass on the album and MCD will be handled by -- well, they broke up now but, you know, Conception, it's a power metal band on Noise Records.
CoC: Oh, no, I don't know them.
S: It's horrible [I laugh -- Paul] but, I don't know, real technical people and all that and this guy, the bassist, he has a project, called Crest of Darkness, and... he's very good, so he's doing the bass. So we're bringing in lots of different people, I mean, we're even bringing in this guy who plays in [couldn't quite hear what he said, it sounded like "Uperting My Berserk" -- Paul], who played in a black metal band called Mock, which was a crappy band, but this guy has turned into becoming interested only in industrial and electronic music and he's a wizard when it comes to sampling, making special effects, electronic loops, those kind of things, and he's very good at it. So he's going to be part of the mix or something. So, we'd rather work with ourselves [motioning to himself and Frost] as the platform of the band and bring in people with special skills to make the album become better.
Contact: WWW: http://www.union.no/moonfog
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(article submitted 14/3/1999)
「Chronicles Of Chaos」
【http://www.chroniclesofchaos.com/articles/chats/1-216_satyricon.aspx】
◆本文：
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An Extravagant Rebel Conquest
CoC talks to Satyr of Satyricon
by: Paul Schwarz
Satyricon are one of the finest black metal bands in the world today. Yet, as seems to be the case with many of black metal's legendary names, Satyricon are not as well known, popular or, on a mass level, highly regarded as newer acts such as Cradle of Filth and Dimmu Borgir are. Satyricon do not headline main stages at festivals who have Sepultura lined-up as the next day's headliners (which is the case with Dimmu Borgir at this year's March Metal Meltdown). Some claim, and it is not an entirely unfounded claim, that Satyricon choose to stay "under ground". There is some truth to this claim, but the realities of the scene mean that it is not a simple -choice- of being popular or not being popular, especially on your own terms. Satyricon have never compromised their vision of what black metal is about. They have never bowed to commercial pressure or the pressure of some of their more conservative peers. Their first two albums (_Dark Medieval Times_ and _The Shadowthrone_) were well noted by those in the black metal scene and did more than simply follow what others were doing at the time. After the mid-nineties' deluge, Satyricon emerged again triumphant with _Nemesis Divina_, their third full length offering. Adopting a slightly different, faster style than their earlier material, Satyricon nonetheless gave us a very mature, complex and exceptionally well produced album which still stands as one of my favorite black metal albums. Now, after experimenting with the _Megiddo_ EP, Satyricon are ready to return with a new full length. Set for an August release, the title of this as-yet-unrecorded album is _Rebel Extravaganza_. I had the privilege of talking to Satyr, one half of the band's nucleus, of which drummer Frost is the other, about the upcoming album and his attitudes to and views on the black metal scene. I hope his answers are as enlightening and interesting to you as some of them were to me. Thanks to Mat McNerny for his help brainstorming the questions for this interview.
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CoC: The new album is called _Rebel Extravaganza_. Why did you choose this title? To me it doesn't sound like a "traditional" black metal album title.
Satyr: To be honest, I don't know, really, 'cause it is the same thing that happened with the last album, _Nemesis Divina_, the same thing that happened with _The Shadowthrone_ and _Dark Medieval Times_ as well. [It] just fell in my head and it felt totally natural, you know, it's kind of representative of my way of thinking when it comes to the new songs and the lyrics as well. I wouldn't say that the word "rebel" is unconventional in black metal, but "extravaganza" is very much about what we've done, for several years now. Satyricon is definitely an extravagant band, so as I said, I have [an] equally hard time to explain _Nemesis Divina_, really. I could try to come up with different theories, but it just fell in my head.
CoC: How do you think the sound [of the new songs] differs, how has it moved on from _Nemesis Divina_? If people were to have heard the last album, and they pick up this new one, what do you think they'd find different from what they might expect, maybe?
S: Well, Samoth from Emperor was here listening to the rehearsal with all the new songs, and he said that he thought it was very much us, but it was harder, and it's probably true, but there's more than that. You can hear the trademark of the band in the songs, even though it's a vast progression from _Nemesis Divina_. _Nemesis Divina_ is like three years old now, so there would have to be something very wrong with the whole thing if nothing had happened since then, obviously. So, probably a bit harder, probably less medieval and Nordic, but [still] very much us.
CoC: How do you see the scene today, do you think that it compares to the old one, or do you think that there are a lot of differences now, in the bands that appear or the music they play?
S: Umm...
CoC: Do you think that black metal has evolved or that it's stayed similar?
S: Oh, it has definitely evolved a lot, but I would say that in '92/'93 black metal gave me much more of a kick than it does today. Let's say if... I haven't heard the new Emperor album yet, but I guess I'll like it and I guess I'll think it's good, but I am also pretty sure that it won't give me this big kick, the same kick _A Blaze in the Northern Sky_ [Darkthrone -- Paul] gave me the first time I heard it. So the magic is gone really, but there is still quality around and I'm happy to see that at least the best bands, apart from Dissection, are still going.
CoC: Do you think that by remaining in the scene, Satyricon are producing something new while still providing a link to the previous scene, because you've been around throughout the various different developments?
S: What I try to do is also to send a message through the music. A message about how black metal should be done, at least in the way I like it, because I think when you write music you often tend to try to make the kinds of things that you want to hear yourself. The way I think of this kind of music is the way I do it, in my own band. And what I hope is that we can try to influence the third wave of black metal bands to think more in the way of the first and the second wave. There's definitely a need for new thinking and progression, but there are some things, like the extended use of female vocals and this kind of gothic romance, which I find totally unsuitable for at least my way of thinking about black metal.
CoC: Leading on from that, [with] bands like [the typical bands to mention] Dimmu Borgir and Cradle of Filth, do you think that by using keyboards or female vocals, by making the style more popular, they, in some way, help it, by getting more people exposed to the more underground stuff, because, in interviews or whatever, they'll mention the older bands?
S: Well, they help it and destroy it at the same time, you know. They help get more people into listening to more extreme music, and they help, obviously, other black metal bands who have, well at least in my view, a more interesting message than they have, to come through. But in a way they destroy it as well, because, you know, they're so big, so they set a lot of standards for how things are meant to be done and that will influence some bands too -- as someone here in Norway said, I would rather breed the black metal kids on Darkthrone than Cradle of Filth, you know. Without that meaning that there is something wrong with Cradle of Filth, I just think there is more -edge- to bands like Darkthrone.
CoC: Do you think that, by the character of the scene changing so much from how it was five or six years ago, by bands being, this is one way of putting it, less "drawn" to a certain way of being, of playing black metal, do you think it allows bands, now, to be more creative, by there not being such a strict "way to play", maybe?
S: Yes, I do.
CoC: So you think that allows you, Satyricon, to be more creative than you could've been?
S: I don't think -- actually, I think my answer is yes, but I think we are an exception, because the way I understand your question you are probably referring to, what shall I say, the power of people like Euronymous, for example [I acknowledge this -- Paul] and the kind of influence they had, and in some ways that was positive, because some people have shown their real faces after his death and I would actually have preferred them to stay with their fake faces because I dislike their real faces so much. But in our case, I never cared about his rules or anything like that, actually, I had a bit of a conflict going with him and I think that was due to the fact that he couldn't accept that I was a youngster coming from nowhere, more or less not giving a shit about his ideas. And I told him that as well, and he definitely disliked that, but yes, I think it is positive that there has to be some quality acts to set a standard for the rest, but there shouldn't be rules about what you should do and what you can't do.
CoC: Would you say there is music or things in the world which specifically do influence you? Do you think that you could identify certain influences which either influenced you to start the band in the first place, or to still create music or to create [specific] past works?
S: Well, I think the drive behind the beginning was, apart from the whole thing with Darkthrone and all that, then the second wave of black metal, it was also me, and the others who were with me then, our huge fascination for the old acts, such as Celtic Frost, Bathory and Venom, all that. And today I don't think I am so inspired by music, I don't listen much to music, I listen to music in the car, but I usually get enough because we rehearse and I play guitar at home and I write lyrics, and I get enough music in my life. I work in the music business as well, so I don't need to use my spare time to listen to music, but in the car I listen to some music. Some electronic and industrial acts have given me impulses and I think it's a very positive thing to listen to lots of different kinds of genres, to get impulses and to make yourself richer musically. Because if you don't know what's going on you have no chance to develop. How can I, for example, develop my way of singing if the only way I know is to scream? But fortunately I listen to lots of other music and get impulses, rather than inspiration.
CoC: Regarding the use of the media to expose your music more, do you think doing things in the past like the very well produced "Mother North" video -- do you think that you will continue to use media to bring attention to your music more...
S: In terms of advertising?
CoC: In terms of advertising and also the presentation, do you think that that matters as much in black metal as it does in other styles of music? Because I think that sometimes, with some bands, there is a tendency to want to remain limited to a certain number of people, to not attempt to draw other people in, to allow them to come in themselves, as it were. Not that I'm criticising that.
S: Yeah, yeah, I understand, but that is not the way I am thinking. I fully respect that way of thinking, but I don't think any band should be forced to expose themselves or to limit themselves, it should be a freedom of choice, you know, where you want your band to go and I definitely find the video media very interesting and I know that we will do a video for the album. I don't know what it is going to be like, I just know we are going to do a video and I'll have to think about it. It'll probably happen during Summer or something, 'cause the MCD is going to be out in April or May and the album in August. I think, actually, the record company are going to do some short clips or something for TV advertising in Germany, which is pretty new, and, to be honest, I actually don't like TV advertising with music -- just five seconds and it's all over, and next up is, uh, a commercial for diapers or something --, so I think it is totally unsuitable, but, in a way, you know, it is obviously very good for the band, lots of people that wouldn't have heard about the album otherwise might find it interesting and go to the record store and check it out -- you know, listen to the album and make a decision whether to buy it or not. So, I guess...
CoC: It might be the lesser of two evils, maybe?
S: I guess so. I think it is also just a natural development of the whole thing, you know, we have the internet replacing the old correspondence of underground with regular slow mail, and now you have the internet replacing that whole underground, and, I think, in the coming years, TV advertising and such will, not replace, but I think more and more it will go over to that instead of advertising in magazines, because the rates for advertising in magazines are sick, you know, you have to sell so many extra albums to make it worth it. I think it is probably easier to reach out through television. I think radio would've been definitely the best thing, but the problem is that there are not many radio stations who allow metal programs, and if they have metal programs it's probably in the middle of the night on a Wednesday or something.
CoC: And it is only a small audience who might know about it.
S: Yeah, it's like twenty people who are regulars and there's probably one or two more dropping by just by coincidence.
CoC: You have a new member on this album, apparently?
S: No new members.
CoC: No?
S: We are working with lots of different people, but we found out that there's too many problems with all the other guys and... basically we've done it ourselves all the time, we've brought some other people in on all the albums, but, you know, when it all comes down it's just like, as you Englishmen say, "at the end of the day", there has only been me and Frost, you know.
CoC: So Daemon [ex-Dismember], would no longer be in the band?
S: No, you know, if you want to you can -- I'll be happy to see if you could -- set up a "wanted" poster, because he's been gone for six months; that's what I've said to every journalist. He was supposed to go to Sweden for one week and that's like, seven or eight months ago or something, and we haven't heard anything ever since. So I don't know what he's up to, but that's the kind of things that usually happen. Strange things, people disappearing or people lacking the interest to work as hard as we want to, or maybe they think it is too much of a hassle, so we're just gonna keep on going with just the two of us, as a band. But we have our own live line-up; basically the same line-up as we had at Dynamo, and, on the album, we're gonna bring in Fenriz, doing some percussion, we're gonna bring in Mikael, from Thorns, to do some guest guitar things, and Sanrabb from Gehenna is gonna do some guitars on the MCD. We'll also bring in another guitarist, in addition to myself, on the album, and bass on the album and MCD will be handled by -- well, they broke up now but, you know, Conception, it's a power metal band on Noise Records.
CoC: Oh, no, I don't know them.
S: It's horrible [I laugh -- Paul] but, I don't know, real technical people and all that and this guy, the bassist, he has a project, called Crest of Darkness, and... he's very good, so he's doing the bass. So we're bringing in lots of different people, I mean, we're even bringing in this guy who plays in [couldn't quite hear what he said, it sounded like "Uperting My Berserk" -- Paul], who played in a black metal band called Mock, which was a crappy band, but this guy has turned into becoming interested only in industrial and electronic music and he's a wizard when it comes to sampling, making special effects, electronic loops, those kind of things, and he's very good at it. So he's going to be part of the mix or something. So, we'd rather work with ourselves [motioning to himself and Frost] as the platform of the band and bring in people with special skills to make the album become better.
Contact: WWW: http://www.union.no/moonfog
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(article submitted 14/3/1999)
◆出所：
「Chronicles Of Chaos」
【http://www.chroniclesofchaos.com/articles/chats/1-266_satyricon.aspx】
◆本文：
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...and Thus Spake the Dark Half
CoC talks to Frost of Satyricon
by: David Rocher
The logical follow-up to Satyr's two appearances in Chronicles of Chaos [interviews perpetrated by Paul in issues #38 and #44], this twenty-minute conversation with Satyricon's "dark half", namely the calm and mildly taciturn drummer Frost, will hopefully enlighten listeners further as to what the Norwegian duo intended to inject into their music with the release of the very provocative _Rebel Extravaganza_ [CoC #43]. This insight into Frost's mind was obtained just 24 hours after I had received the promo copy from Nuclear Blast, and therefore is essentially based on first impressions of what the anno 1999 Satyricon opus had to offer.
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CoC: So, how's everything going?
Frost: I think things are going very well for us. Up to now, we have been receiving a lot of great reviews, and we are very pleased to see that the album is finally out.
CoC: How does _Rebel Extravaganza_ compare with your previous album, _Nemesis Divina_, and earlier Satyricon releases?
F: I would say we've been taking everything a step further, and also bringing a lot of new elements to our music; I think that we have created something that is really harder and blacker, and even more eerie and bizarre than we have ever done so far. And I'm really satisfied with the direction of the music!
CoC: I guess the first surprising point of the album to me was the distinctly un-black metal title...
F: Hmm... not necessarily, I would say -- it's very symptomatic of Satyricon, it's like almost a trademark -- and it pretty much describes Satyricon, in a nutshell. It's not a very "difficult" title anyway -- it just jumped into Satyr's head one day, and he knew that that would be the title of the album. There was actually no deep meaning behind the title, we just thought it was very descriptive of the band's attitude now, and it also [fitted] the music on the record.
CoC: It seems to me there are quite a lot of new "rock" influences in _Rebel Extravaganza_...
F: Yes, there's actually more rock 'n' roll thrown into the music, without it actually being rock 'n' roll. It's something that could make one suspicious, but actually I think it works more than well. Yeah, I'm very pleased with the way it works out.
CoC: You just said that to you, _Rebel Extravaganza_ sounds blacker than what Satyricon played before...
F: Yes, I think so. The feelings in our music are even blacker now than they have ever been before, and even the music is more hard-hitting.
CoC: Don't you think that _The Shadowthrone_, for instance, had a more "occult" atmosphere to it? As a concept, _Rebel Extravaganza_ does seem blacker, but rather less occult?
F: No, I don't think so. I think we have concentrated all those feelings and atmospheres that are typical to black metal, and I'm speaking here about the darkness, coldness and harshness of the music. I think all those "old" elements are taken even further on our new album, even with all those new elements we bring into the music -- at least, that's the feelings I get when I listen to it!
CoC: Well, precisely, talking about the "rock" tones of _Rebel Extravaganza_ -- what bands are you into at the moment?
F: As always, I'm very much into Darkthrone, Mayhem, old Bathory stuff, old Celtic Frost and Hellhammer, and also obscure stuff like Diamanda Galas and Klaus Schulze, you know? But I mostly listen to old black metal bands. [Which, in a bit of retrospect, doesn't enlighten me in the slightest as to the "rocking" tones of _Rebel Extravaganza_! --David]
CoC: And have any recent black metal releases caught your attention?
F: Well, I think the new Dodheimsgard album is actually very good, even if I had to listen to it for some time before I got into the music. And I also like the releases from Aura Noir and Inferno.
CoC: You just mentioned Mayhem -- as they were pretty emblematic of black metal at one time, what do you think of the way they've turned out since the death of Euronymous?
F: I think that musically, at least, all the stuff by Mayhem rules -- everything from the _Pure Fucking Armageddon_ demo to _Wolf's Lair Abyss_ -- and I have huge expectations for _A Grand Declaration of War_, their forthcoming album. And of course I was a little bit wary about what the new Mayhem would become after the departure and death of Euronymous, but they showed the metal world that they still have something really big going on.
CoC: Getting back to your album, how have the lyrics evolved with regard to the music? There are no Norwegian songs on _Rebel Extravaganza_...
F: No, no -- they came around better in English this time. Satyr is our lyricist, and as a poet, he has grown quite a lot over the years; and I think his poetry, that is his lyrics, have become a lot more direct and in your face now than they were earlier, even when being more poetic, you know? They are written in a very poetic manner, I think, but still the message comes across more directly than was the case earlier. There are very different topics on the album; some are to be looked upon as messages to the listener and to the reader of the lyrics, and then again, some lyrics are more like... hysterical aggression. <chuckles>
CoC: And there's something with the visual appearance of _Rebel Extravaganza_ -- for instance, your new make-up seems to overshoot the traditional visual black metal "thing".
F: Yes, you might say so, because that's actually how I feel myself. It's as black as black metal should be, but even then there's more to it; we have taken the style a bit further with this new album -- and those are quite big words, but I think we can stand behind them.
CoC: What was the new appearance designed to reflect?
F: We didn't strive to have a sombre feeling to this. What it meant for us was to try out a couple of ideas that we had, and the main idea for _Rebel Extravaganza_ was to make something very extreme, very sick and very hysterical... and I think we succeeded, and that's also the reason why we want to keep it that way.
CoC: _Nemesis Divina_ was released back in 1996, and _Rebel Extravaganza_ was actually a much-awaited album, so what was the pressure on you like before the release?
F: The pressure was enormous, and Satyr, as the songwriter, of course felt the pressure most. He felt that it was a -necessity- to make this album top what we had done so far, and I think that we have to conclude that we succeeded. The reason why _Rebel Extravaganza_ took so long to write was that the creative process was very hard work. We had to throw a lot of the material away, because we were very selective, and this had to be the absolute best -- and that takes time to do.
CoC: We were talking about the visual "codes" of black metal; back at the time of Satyricon's earlier works, Emperor's _In the Nightside Eclipse_, Immortal's _Pure Holocaust_, the stance and attitude of black metal musicians always had me wondering what their thought patterns could really be -- can you tell me more about this?
F: Well, I can only speak for myself, of course, because Satyr is evolving in a different way, and maybe he has "individual thought patterns", to use a Death title there -- but I'm still mostly listening to quality black metal stuff, living the black metal way, doing that kind of style, while Satyr is someone who always likes to explore new things. That's a bigger part of his life than of mine; I try to just go further on from where I started, and get deeper into it.
CoC: Exactly -- what does "living the black metal way" represent to you?
F: Well, you have the thing with clothing and stuff, the interest in music, and the dark ideology that lies behind -- which is a topic which would need a book for it to be explained thoroughly. It's the music, the style, the image and the ideology [combined] which can be seen as the basis for this style.
CoC: Concerning the ideology, what do you think of the way how things got out of hand a few years back, with the stories of Mayhem and Burzum, the church fires...?
F: You know, the scene at that time couldn't handle all this media attention, and a lot of the guys into the black metal scene didn't actually -feel- so much about the ideology that they represented. So, of course, when confronted with extremists, they blacked out and couldn't stand the extremity of some of the most involved persons -- and it's been like that all the time. The black metal ideology is quite extreme, and only very few people really have it, and that's how it's been all the time. But in the beginning, it seemed that a lot of people were into the ideology, when in fact only maybe ten or twenty people had a really heartfelt thing going on there. And that's still the situation today: a lot of people like the music, but only a few people are actually into the ideology of the music.
CoC: I personally view the black metal ideology as being something extremely misanthropic...
F: Yes, of course!
CoC: How then do you feel about black metal bands playing live, before an audience?
F: I see your point, of course. I would still say that doing concerts shouldn't be a problem for a band, because there is still a huge gap between the performer and the audience, and we are expressing a visual side of the band; and performing live, in addition to the music, of course, is not only meant to please our audience -- which we of course would like to do -- but it's also meant to please ourselves and help the band out, so that powers everything, I think. And I also would like to point out that being misanthropic doesn't necessarily mean you hate -all- people, but you hate, or are against, people -in general-.
CoC: So you view it like sticking with your kinfolk, I guess?
F: Exactly! That's the point.
CoC: The massive black metal upheaval a couple of years ago has now completely receded, and many bands have simply vanished from the scene, leaving only "reliable" bands like Marduk, Satyricon, Immortal...
F: That's exactly what you would expect, isn't it? It was the same thing with death metal -- a lot of people started playing death metal because it was up-and-growing metal, and I guess a lot of them also saw potential money earnings. Then it would become boring to them, and their dedication to the style wasn't that big, so... and it was -exactly- the same with black metal. A lot of bands playing death metal turned towards black metal because they couldn't get the attention they wanted when playing death metal. So some bands just started using corpsepaint, spikes, leather and stuff, and turned their music into black metal, just to get more attention. But of course, later on, they would see that they weren't that much into black metal either, and that their music was actually really boring, so then they just gave up.
CoC: Now that _Rebel Extravaganza_ has been released, will Satyricon be shooting any videos for it?
F: Yes, we will; it's planned, and we already have lots of ideas.
CoC: For what song?
F: We don't know yet, that's still to be decided.
CoC: Any ideas about a storyboard?
F: Nothing that I should tell you about now <chuckles> -- if I revealed it before we did the video, I would destroy a lot of the shock effect that may be there. <chuckles again>
CoC: Okay... any last words to conclude, Frost?
F: I usually don't give any last words... thanks, and good luck with your magazine.
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(article submitted 15/1/2000)
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「Chronicles Of Chaos」
【http://www.chroniclesofchaos.com/articles/chats/1-266_satyricon.aspx】
◆本文：
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...and Thus Spake the Dark Half
CoC talks to Frost of Satyricon
by: David Rocher
The logical follow-up to Satyr's two appearances in Chronicles of Chaos [interviews perpetrated by Paul in issues #38 and #44], this twenty-minute conversation with Satyricon's "dark half", namely the calm and mildly taciturn drummer Frost, will hopefully enlighten listeners further as to what the Norwegian duo intended to inject into their music with the release of the very provocative _Rebel Extravaganza_ [CoC #43]. This insight into Frost's mind was obtained just 24 hours after I had received the promo copy from Nuclear Blast, and therefore is essentially based on first impressions of what the anno 1999 Satyricon opus had to offer.
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CoC: So, how's everything going?
Frost: I think things are going very well for us. Up to now, we have been receiving a lot of great reviews, and we are very pleased to see that the album is finally out.
CoC: How does _Rebel Extravaganza_ compare with your previous album, _Nemesis Divina_, and earlier Satyricon releases?
F: I would say we've been taking everything a step further, and also bringing a lot of new elements to our music; I think that we have created something that is really harder and blacker, and even more eerie and bizarre than we have ever done so far. And I'm really satisfied with the direction of the music!
CoC: I guess the first surprising point of the album to me was the distinctly un-black metal title...
F: Hmm... not necessarily, I would say -- it's very symptomatic of Satyricon, it's like almost a trademark -- and it pretty much describes Satyricon, in a nutshell. It's not a very "difficult" title anyway -- it just jumped into Satyr's head one day, and he knew that that would be the title of the album. There was actually no deep meaning behind the title, we just thought it was very descriptive of the band's attitude now, and it also [fitted] the music on the record.
CoC: It seems to me there are quite a lot of new "rock" influences in _Rebel Extravaganza_...
F: Yes, there's actually more rock 'n' roll thrown into the music, without it actually being rock 'n' roll. It's something that could make one suspicious, but actually I think it works more than well. Yeah, I'm very pleased with the way it works out.
CoC: You just said that to you, _Rebel Extravaganza_ sounds blacker than what Satyricon played before...
F: Yes, I think so. The feelings in our music are even blacker now than they have ever been before, and even the music is more hard-hitting.
CoC: Don't you think that _The Shadowthrone_, for instance, had a more "occult" atmosphere to it? As a concept, _Rebel Extravaganza_ does seem blacker, but rather less occult?
F: No, I don't think so. I think we have concentrated all those feelings and atmospheres that are typical to black metal, and I'm speaking here about the darkness, coldness and harshness of the music. I think all those "old" elements are taken even further on our new album, even with all those new elements we bring into the music -- at least, that's the feelings I get when I listen to it!
CoC: Well, precisely, talking about the "rock" tones of _Rebel Extravaganza_ -- what bands are you into at the moment?
F: As always, I'm very much into Darkthrone, Mayhem, old Bathory stuff, old Celtic Frost and Hellhammer, and also obscure stuff like Diamanda Galas and Klaus Schulze, you know? But I mostly listen to old black metal bands. [Which, in a bit of retrospect, doesn't enlighten me in the slightest as to the "rocking" tones of _Rebel Extravaganza_! --David]
CoC: And have any recent black metal releases caught your attention?
F: Well, I think the new Dodheimsgard album is actually very good, even if I had to listen to it for some time before I got into the music. And I also like the releases from Aura Noir and Inferno.
CoC: You just mentioned Mayhem -- as they were pretty emblematic of black metal at one time, what do you think of the way they've turned out since the death of Euronymous?
F: I think that musically, at least, all the stuff by Mayhem rules -- everything from the _Pure Fucking Armageddon_ demo to _Wolf's Lair Abyss_ -- and I have huge expectations for _A Grand Declaration of War_, their forthcoming album. And of course I was a little bit wary about what the new Mayhem would become after the departure and death of Euronymous, but they showed the metal world that they still have something really big going on.
CoC: Getting back to your album, how have the lyrics evolved with regard to the music? There are no Norwegian songs on _Rebel Extravaganza_...
F: No, no -- they came around better in English this time. Satyr is our lyricist, and as a poet, he has grown quite a lot over the years; and I think his poetry, that is his lyrics, have become a lot more direct and in your face now than they were earlier, even when being more poetic, you know? They are written in a very poetic manner, I think, but still the message comes across more directly than was the case earlier. There are very different topics on the album; some are to be looked upon as messages to the listener and to the reader of the lyrics, and then again, some lyrics are more like... hysterical aggression. <chuckles>
CoC: And there's something with the visual appearance of _Rebel Extravaganza_ -- for instance, your new make-up seems to overshoot the traditional visual black metal "thing".
F: Yes, you might say so, because that's actually how I feel myself. It's as black as black metal should be, but even then there's more to it; we have taken the style a bit further with this new album -- and those are quite big words, but I think we can stand behind them.
CoC: What was the new appearance designed to reflect?
F: We didn't strive to have a sombre feeling to this. What it meant for us was to try out a couple of ideas that we had, and the main idea for _Rebel Extravaganza_ was to make something very extreme, very sick and very hysterical... and I think we succeeded, and that's also the reason why we want to keep it that way.
CoC: _Nemesis Divina_ was released back in 1996, and _Rebel Extravaganza_ was actually a much-awaited album, so what was the pressure on you like before the release?
F: The pressure was enormous, and Satyr, as the songwriter, of course felt the pressure most. He felt that it was a -necessity- to make this album top what we had done so far, and I think that we have to conclude that we succeeded. The reason why _Rebel Extravaganza_ took so long to write was that the creative process was very hard work. We had to throw a lot of the material away, because we were very selective, and this had to be the absolute best -- and that takes time to do.
CoC: We were talking about the visual "codes" of black metal; back at the time of Satyricon's earlier works, Emperor's _In the Nightside Eclipse_, Immortal's _Pure Holocaust_, the stance and attitude of black metal musicians always had me wondering what their thought patterns could really be -- can you tell me more about this?
F: Well, I can only speak for myself, of course, because Satyr is evolving in a different way, and maybe he has "individual thought patterns", to use a Death title there -- but I'm still mostly listening to quality black metal stuff, living the black metal way, doing that kind of style, while Satyr is someone who always likes to explore new things. That's a bigger part of his life than of mine; I try to just go further on from where I started, and get deeper into it.
CoC: Exactly -- what does "living the black metal way" represent to you?
F: Well, you have the thing with clothing and stuff, the interest in music, and the dark ideology that lies behind -- which is a topic which would need a book for it to be explained thoroughly. It's the music, the style, the image and the ideology [combined] which can be seen as the basis for this style.
CoC: Concerning the ideology, what do you think of the way how things got out of hand a few years back, with the stories of Mayhem and Burzum, the church fires...?
F: You know, the scene at that time couldn't handle all this media attention, and a lot of the guys into the black metal scene didn't actually -feel- so much about the ideology that they represented. So, of course, when confronted with extremists, they blacked out and couldn't stand the extremity of some of the most involved persons -- and it's been like that all the time. The black metal ideology is quite extreme, and only very few people really have it, and that's how it's been all the time. But in the beginning, it seemed that a lot of people were into the ideology, when in fact only maybe ten or twenty people had a really heartfelt thing going on there. And that's still the situation today: a lot of people like the music, but only a few people are actually into the ideology of the music.
CoC: I personally view the black metal ideology as being something extremely misanthropic...
F: Yes, of course!
CoC: How then do you feel about black metal bands playing live, before an audience?
F: I see your point, of course. I would still say that doing concerts shouldn't be a problem for a band, because there is still a huge gap between the performer and the audience, and we are expressing a visual side of the band; and performing live, in addition to the music, of course, is not only meant to please our audience -- which we of course would like to do -- but it's also meant to please ourselves and help the band out, so that powers everything, I think. And I also would like to point out that being misanthropic doesn't necessarily mean you hate -all- people, but you hate, or are against, people -in general-.
CoC: So you view it like sticking with your kinfolk, I guess?
F: Exactly! That's the point.
CoC: The massive black metal upheaval a couple of years ago has now completely receded, and many bands have simply vanished from the scene, leaving only "reliable" bands like Marduk, Satyricon, Immortal...
F: That's exactly what you would expect, isn't it? It was the same thing with death metal -- a lot of people started playing death metal because it was up-and-growing metal, and I guess a lot of them also saw potential money earnings. Then it would become boring to them, and their dedication to the style wasn't that big, so... and it was -exactly- the same with black metal. A lot of bands playing death metal turned towards black metal because they couldn't get the attention they wanted when playing death metal. So some bands just started using corpsepaint, spikes, leather and stuff, and turned their music into black metal, just to get more attention. But of course, later on, they would see that they weren't that much into black metal either, and that their music was actually really boring, so then they just gave up.
CoC: Now that _Rebel Extravaganza_ has been released, will Satyricon be shooting any videos for it?
F: Yes, we will; it's planned, and we already have lots of ideas.
CoC: For what song?
F: We don't know yet, that's still to be decided.
CoC: Any ideas about a storyboard?
F: Nothing that I should tell you about now <chuckles> -- if I revealed it before we did the video, I would destroy a lot of the shock effect that may be there. <chuckles again>
CoC: Okay... any last words to conclude, Frost?
F: I usually don't give any last words... thanks, and good luck with your magazine.
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(article submitted 15/1/2000)
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◆出所：
「Into Obscurity」
【URL】
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Interview with Satyr of Satyricon
By danowar
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d: The new album "Rebel Extravaganza" seems more brutal than songs I've heard on previous releases. Did you set out with the idea to make it this heavy or was this just a natural progression for the band?
Satyr: Both really. It was both intentional and natural. I would say that the reason why it became so aggressive is not only because it was a natural direction to go for the band since we had pretty much taken that whole atmospheric thing to the extent we thought we were capable of but also that we needed, in a way for ourselves, to react towards what is dominating our scene today and being good examples. Yea, it was both natural and intentional.
d: After "Intermezzo II" was released, a lot of people were expecting the new album to be industrial. That is definitely not the case.
Satyr: That is because people are fucking stupid. As arrogant as that may sound, it's the honest truth.
d: I agree. People tend to look into things too much sometimes.
Satyr: James Hetfield of Metallica said something on a Norwegian radio interview which I listened to in the car on my way home from the studio one day which was pretty interesting. He just said "People have too much time on their hands, that's the problem," he kept saying. They think too much. He elaborated by talking about people commenting on his hair or the color of his guitar and shit like that. And if you look at other music genres you can say that, in rock music or especially in electronic music, this is a very common thing to do, to use singles and mini CDs and soundtracks and compilation albums to do different things, qualities that you represent that don't necessarily fit into the totality of an album. Madonna is an artist that I don't like at all, but I know what she's up to and she does pop music and she does singles and all that and then she has djs remix her songs and make them sound techno-like and I doubt that any of her fans take that as a sign that Madonna is going techno. Whereas in black metal, if you do something a little bit different on a mini CD or something, the people just go "That's it. They've changed the whole thing...forever." I've given up on that.
d: Is there any reason for the drastic image change on the new CD or is that something just for press photos, etc.?
Satyr: To us, it's not so drastic because you have to think of the fact that the last full length album we did where we worked extensively with the sign and the imagery and photography and all that, that was "Nemesis Divina" in 1996. "Rebel Extravaganza" came out this Autumn so we're talking about a long time, three and a half years, between the making of those albums and in such a long time things are bound to progress. So to us, this was not something we suddenly decided, this was like a process that has been ongoing all the time. Even if you look at "Nemesis Divina" you can see that the corpse paint is not the typical corpse paint. It is in a way because it's black and white, but I remember back then we were just saying to the makeup artist "Try to make it as anti-King Diamond style as possible." We just grow more and more sick of that whole thing. We wanted to be extreme, we don't want to look like a normal death metal band from Florida. We wanted to be extreme, but extreme in a different way. That's kind of the policy of Satyricon. That's probably why the pictures came out like they did.
d: How is Nuclear Blast America treating you? Are you happy with what they are doing for you?
Satyr: Nuclear Blast America, yes. Don't know about Nuclear Blast Germany though. I'm happy with the way we've been treated by Nuclear Blast America.
d: Do you have any American tour plans?
Satyr: Yes. We have actually been discussing in the last few days sort of a festival tour that we're supposed to headline in February in America. It is not settled yet but we have kind of been asked by Nuclear Blast America if we wanted to do it and we said yes and that's where we are. The idea is to play in this place called Worcester?
d: Massachusetts? (editor's note: I believe that he is referring to the New England Metal and Hardcore Festival that they held for the first time last year, but I am not certain)
Satyr: Uh huh. As well as Toronto, Montreal, New York, Philadelphia...so that's the idea and that's from the 10th of February. I hope that will happen. We want to come play. We are also doing a few warm up shows in Europe now in December. That will be the first shows for our new lineup and then we are doing our own club tour with us as headliners in January in Europe and then coming back and doing a few warmup shows in Scandinavia and then hopefully doing this America thing. And after that, I don't know what we we're going to do, but I was hoping we could go out as first support to a somewhat bigger band in order to play in front of people that we normally wouldn't get the chance to play for because when we do this headliner tour, we are not out there to get new fans or make money or whatever. What we are out there to do is play for the loyal fans of Satyricon who are inviting us to come and play. That's kind of our idea and we present our idea to all our fans in the best possible way. That's what we like, but after that, I really want to support a larger band like Slayer or something would be great. We'll see.
d: I've heard you have a certain dislike for the States.
Satyr: It's more like a culture problem. I've been in the States, just visiting and I thought Louisiana was very nice. It's a country without history and it's a county where you mix basically everything from the worst to the best and put it all into one big cauldron and just stir it around...that's pretty much America. You have to think of the fact that Americans are really Indians. Those are the Americans. All these other people that are there are either Asian people or Europeans or Africans or whatever it may be, so what is a real American? It almost doesn't exist anymore. Therefore, it is pretty natural that there is no culture there either. And obviously Christianity is quite dominating in America, same way as in Norway, and that's something which I totally resent of course. Do you understand what I'm saying about being an American?
d: Completely. We all immigrated here, or our forefathers did, with the exception of the few Native Americans.
Satyr: I think that is also part of the problem with the crime and all that. You look here in Norway, crime is not a problem in Norway, especially compared to a country like America, apart from Oslo. Oslo is starting to lose identity and that is probably why you have a lot of crime. You have so many Swedish people there, and Norwegian people and German people and Pakistan people and Indian people and African people and it doesn't have any soul anymore, it's just a big mess and it's losing it's roots. It is a bit sad, but it's just the way the world is developing so there is not much we can do about it. Probably the saddest thing about America, in that manner, is that it's...i have a funny story...the photographer we worked with on "Rebel Extravaganza" when he went to New Orleans, where I have just been, a cab driver wanted to show him a building that was over 200 years old! I've got a house just 500 meters from where I live that is 300 years old. We have buildings that are 2000 years old. It's sad though but that's why I dislike America. America has a lot of nice nature. That has to be said too to the credit of America.
d: It is elementary to say that metal is constantly evolving. I'm sure when Iron Maiden was huge not many people expected bands to be wearing corpse paint, having keyboards and playing with such ferocity. Where do you see metal and especially Satyricon, going in the new millenium?
Satyr: I don't know. I honestly don't know. Of course I've been thinking about it and I'll try to give you a glimpse into my thoughts but it is hard to say because metal today is very different from metal in the 80's. On the other hand, it is such an extremely conservative genre and that in itself is giving me a hint that it is not going to go super fast into the millenium with a lot of progression and all that. To me, the most important to me is that it moves forward and not backward. Things that make me want to lay down and die are when people are picking up on the old cheesy 80's heavy metal stuff again now. I don't know how that is in America, but in Germany and Sweden, they are picking up on that stuff. These things are what make me feel happy that the 80's are over because we don't have the cheesy bands anymore. Now, the people are picking up on it again. I just don't get it and I'm thinking to myself "Are they serious? Do they mean this? Are they being ironic?" but they are not. They are damn serious. They really mean it and I can't believe it. I honestly can't understand how someone can get something from listening to that. As long as we can stay away from that, I don't care. It has to be progressive, but to say what direction it will be going is really hard. Maybe more technologic maybe. There will probably be a lot of changes on sound. That's probably something people haven't thought much about. Sound will be different because the recording equipment which bands have been recording with in the 1970's, 80's and 90's is not that different. I mean sure, you have better compressors than you did back then and you have better tape machines and all that, but it's basically the same. But what's coming now with all this computer recording which is more or less taking over for the tape machines. That's definitely going to affect the sound of albums that are going to come out in the next ten years because the way you record on those computers, it definitely doesnt sound the same as recording on tape machines.
d: Do you think bands that are trying too hard to find a unique identity are just going to end up irritating their fans? I mean bands like Arcturus and the like (editor's note: I love Arcturus, I was just asking a question so please don't jump down my throat. I wasn't trashing anyone).
Satyr: I don't feel that is the case with ourselves. I feel Satyricon has identity and I feel that we are different so it doesn't necessarily have to be the case. I know what you mean with a band like Arcturus. I don't know how Satyricon is looked upon in America, but Satyricon has a lot of respect and credibility in Europe, especially in Scandinavia, and I think that most of the reason, apart from being one of the first bands to come out of this scene in the 90's, is that we don't care what people say and I think that is very important. When people say to me "You have to remember that you wouldn't have been where you are today if it wouldn't have been for the fans" it's like fuck that it's not true at all. Did they make the music or did we make the music? We made the music and we spent hours and hours in the studio and the rehearsal room and it's us that work our asses off in order to get where we are at. There is no German kid or Swedish kid or American kid that has made Satyricon what it is. We have always done what we wanted and we have no interest in what other people might think about the direction we go in and I think with a band like Arcturus, that may be the case too. Maybe it can come through as irritating and all that for fans but I think a band like them, they are just doing what pleases them and they are not really that interested in what other people think about that because they do what makes them happy. It's as simple as that.
d: What other bands/genres do the members of Satyricon listen to?
Satyr: Frost listens pretty much to black metal and nothing else. He also likes a lot of dark music which isn't black metal but the rest is basically black metal. Especially he likes the old stuff. I tend to be a little more open minded I guess. I like black metal, I like all sorts of metal music really apart from power metal, and I like a lot of electronic music, I like classical music, I like a lot of music. I have a very varied and open minded taste. I think it's important in order to enjoy some music to have a quite varied taste because if you only like black metal there is just so and so much quality within that genre. It's a bit limited.
d: How do you feel about black metal's recent rise in popularity since you've been around back when it was a much smaller genre?
Satyr: I like it. There will always be some unfortunate things happening when you get a rise in popularity. There will be lots of individuals and companies and bands that will jump on the bandwagon in order to join the new trend and such things cause situations or things that I don't like, but we do this music because we love doing it and we obviously want to share it with all the people as long as they are interested so if the interest is growing I like that. I think it's a good thing and I'd rather have people listening to Darkthrone than Rage Against the Machine.
d: On the Moonfog webpage, in the section about banning mp3s, it says that when a band puts out a CD, they are basically earning what is comparable to minimum wage. You are in a few bands as well as running a small label, does that generate enough income to survive or do you struggle?
Satyr: I could make a living by only Satyricon, but it would be a bad life. Yea, I am comfortable and that is the thing with most people I know. The guys in Emperor for example, or the guys in Darkthrone or other bands that I know in Norway, they probably could live from what they make by music, but it would make a poor living, so most people do have regular jobs in addition to their music in order to make a comfortable living. With mp3s, it is so ridiculous. i listen to the arguments of underground people all the time saying that mp3s are such a good thing. It's not a good thing at all. What it eventually will do is bury the underground. It's not a problem for major companies because they generate so much income. Like in Denmark, they are making a big fuss now that the larger companies have lost about 3% of their income due to mp3s in Denmark in the last year, which is nothing but what they are afraid of is that it will be 6% next year and then 10% and then 15% and all that. For a small label like Moonfog, with relatively small bands, we have seen it in the bigger picture. If we were to lose, lets say, 10-15% of our income, it would be hard times. It's so simple, I don't see why people can't understand. Production costs, every day that goes there is a new studio raising it's prices. Studios that we started to work with like 5 or 6 years ago, they used to cost $500 a day, now they cost $1000 a day. To do a photo shoot back then would cost like $1000, today it's more like $3000. Everything is just getting more expensive while the price of a CD doesn't increase. It's a quite delicate balance you've got there and if you come to the point where people start to download your music and you don't make a penny from it, on the otherhand you still have the same production costs, it's going to be very difficult to run an underground label or an underground band.
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「Into Obscurity」
【URL】
◆本文：
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Interview with Satyr of Satyricon
By danowar
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d: The new album "Rebel Extravaganza" seems more brutal than songs I've heard on previous releases. Did you set out with the idea to make it this heavy or was this just a natural progression for the band?
Satyr: Both really. It was both intentional and natural. I would say that the reason why it became so aggressive is not only because it was a natural direction to go for the band since we had pretty much taken that whole atmospheric thing to the extent we thought we were capable of but also that we needed, in a way for ourselves, to react towards what is dominating our scene today and being good examples. Yea, it was both natural and intentional.
d: After "Intermezzo II" was released, a lot of people were expecting the new album to be industrial. That is definitely not the case.
Satyr: That is because people are fucking stupid. As arrogant as that may sound, it's the honest truth.
d: I agree. People tend to look into things too much sometimes.
Satyr: James Hetfield of Metallica said something on a Norwegian radio interview which I listened to in the car on my way home from the studio one day which was pretty interesting. He just said "People have too much time on their hands, that's the problem," he kept saying. They think too much. He elaborated by talking about people commenting on his hair or the color of his guitar and shit like that. And if you look at other music genres you can say that, in rock music or especially in electronic music, this is a very common thing to do, to use singles and mini CDs and soundtracks and compilation albums to do different things, qualities that you represent that don't necessarily fit into the totality of an album. Madonna is an artist that I don't like at all, but I know what she's up to and she does pop music and she does singles and all that and then she has djs remix her songs and make them sound techno-like and I doubt that any of her fans take that as a sign that Madonna is going techno. Whereas in black metal, if you do something a little bit different on a mini CD or something, the people just go "That's it. They've changed the whole thing...forever." I've given up on that.
d: Is there any reason for the drastic image change on the new CD or is that something just for press photos, etc.?
Satyr: To us, it's not so drastic because you have to think of the fact that the last full length album we did where we worked extensively with the sign and the imagery and photography and all that, that was "Nemesis Divina" in 1996. "Rebel Extravaganza" came out this Autumn so we're talking about a long time, three and a half years, between the making of those albums and in such a long time things are bound to progress. So to us, this was not something we suddenly decided, this was like a process that has been ongoing all the time. Even if you look at "Nemesis Divina" you can see that the corpse paint is not the typical corpse paint. It is in a way because it's black and white, but I remember back then we were just saying to the makeup artist "Try to make it as anti-King Diamond style as possible." We just grow more and more sick of that whole thing. We wanted to be extreme, we don't want to look like a normal death metal band from Florida. We wanted to be extreme, but extreme in a different way. That's kind of the policy of Satyricon. That's probably why the pictures came out like they did.
d: How is Nuclear Blast America treating you? Are you happy with what they are doing for you?
Satyr: Nuclear Blast America, yes. Don't know about Nuclear Blast Germany though. I'm happy with the way we've been treated by Nuclear Blast America.
d: Do you have any American tour plans?
Satyr: Yes. We have actually been discussing in the last few days sort of a festival tour that we're supposed to headline in February in America. It is not settled yet but we have kind of been asked by Nuclear Blast America if we wanted to do it and we said yes and that's where we are. The idea is to play in this place called Worcester?
d: Massachusetts? (editor's note: I believe that he is referring to the New England Metal and Hardcore Festival that they held for the first time last year, but I am not certain)
Satyr: Uh huh. As well as Toronto, Montreal, New York, Philadelphia...so that's the idea and that's from the 10th of February. I hope that will happen. We want to come play. We are also doing a few warm up shows in Europe now in December. That will be the first shows for our new lineup and then we are doing our own club tour with us as headliners in January in Europe and then coming back and doing a few warmup shows in Scandinavia and then hopefully doing this America thing. And after that, I don't know what we we're going to do, but I was hoping we could go out as first support to a somewhat bigger band in order to play in front of people that we normally wouldn't get the chance to play for because when we do this headliner tour, we are not out there to get new fans or make money or whatever. What we are out there to do is play for the loyal fans of Satyricon who are inviting us to come and play. That's kind of our idea and we present our idea to all our fans in the best possible way. That's what we like, but after that, I really want to support a larger band like Slayer or something would be great. We'll see.
d: I've heard you have a certain dislike for the States.
Satyr: It's more like a culture problem. I've been in the States, just visiting and I thought Louisiana was very nice. It's a country without history and it's a county where you mix basically everything from the worst to the best and put it all into one big cauldron and just stir it around...that's pretty much America. You have to think of the fact that Americans are really Indians. Those are the Americans. All these other people that are there are either Asian people or Europeans or Africans or whatever it may be, so what is a real American? It almost doesn't exist anymore. Therefore, it is pretty natural that there is no culture there either. And obviously Christianity is quite dominating in America, same way as in Norway, and that's something which I totally resent of course. Do you understand what I'm saying about being an American?
d: Completely. We all immigrated here, or our forefathers did, with the exception of the few Native Americans.
Satyr: I think that is also part of the problem with the crime and all that. You look here in Norway, crime is not a problem in Norway, especially compared to a country like America, apart from Oslo. Oslo is starting to lose identity and that is probably why you have a lot of crime. You have so many Swedish people there, and Norwegian people and German people and Pakistan people and Indian people and African people and it doesn't have any soul anymore, it's just a big mess and it's losing it's roots. It is a bit sad, but it's just the way the world is developing so there is not much we can do about it. Probably the saddest thing about America, in that manner, is that it's...i have a funny story...the photographer we worked with on "Rebel Extravaganza" when he went to New Orleans, where I have just been, a cab driver wanted to show him a building that was over 200 years old! I've got a house just 500 meters from where I live that is 300 years old. We have buildings that are 2000 years old. It's sad though but that's why I dislike America. America has a lot of nice nature. That has to be said too to the credit of America.
d: It is elementary to say that metal is constantly evolving. I'm sure when Iron Maiden was huge not many people expected bands to be wearing corpse paint, having keyboards and playing with such ferocity. Where do you see metal and especially Satyricon, going in the new millenium?
Satyr: I don't know. I honestly don't know. Of course I've been thinking about it and I'll try to give you a glimpse into my thoughts but it is hard to say because metal today is very different from metal in the 80's. On the other hand, it is such an extremely conservative genre and that in itself is giving me a hint that it is not going to go super fast into the millenium with a lot of progression and all that. To me, the most important to me is that it moves forward and not backward. Things that make me want to lay down and die are when people are picking up on the old cheesy 80's heavy metal stuff again now. I don't know how that is in America, but in Germany and Sweden, they are picking up on that stuff. These things are what make me feel happy that the 80's are over because we don't have the cheesy bands anymore. Now, the people are picking up on it again. I just don't get it and I'm thinking to myself "Are they serious? Do they mean this? Are they being ironic?" but they are not. They are damn serious. They really mean it and I can't believe it. I honestly can't understand how someone can get something from listening to that. As long as we can stay away from that, I don't care. It has to be progressive, but to say what direction it will be going is really hard. Maybe more technologic maybe. There will probably be a lot of changes on sound. That's probably something people haven't thought much about. Sound will be different because the recording equipment which bands have been recording with in the 1970's, 80's and 90's is not that different. I mean sure, you have better compressors than you did back then and you have better tape machines and all that, but it's basically the same. But what's coming now with all this computer recording which is more or less taking over for the tape machines. That's definitely going to affect the sound of albums that are going to come out in the next ten years because the way you record on those computers, it definitely doesnt sound the same as recording on tape machines.
d: Do you think bands that are trying too hard to find a unique identity are just going to end up irritating their fans? I mean bands like Arcturus and the like (editor's note: I love Arcturus, I was just asking a question so please don't jump down my throat. I wasn't trashing anyone).
Satyr: I don't feel that is the case with ourselves. I feel Satyricon has identity and I feel that we are different so it doesn't necessarily have to be the case. I know what you mean with a band like Arcturus. I don't know how Satyricon is looked upon in America, but Satyricon has a lot of respect and credibility in Europe, especially in Scandinavia, and I think that most of the reason, apart from being one of the first bands to come out of this scene in the 90's, is that we don't care what people say and I think that is very important. When people say to me "You have to remember that you wouldn't have been where you are today if it wouldn't have been for the fans" it's like fuck that it's not true at all. Did they make the music or did we make the music? We made the music and we spent hours and hours in the studio and the rehearsal room and it's us that work our asses off in order to get where we are at. There is no German kid or Swedish kid or American kid that has made Satyricon what it is. We have always done what we wanted and we have no interest in what other people might think about the direction we go in and I think with a band like Arcturus, that may be the case too. Maybe it can come through as irritating and all that for fans but I think a band like them, they are just doing what pleases them and they are not really that interested in what other people think about that because they do what makes them happy. It's as simple as that.
d: What other bands/genres do the members of Satyricon listen to?
Satyr: Frost listens pretty much to black metal and nothing else. He also likes a lot of dark music which isn't black metal but the rest is basically black metal. Especially he likes the old stuff. I tend to be a little more open minded I guess. I like black metal, I like all sorts of metal music really apart from power metal, and I like a lot of electronic music, I like classical music, I like a lot of music. I have a very varied and open minded taste. I think it's important in order to enjoy some music to have a quite varied taste because if you only like black metal there is just so and so much quality within that genre. It's a bit limited.
d: How do you feel about black metal's recent rise in popularity since you've been around back when it was a much smaller genre?
Satyr: I like it. There will always be some unfortunate things happening when you get a rise in popularity. There will be lots of individuals and companies and bands that will jump on the bandwagon in order to join the new trend and such things cause situations or things that I don't like, but we do this music because we love doing it and we obviously want to share it with all the people as long as they are interested so if the interest is growing I like that. I think it's a good thing and I'd rather have people listening to Darkthrone than Rage Against the Machine.
d: On the Moonfog webpage, in the section about banning mp3s, it says that when a band puts out a CD, they are basically earning what is comparable to minimum wage. You are in a few bands as well as running a small label, does that generate enough income to survive or do you struggle?
Satyr: I could make a living by only Satyricon, but it would be a bad life. Yea, I am comfortable and that is the thing with most people I know. The guys in Emperor for example, or the guys in Darkthrone or other bands that I know in Norway, they probably could live from what they make by music, but it would make a poor living, so most people do have regular jobs in addition to their music in order to make a comfortable living. With mp3s, it is so ridiculous. i listen to the arguments of underground people all the time saying that mp3s are such a good thing. It's not a good thing at all. What it eventually will do is bury the underground. It's not a problem for major companies because they generate so much income. Like in Denmark, they are making a big fuss now that the larger companies have lost about 3% of their income due to mp3s in Denmark in the last year, which is nothing but what they are afraid of is that it will be 6% next year and then 10% and then 15% and all that. For a small label like Moonfog, with relatively small bands, we have seen it in the bigger picture. If we were to lose, lets say, 10-15% of our income, it would be hard times. It's so simple, I don't see why people can't understand. Production costs, every day that goes there is a new studio raising it's prices. Studios that we started to work with like 5 or 6 years ago, they used to cost $500 a day, now they cost $1000 a day. To do a photo shoot back then would cost like $1000, today it's more like $3000. Everything is just getting more expensive while the price of a CD doesn't increase. It's a quite delicate balance you've got there and if you come to the point where people start to download your music and you don't make a penny from it, on the otherhand you still have the same production costs, it's going to be very difficult to run an underground label or an underground band.
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【http://www.metalwarrants.com/interviews/satyricon.html】
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Interview with Satyr of Satyricon
By John Haseltine
12-13-04
Back in the states for their third U.S. tour, I had a chance to catch up with Satyricon front man and founder Satyr in Chicago. Here are a few thoughts that have been swelling as well as a look into the real meaning of Black Metal from one of the foremost experts of the genre.
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JH: Well, there’s some crazy shit happening here in America.
S: Yeah, some.
JH: First off, give us a brief history of the band.
S: Satyricon is a black metal band from Oslo, Norway. Consisting of Frost and myself. We also have a live band with four more people in it. We’ve been playing together now for quite a few years now, all of us. We’ve put out five records, the newest one being ‘Volcano’.
JH: How does it feel being back in America doing another tour?
S: Ah, this is only our third tour here in twelve years of existence, so to the Americans, we’re still a fresh band. It’s only been our last three records that have had nationwide distribution here in America, so we’re going to challenge our position, there’s something fresh about that sort of starting all over again. A lot of it sucks too, you know you get used to a certain level of comfort, and then you don’t have that anymore, but again it’s also interesting to be in the position that we’re in to prove ourselves once again.
JH: You guys were very well received the past times through, do you see/feel that your fan base here is growing?
S: Yes I think it is. Within two years time, I feel we will be where we want to be. But, you need to turn black metal into more of a movement. You know black metal is a lifestyle to many people in Europe, and that’s what we’re missing here in America, and I think we see that coming more and more now, and being a part of that here is also exciting. Being here touring, and talking to press and exposing our ideas and take on music. It’s a black metal philosophy. So I’m enjoying myself.
JH: Last time around, there were many technical difficulties while on tour, do you feel you have them ironed out this time around?
S: Yes, we’re much more careful this time.
JH: The new album ’Volcano’, has been released on System Of A Down guitarist’s label ,Eat Ur Music. How did that partnership come about?
S: Oh, it was just thru coincidences, thru a mutual friend. I explained how I was unhappy with my current situation here in the states. Working with those I worked with. We needed something fresh and new and someone who was going to be ambitious on Satyricon’s behalf. I would say that as far as the ambitious, Eat Ur Music has lived up to my expectations, and I’m glad that I’ve done it, but then again, I also feel that to some degree, that Eat Ur Music is just an imprint and not an actual label and has been quite difficult for us too. But I’m glad that we’re given the chance to come here and play.
JH: So ’Volcano’ has a more rock oriented sound to it. Why is that?
S: Black metal comes from that music. That’s the way I see it. There is no wrong or right way to play black metal. Black metal in many ways is a feel. Either you have it or you don’t. it’s not only defined by speed, vocal style, production, lyrics and stuff like that. It’s actually defined whether or not you have the feeling. Sort like the blues in many ways. And uh…….I don’t know. What was your question? I forgot.
JH: Uh, oh, the new album has a more rock oriented sound.
S: Yea, yea. Okay, and going back to how black metal started, a lot of it was just really extreme music, but then again it was based in rock music. And multiplied by a million. As far as extremity goes, but then later on it became more theatrical with a lot of influences from classical music. Satyricon has always had a progressive side to it, but that progressiveness has come more from progressive rock than classical music or traditional heavy metal. Ultimately I think we’re a rock oriented black metal band, with a progressive touch. ’Volcano’ shows that more then any other record we’ve ever done.
JH: Was this simply to appeal to a wider audience, or was it just what you wanted to do?
S: It was what I wanted to do. And that’s what I always do. I always say that black metal is not a key to a successful living. It’s a call and this is what I wanted to do. This is ,is, black metal is my whole life. This is what I’ve been doing since I was fifteen years old and I’m now twenty-nine now so, I do what I want to do. Otherwise I’m bored. And if I’m bored, then why do this.
JH: So is Satyricon’s music progressing in any particular direction, or more of, here’s a new album like it or not?
S: When I come off this tour, I’m going to have a few weeks off, then I will start working intensely on the new record. I think we’re going to, somewhat changing what my perception of a black metal song is. Once I figure that out, I feel it will also change other people’s perception of how to write a black metal song. And that’s exciting to me, to have a challenge ahead when working with new music. I think the song structures will be more simple and stripped down, more then they’ve ever been. Atmospherically , it will probably be the most eerie sounding record that we’ve done. Well that’s what it looks like now anyways.
JH: Well that leads right into the next question. What is your description of what real black metal is?
S: Well we talked about black metal feeling, and that to me is real black metal. It’s like, how do you explain the blues. You can just tell by listening to the music that these guys a for real. They got it all figured out. And they have that sensitivity, and understanding and know how doing what they do. And that to me is what very much defines the real black metal. If the band has that know how and that deeper understanding of what they do. Then the darkness and extremity and the edge in their music will come thru sincere, honest and trustworthy.
JH: The European black metal scene is very large, unlike here in the states. What’s your impression of the black metal scene here?
S: It’s really widespread.
JH: Is there any hope for us?
S: Absolutely. Yes. I think that’s the honor we get now. Is to help the scene take shape. I think in many ways we’re privileged to get to be here now, because I think we’re seeing the birth of a real black metal scene. There are a lot of people who like black metal here in the states, but they’re so widespread, partly because it’s a really big country, and also of the lack of availability of records and not many bands touring here consistently, so availability is always getting better and better, more bands come here and tour and that will create a black metal scene eventually and will become more and more of a movement. More and more people will be , black metal will be a lifestyle to them and not just any other genre of music that they listen to occasionally. It will become their life. But I think it will take probably a few years yet.
JH: Do you feel black metal should stay an underground thing, or do you feel it deserves it’s day in some sort of mainstream way? Without out compromising the quality of course.
S: It will always stay an underground thing. I think because the music is so extreme. It’s just not accessible to the mainstream because the way it sounds and the stuff that we write about. Also the way we look and all that. But then yea, I wouldn’t be doing this if I didn’t think what we were doing wasn’t worthy of everyone’s attention. I do sincerely hope that and I also think that this music we believe so strongly in ,that we live for, will reach to a bigger audience.
JH: What did you set out to achieve when you started Satyricon?
S: I just wanted to do music man. I never had any hopes or dreams of being a star. I just wanted to do what I like doing and I think that’s part of what has made Satryicon such a success over in Europe. It’s that we have the right motivation. We’re here as music lovers, we’re not here for the chicks or the fame, or to socialize. We here because we love the music. And I think that sort of focus is helpful to any band.
JH: So you’re pleased with the bands progress over the years?
S: Yes I am.
JH: When asked what some of your influences are, you’ve stated your biggest influence is your own mind and soul. Could you elaborate on that?
S: It comes thru, you are who you are because what you’ve been thru in life. That in itself. Your take on things, and your perception of the world that you live in and your surroundings makes your soul and your mind and the way you think. And ultimately, what’s inside is what I feed off of when I make music and write lyrics.
JH: You’ve enlisted the services of Slipknot’s Joey Jordison on drums for the tour. He learned the songs fairly quickly?
S: Yes he did.
JH: What, like a week of rehearsals?
S: We had three days of rehearsals in Oslo, then one week in Los Angeles before the tour started. In an ideal world, we would have had more than that, but we started well and every show since is sounding better and better. He’s an excellent drummer. Very humble.
JH: Those are some pretty tough shoes to fill.
S: Tough shoes to fill yes, and I think what he’s always been saying is that he’s not going to be like Frost. He’s going to try and play Satryicon songs as well as he can with his own style and he’s doing a very good job. The musical chemistry we have on stage is really, really good. Also a big part of that is cause we get along so well. Not many people would have the balls to step it up like Joey has. A lot of people in his position would never do it. Because of the fear of failing and how that would make them look. And a lot of people would not do a tour like this if they were as successful as he is just because they can’t be bothered because they have all this money, success and fame. He doesn’t give a fuck, he loves the band and to him it has actually been an honor to be a part of the band. Just the fact that that’s his approach and attitude makes me feel as if it’s a honor to have him with us.
JH: Frost is still having a lot of trouble getting a visa here, will he ever be able to join you here in the states in the future? Is it just a waiting game?
S: Yes I think it’s just a time issue. Well there’s no taking for granted that it will ever be resolved, I think it will be, chances are that one day are pretty good. But I think we’re looking at a year, year and a half. Something like that. At least before we can have a certain degree of hope that it’s gonna work out.
JH: Anything you’d like to add?
S: No ,not really….
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【http://www.metalwarrants.com/interviews/satyricon.html】
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Interview with Satyr of Satyricon
By John Haseltine
12-13-04
Back in the states for their third U.S. tour, I had a chance to catch up with Satyricon front man and founder Satyr in Chicago. Here are a few thoughts that have been swelling as well as a look into the real meaning of Black Metal from one of the foremost experts of the genre.
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JH: Well, there’s some crazy shit happening here in America.
S: Yeah, some.
JH: First off, give us a brief history of the band.
S: Satyricon is a black metal band from Oslo, Norway. Consisting of Frost and myself. We also have a live band with four more people in it. We’ve been playing together now for quite a few years now, all of us. We’ve put out five records, the newest one being ‘Volcano’.
JH: How does it feel being back in America doing another tour?
S: Ah, this is only our third tour here in twelve years of existence, so to the Americans, we’re still a fresh band. It’s only been our last three records that have had nationwide distribution here in America, so we’re going to challenge our position, there’s something fresh about that sort of starting all over again. A lot of it sucks too, you know you get used to a certain level of comfort, and then you don’t have that anymore, but again it’s also interesting to be in the position that we’re in to prove ourselves once again.
JH: You guys were very well received the past times through, do you see/feel that your fan base here is growing?
S: Yes I think it is. Within two years time, I feel we will be where we want to be. But, you need to turn black metal into more of a movement. You know black metal is a lifestyle to many people in Europe, and that’s what we’re missing here in America, and I think we see that coming more and more now, and being a part of that here is also exciting. Being here touring, and talking to press and exposing our ideas and take on music. It’s a black metal philosophy. So I’m enjoying myself.
JH: Last time around, there were many technical difficulties while on tour, do you feel you have them ironed out this time around?
S: Yes, we’re much more careful this time.
JH: The new album ’Volcano’, has been released on System Of A Down guitarist’s label ,Eat Ur Music. How did that partnership come about?
S: Oh, it was just thru coincidences, thru a mutual friend. I explained how I was unhappy with my current situation here in the states. Working with those I worked with. We needed something fresh and new and someone who was going to be ambitious on Satyricon’s behalf. I would say that as far as the ambitious, Eat Ur Music has lived up to my expectations, and I’m glad that I’ve done it, but then again, I also feel that to some degree, that Eat Ur Music is just an imprint and not an actual label and has been quite difficult for us too. But I’m glad that we’re given the chance to come here and play.
JH: So ’Volcano’ has a more rock oriented sound to it. Why is that?
S: Black metal comes from that music. That’s the way I see it. There is no wrong or right way to play black metal. Black metal in many ways is a feel. Either you have it or you don’t. it’s not only defined by speed, vocal style, production, lyrics and stuff like that. It’s actually defined whether or not you have the feeling. Sort like the blues in many ways. And uh…….I don’t know. What was your question? I forgot.
JH: Uh, oh, the new album has a more rock oriented sound.
S: Yea, yea. Okay, and going back to how black metal started, a lot of it was just really extreme music, but then again it was based in rock music. And multiplied by a million. As far as extremity goes, but then later on it became more theatrical with a lot of influences from classical music. Satyricon has always had a progressive side to it, but that progressiveness has come more from progressive rock than classical music or traditional heavy metal. Ultimately I think we’re a rock oriented black metal band, with a progressive touch. ’Volcano’ shows that more then any other record we’ve ever done.
JH: Was this simply to appeal to a wider audience, or was it just what you wanted to do?
S: It was what I wanted to do. And that’s what I always do. I always say that black metal is not a key to a successful living. It’s a call and this is what I wanted to do. This is ,is, black metal is my whole life. This is what I’ve been doing since I was fifteen years old and I’m now twenty-nine now so, I do what I want to do. Otherwise I’m bored. And if I’m bored, then why do this.
JH: So is Satyricon’s music progressing in any particular direction, or more of, here’s a new album like it or not?
S: When I come off this tour, I’m going to have a few weeks off, then I will start working intensely on the new record. I think we’re going to, somewhat changing what my perception of a black metal song is. Once I figure that out, I feel it will also change other people’s perception of how to write a black metal song. And that’s exciting to me, to have a challenge ahead when working with new music. I think the song structures will be more simple and stripped down, more then they’ve ever been. Atmospherically , it will probably be the most eerie sounding record that we’ve done. Well that’s what it looks like now anyways.
JH: Well that leads right into the next question. What is your description of what real black metal is?
S: Well we talked about black metal feeling, and that to me is real black metal. It’s like, how do you explain the blues. You can just tell by listening to the music that these guys a for real. They got it all figured out. And they have that sensitivity, and understanding and know how doing what they do. And that to me is what very much defines the real black metal. If the band has that know how and that deeper understanding of what they do. Then the darkness and extremity and the edge in their music will come thru sincere, honest and trustworthy.
JH: The European black metal scene is very large, unlike here in the states. What’s your impression of the black metal scene here?
S: It’s really widespread.
JH: Is there any hope for us?
S: Absolutely. Yes. I think that’s the honor we get now. Is to help the scene take shape. I think in many ways we’re privileged to get to be here now, because I think we’re seeing the birth of a real black metal scene. There are a lot of people who like black metal here in the states, but they’re so widespread, partly because it’s a really big country, and also of the lack of availability of records and not many bands touring here consistently, so availability is always getting better and better, more bands come here and tour and that will create a black metal scene eventually and will become more and more of a movement. More and more people will be , black metal will be a lifestyle to them and not just any other genre of music that they listen to occasionally. It will become their life. But I think it will take probably a few years yet.
JH: Do you feel black metal should stay an underground thing, or do you feel it deserves it’s day in some sort of mainstream way? Without out compromising the quality of course.
S: It will always stay an underground thing. I think because the music is so extreme. It’s just not accessible to the mainstream because the way it sounds and the stuff that we write about. Also the way we look and all that. But then yea, I wouldn’t be doing this if I didn’t think what we were doing wasn’t worthy of everyone’s attention. I do sincerely hope that and I also think that this music we believe so strongly in ,that we live for, will reach to a bigger audience.
JH: What did you set out to achieve when you started Satyricon?
S: I just wanted to do music man. I never had any hopes or dreams of being a star. I just wanted to do what I like doing and I think that’s part of what has made Satryicon such a success over in Europe. It’s that we have the right motivation. We’re here as music lovers, we’re not here for the chicks or the fame, or to socialize. We here because we love the music. And I think that sort of focus is helpful to any band.
JH: So you’re pleased with the bands progress over the years?
S: Yes I am.
JH: When asked what some of your influences are, you’ve stated your biggest influence is your own mind and soul. Could you elaborate on that?
S: It comes thru, you are who you are because what you’ve been thru in life. That in itself. Your take on things, and your perception of the world that you live in and your surroundings makes your soul and your mind and the way you think. And ultimately, what’s inside is what I feed off of when I make music and write lyrics.
JH: You’ve enlisted the services of Slipknot’s Joey Jordison on drums for the tour. He learned the songs fairly quickly?
S: Yes he did.
JH: What, like a week of rehearsals?
S: We had three days of rehearsals in Oslo, then one week in Los Angeles before the tour started. In an ideal world, we would have had more than that, but we started well and every show since is sounding better and better. He’s an excellent drummer. Very humble.
JH: Those are some pretty tough shoes to fill.
S: Tough shoes to fill yes, and I think what he’s always been saying is that he’s not going to be like Frost. He’s going to try and play Satryicon songs as well as he can with his own style and he’s doing a very good job. The musical chemistry we have on stage is really, really good. Also a big part of that is cause we get along so well. Not many people would have the balls to step it up like Joey has. A lot of people in his position would never do it. Because of the fear of failing and how that would make them look. And a lot of people would not do a tour like this if they were as successful as he is just because they can’t be bothered because they have all this money, success and fame. He doesn’t give a fuck, he loves the band and to him it has actually been an honor to be a part of the band. Just the fact that that’s his approach and attitude makes me feel as if it’s a honor to have him with us.
JH: Frost is still having a lot of trouble getting a visa here, will he ever be able to join you here in the states in the future? Is it just a waiting game?
S: Yes I think it’s just a time issue. Well there’s no taking for granted that it will ever be resolved, I think it will be, chances are that one day are pretty good. But I think we’re looking at a year, year and a half. Something like that. At least before we can have a certain degree of hope that it’s gonna work out.
JH: Anything you’d like to add?
S: No ,not really….
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◆出所：
「Descent Magazine」issue# 02, 1995 AB
【#N/A】
◆本文：
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Satyricon Interview by Stephen O' Malley
I 'm sure that most of you into the underground have heard of this act. Their debut CD "Dark Medieval Times" blended a great mix of war and dark black metal... really a powerful debut. "The Shadowtrhone", the group' s second offering, is along similiar lines yet they seem to be adjusting to a more simplistic and atmospheric sound... this time around their main influence seems to be ENSLAVED' s second album rather then the mighty EMPEROR (whom have transcendal into much higher realms). We pose this interview to a sensitive Satyr (songwriter) which resulted in some intersting answers to say the least...
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Stephen: Greetings Satyr, how are you this eve?
Satyr: When you read this, our new album "The Shadowthrone" is out. I have already finished four songs from the third album, and by the way the forest around here is dead. It' s worse than ever before, I can feel the presence of a evil night.
Stephen: I was wondering what drove you to start Satyricon?
Satyr: A natural call to do is the only way I can explain this. I'm a part of it so it becomes a part of Satyricon.
Stephen: It seems that you have moved away from the traditional satanic themes... can you explain this? Does the flame still burn?
Satyr: I haven' t moved from Satanism to something else. I have never been a satanist. Though I have shared a lot of ideologies with Satanists. I look upon dark powers as soemthig else thatn just Satan. I have never claimed to be a Satanist therefore I must claim that cultural pride is not anything new, it has been there for along time. It seems like you guys out there haven' t realized that Satyricon and Darkthrone were very bound to these themes long before the others followed. Yes, the flame still burns... from Norway.
Stephen: Satyricon' s "Dark Meieval Times" focuses on a medieval theme... I think you accomplish this quite well... comments?
Satyr: Good, you have understood the point. Our medieval revulution is a result of an intense call from the medieval times and atmospheres. It was also used as a way of getting the hordes interested in the middle ages. My feelings concerning these times are difficult to explain with a few written words. I guess you understand.
Stephen: To me it seems that there is quite a bit of an Emperor influence in your music... Now Samoth (guitarist of Emperor) has joined your ranks. What will this addition add to Satyricon? And will his imprisonments cripple the band?
Satyr: Well, he did that a long time ago, in November 1993. His addition to the band has not given anything to the compositions as everybody should know by now... I compose all the music in Satyricon! So you think that the first album sounds like Emperor. Since when did Emperor use acoustic guitars? Do they use flute? Where do they have medieval like atmospheres? Does our vocals sound similiar? Our sound? No way! Anyhow I told the other guys in Satyricon, the Emperor guys, Fenriz from Darkthrone and several other persons. They all laughed and told me this was one of the most stupid things they had ever heard. After that they laughed even more. His imprisonment will not cripple the band in any way. It could be that he automatically falls out of the band when he goes to jail, but that will not hurt us. We added him to the line-up because we needed another good musican, not because he was Samoth.
Stephen: To me the forests holds something very special... unique, mysterious, and powerful. Do you agree?
Satyr: In daylight the forest is a very relaxing and comfortable place to be, same goes for the evenings. At night the presence of evil is strong, a very possessed feeling is all I can feel. The forest is my biggest inspirational source for lyrics and music.
Stephen: What does the future hold for Sayricon?
Satyr: Our new album "The Shadowthrone" is for sure out when this is printed. The music speaks for itself, we have palyed the advance for people from Darkthrone, Emperor, Mayhem and Dimmu Borgir and these persons have given us extremely good feedback.
Stephen: Lately there have been quite a few bands energing from your land... what do you thinks new wave?
Satyr: I do not socialize very much with the scene, but I know most of those with worth knowing. The bands I prefer to "hang around" with is Darkthrone/ Isengard and Emperor. The music from Norwegian bands is best. I haven' t got a clue on what' s going on in the demo scene, but there have been some dawn good albums lately.
Stephen: Looking at the visual imagery you incorporate in your works I wanted to ask is visual arts holds any interests with you?
Satyr: The Kittelsen is my favorite without doubt. I am inspired work of his.
Stephen: The godly band Bathory will appear in these pages... what do you thik of this legendary act?
Satyr: Bathory is of course a godly band, six great albums in a row is not bad. His solo project sucks.
Stephen: It seems that most individuals in the "Black Metal" scene have a big thing against good old Death Metal... where do you stand?
Satyr: Do you want me to shoot you? This is very patronizing. I am not a fan of such music, and again I must say. I told people in the Norwegian scene about this and they just laughed because they know it' s just bullshit. I like Morbid Angel and the first Deicide album, welcome to reality most of us here who have been into the scene for a while like these albums. The rest is shit.
Stephen: What about the international scene? Your opinions...
Satyr: Norway is the source of the best music. The thing about Greece being as good as Norway is just crap. The climate here must be a reason for our musical development. And also the fact that we are Norwegians make us good.
Stephen: Varg Vikernes (Count Grishnackh) has gained alot of attention over the past few years... what is your opinion on all this?
Satyr: I don' t know much about it, but it seems like you Americans worship it. I think his nationalistic fight is good, but he was not the first doing that. I also think his way of talking about his former friends is very childish. And the fact that he can' t admit that his way of behaving childish is even more childish. I wish he could stick to more intelligent level. The thing is that he's too radical, and individualistic. His Viking belief and others I don' t care about. They can do what they want. Satyricon er den siste hedenske jarl og vi har laert os med tiden at vi ma seile skipet selv.
Stephen: To end this...
Satyr: Amyone interested in mechandise can order from Moonfog. Await the rise of the North. Hill vart land.
Moonfog Productions
box 289
1450 Nesoddtangen
Norway
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#N/A
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「Descent Magazine」issue# 02, 1995 AB
【#N/A】
◆本文：
−−−ヘッダ開始−−−
Satyricon Interview by Stephen O' Malley
I 'm sure that most of you into the underground have heard of this act. Their debut CD "Dark Medieval Times" blended a great mix of war and dark black metal... really a powerful debut. "The Shadowtrhone", the group' s second offering, is along similiar lines yet they seem to be adjusting to a more simplistic and atmospheric sound... this time around their main influence seems to be ENSLAVED' s second album rather then the mighty EMPEROR (whom have transcendal into much higher realms). We pose this interview to a sensitive Satyr (songwriter) which resulted in some intersting answers to say the least...
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−−−本文開始−−−
Stephen: Greetings Satyr, how are you this eve?
Satyr: When you read this, our new album "The Shadowthrone" is out. I have already finished four songs from the third album, and by the way the forest around here is dead. It' s worse than ever before, I can feel the presence of a evil night.
Stephen: I was wondering what drove you to start Satyricon?
Satyr: A natural call to do is the only way I can explain this. I'm a part of it so it becomes a part of Satyricon.
Stephen: It seems that you have moved away from the traditional satanic themes... can you explain this? Does the flame still burn?
Satyr: I haven' t moved from Satanism to something else. I have never been a satanist. Though I have shared a lot of ideologies with Satanists. I look upon dark powers as soemthig else thatn just Satan. I have never claimed to be a Satanist therefore I must claim that cultural pride is not anything new, it has been there for along time. It seems like you guys out there haven' t realized that Satyricon and Darkthrone were very bound to these themes long before the others followed. Yes, the flame still burns... from Norway.
Stephen: Satyricon' s "Dark Meieval Times" focuses on a medieval theme... I think you accomplish this quite well... comments?
Satyr: Good, you have understood the point. Our medieval revulution is a result of an intense call from the medieval times and atmospheres. It was also used as a way of getting the hordes interested in the middle ages. My feelings concerning these times are difficult to explain with a few written words. I guess you understand.
Stephen: To me it seems that there is quite a bit of an Emperor influence in your music... Now Samoth (guitarist of Emperor) has joined your ranks. What will this addition add to Satyricon? And will his imprisonments cripple the band?
Satyr: Well, he did that a long time ago, in November 1993. His addition to the band has not given anything to the compositions as everybody should know by now... I compose all the music in Satyricon! So you think that the first album sounds like Emperor. Since when did Emperor use acoustic guitars? Do they use flute? Where do they have medieval like atmospheres? Does our vocals sound similiar? Our sound? No way! Anyhow I told the other guys in Satyricon, the Emperor guys, Fenriz from Darkthrone and several other persons. They all laughed and told me this was one of the most stupid things they had ever heard. After that they laughed even more. His imprisonment will not cripple the band in any way. It could be that he automatically falls out of the band when he goes to jail, but that will not hurt us. We added him to the line-up because we needed another good musican, not because he was Samoth.
Stephen: To me the forests holds something very special... unique, mysterious, and powerful. Do you agree?
Satyr: In daylight the forest is a very relaxing and comfortable place to be, same goes for the evenings. At night the presence of evil is strong, a very possessed feeling is all I can feel. The forest is my biggest inspirational source for lyrics and music.
Stephen: What does the future hold for Sayricon?
Satyr: Our new album "The Shadowthrone" is for sure out when this is printed. The music speaks for itself, we have palyed the advance for people from Darkthrone, Emperor, Mayhem and Dimmu Borgir and these persons have given us extremely good feedback.
Stephen: Lately there have been quite a few bands energing from your land... what do you thinks new wave?
Satyr: I do not socialize very much with the scene, but I know most of those with worth knowing. The bands I prefer to "hang around" with is Darkthrone/ Isengard and Emperor. The music from Norwegian bands is best. I haven' t got a clue on what' s going on in the demo scene, but there have been some dawn good albums lately.
Stephen: Looking at the visual imagery you incorporate in your works I wanted to ask is visual arts holds any interests with you?
Satyr: The Kittelsen is my favorite without doubt. I am inspired work of his.
Stephen: The godly band Bathory will appear in these pages... what do you thik of this legendary act?
Satyr: Bathory is of course a godly band, six great albums in a row is not bad. His solo project sucks.
Stephen: It seems that most individuals in the "Black Metal" scene have a big thing against good old Death Metal... where do you stand?
Satyr: Do you want me to shoot you? This is very patronizing. I am not a fan of such music, and again I must say. I told people in the Norwegian scene about this and they just laughed because they know it' s just bullshit. I like Morbid Angel and the first Deicide album, welcome to reality most of us here who have been into the scene for a while like these albums. The rest is shit.
Stephen: What about the international scene? Your opinions...
Satyr: Norway is the source of the best music. The thing about Greece being as good as Norway is just crap. The climate here must be a reason for our musical development. And also the fact that we are Norwegians make us good.
Stephen: Varg Vikernes (Count Grishnackh) has gained alot of attention over the past few years... what is your opinion on all this?
Satyr: I don' t know much about it, but it seems like you Americans worship it. I think his nationalistic fight is good, but he was not the first doing that. I also think his way of talking about his former friends is very childish. And the fact that he can' t admit that his way of behaving childish is even more childish. I wish he could stick to more intelligent level. The thing is that he's too radical, and individualistic. His Viking belief and others I don' t care about. They can do what they want. Satyricon er den siste hedenske jarl og vi har laert os med tiden at vi ma seile skipet selv.
Stephen: To end this...
Satyr: Amyone interested in mechandise can order from Moonfog. Await the rise of the North. Hill vart land.
Moonfog Productions
box 289
1450 Nesoddtangen
Norway
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#N/A
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◆出所：
「Burn The Sun」
【#N/A】
◆本文：
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"American Extravaganza" by Philip Hinkle
An interview in "Burn The Sun"
When Americans think of Norway, we tend to imagine vast forests, clear lakes, and driving, unrelenting cold, or, at least, the Hoth battle from The Empire Strikes Back. Rarely, do we imagine highways and cell phones. Somehow, the image of Satyricon main man Satyr driving down the street, talking on a cell phone doesn' t quite jive with the bald, maniacal looking creature pictured on the band' s latest release, "Rebel Extravaganza". When he explains that he' s driving to rehearsal, the rather bad connection is forgiven. Currently, the band is practicing for its upcoming U.S. tour.
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Last year' s Milwaukee Metalfest was supposed to be Satyricon' s first U.S. appearance, but the band had to cancel at the eleventh hour when drummer Frost failed to receive a work visa from the United States government. U.S. officials denied Frost entry because of a prior conviction for assault, for which he spent several months in a Norwegian jail. While things seem to be all clear for the upcoming tour (beginning 28 March in Chicago, IL), Satyr isn' t so sure everything is a done deal.
"It' s a sacrifice," Satyr says. "It' s the same thing really with the European tour. In Germany and in Scandinavia, Satyricon has an extremely strong standing. In most cases, they pay us what we' re actually worth and give us the conditions that we deserve. We have [played] a lot of shows on [the "Rebel Extravaganza"] tour where we' re quite unknown, just to get started. [It' s] the same thing with America. We' ll do this tour now, and we don' t expect a lot from it. We' re just going to do it. We feel very confident that we' re going to leave a trace there when we leave. When we go home, people are going to remember this. I feel quite certain about that."
Unfortunately, only a handful of American fans will be able to experience the tour as Satyricon chose to cancel the last two weeks of its tour. The tour now hits only thirteen cities in as many days, concentrating on the East Coast and Midwest.
"There was supposed to be about four weeks in America," Satyr reveals. "That was all over the place, everything from California to Texas [to New York]. After all the routing was set up, we got an offer to support Pantera on their European tour, which is starting in the middle of our scheduled American tour. So we cancelled the last two weeks of our American tour in order to make it back to Europe to join Pantera. It' s quite unfortunate. I asked Nuclear Blast if it was possible to just move the whole thing and do the Pantera tour and then do the whole American tour," he says. "For some reason, they felt that it would be better to cancel the last half of the tour. I don' t know why. They said something about the billing being so strong and they were afraid that they couldn' t set up equally strong billing in June, so they felt we should do it now. I don' t know so much about the situation in America," he admits. "When it comes to European touring matters, I know how it functions; but I don' t know anything about how it functions in America. I want to go [to America] again. I want to do this tour now and then go and do the Pantera tour and then do some festivals in the summer, and then I would like to return to America in the early fall."
Although other Norwegian Black Metal bands like Emperor and Dimmu Borgir have already toured America, Satyr feels no pressure to "keep up" with his fellow countrymen. Simply put, Satyr wouldn' t be making the trip if he didn't want to.
"This is actually something we really want to do," Satyr says. "The European tour was not really something we wanted to do. That was more or less a necessary evil. Of course, we took it very seriously which we always do, but it was not exactly something that I was looking forward to. I was pretty happy when it was over," he says, honestly. "I feel a little bit different about the American tour because it will be our first time, so it will not be the same thing as it is in Europe. I've only been to Louisiana, so there are a lot of new things for me to see. I' m looking forward to seeing other places as well."
For the cancelled performance in Milwaukee, Gehenna vocalist and guitarist Sanrabb was going to be Satyricon' s live guitarist; however, Satyr says that won' t be the case this time around.
"He did a few songs with us ("Intermezzo II" [1999] - Phil), but it didn' t really work out. I mean, it worked out musically and all that, but socially it was a little bit of a problem. Even though we get along, we have quite different attitudes. He' s not very ambitious."
In an interview with "Burn The Sun" in September 1999, Sanrabb commented that Gehenna was extremely lazy.
"Yeah, they are extremely lazy," Satyr concurs. "I don' t think they're willing to do anything to reach anywhere. They just record an album every once in a while, and that' s basically it, whereas we want to go somewhere with what we do. That doesn' t necessarily make us better than them. It just makes us different from them, a different attitude towards what we do."
Satyr says the question of ambition has been a deciding factor in keeping Satyricon a two-person band, and he seriously doubts if the band will ever have a fulltime lineup.
"[Satyricon] started out just being [me and Frost] because there were only us," Satyr explains. "We wanted it to be a full band, but we didn' t have the choice back then. Then we tried working as a full band, and that didn' t really work out. Again that whole thing with ambitions and all that came up. There was nobody that wanted to practice as often as us, and there was nobody willing to bleed as much as we have throughout the years. I just sat down and thought about what we' d really been doing. We' ve been recording as a twosome throughout our career. When we had Samoth (bass/ guitar - Phil) in there and Kveldulv (guitar - Phil) in there, it was good to have them on the albums. Looking back, I' m glad they participated, but on the other hand, I' m pretty sure that the albums would have turned out exactly the same without them," he says, honestly. "It was good having them there, but it wasn' t a necessity; so I just felt that we might as well go on just with the two of us because we know that it works. [Besides]," he adds, "I' m getting pretty sick and tired of having people going in and out of the band. We' ll obviously have guest musicians. We like having guest musicians."
Ambition and desire aren' t traits Satyr can be accused of lacking. Not only has he been the driving force behind Satyricon, he also started Moonfog Records, home to bands such as Gehenna, Darkthrone, Dødheimsgard, and of course Satyricon. Currently, Satyr owns fifty percent of the company and is still heavily involved with the label. While Moonfog CDs are relatively easy to find in European shops (thanks in part to the distribution deal with Connected Distribution), they can be difficult to locate in America.
"America is still a problem," Satyr agrees. "Asia is still a problem." He pauses for a moment then adds, "I don' t know what to do. We' ve been trying all [the distributors] that we find to be possible, interesting partners for Moonfog, but it hasn’t worked out."
Because Moonfog currently lacks the resources to properly distribute its releases worldwide, Satyricon hooked up with Nuclear Blast Records to handle promotions and distribution of the band outside Scandinavia.
"I' m pretty happy with the support we' ve been getting in America," Satyr says. "I feel that there could have been more advertisement in America and there could have been more interviews as well, but [Nuclear Blast America' s] attitude towards Satyricon has been good, and they've been helping out a lot when it comes to this tour. I feel that they respect us, and that they are interested in what we do."
However, Satyr' s attitude is quite different when it comes to Nuclear Blast Germany.
"It would have all been very good if the owner of Nuclear Blast actually worked," Satyr states. "He used to be an active owner, whereas now he just owns the whole thing; he doesn' t really work there anymore. That' s a pity because they' re a company that lacks leadership, and that has been affecting us in a negative way. There are people that have been working there for a long time that maybe were good enough for the company when they were small, but now they' ve become so big, those people should have been fired and replaced. I can' t say that I' m happy," he says, simply. "I' m happy about the owner because I know he' s seriously into Satyricon, and when he's around, he always does his best, but it' s so rare that he actually works there. I feel that the other people that work there don' t really care for us at all."
Nuclear Blast Germany (and NBA for that matter) has been making quite a big deal out of The Kovenent winning the Norwegian Grammy for "Best Hard Rock Band" (who narrowly beat out a Black Sabbath cover band, Black Debbath), but no one seems to be pointing out the fact that not only did more deserving bands not win, most weren' t even nominated. This detail is not lost on Satyr. He says that he' s "not angry but very surprised" Satyricon did not earn a nomination.
"Rebel Extravaganza" actually charted on the Norwegian Billboard, and no Black Metal album has charted as high as that album did," Satyr says. Despite three of the biggest mainstream newspapers in Norway giving "Rebel Extravaganza" exemplary reviews, Satyricon found itself without an invitation to the dance. "We didn' t really expect anything, but I just took it for granted that they' d nominate us because I actually thought they wouldn' t dare to do anything else," Satyr says, candidly, "but I also expected Emperor to be nominated as well. I would have been very happy if we weren' t nominated, but Emperor was nominated because that would have shown that [the Grammy committee] actually understand what' s going on, but they chose to overlook us, Emperor, Immortal, Dødheimsgard. That shows that they don' t really have a clue about what' s going on. I think that the idea of having a prize for Heavy Metal music in the Grammy Awards is a good idea, but everybody felt that if it was going to be something trustworthy, something credible, that it had to be done right. The first year they made a lot of mistakes (Covenant also won last year - Phil), and I was one of many to publicly criticize [the award]. The idea behind the criticism was maybe that if we criticize them then they would make it right the next year and make the prize something trustworthy and honorable. They made it even worse the second year," Satyr says. "I know we feel and Emperor feels that if we were to be given the prize next year, who cares? It doesn' t mean anything. It could have meant something if they would have done it the right way, but Metal people aren' t stupid and you can' t fool them, and that' s what they' ve been trying to do."
"Rebel Extravaganza" reached number 22 on the Billboard charts. The album remained on the charts for two weeks. In the world of Pop music, two weeks on the charts doesn' t make headlines, but when a Black Metal album not only hits as high as 22 but also holds the position for two weeks, people start to notice.
"If you just go in one week and out the next week, that doesn' t really impress the business," Satyr explains. "They like albums that are consistent on the charts, and ours remained on the charts for two weeks. In Black Metal that' s quite sensational."
Americans have a tendency to think the European Metal scene is stronger and more widely accepted than the American scene. While this may be true to some extent, as is evident from the Norwegian Grammy Awards, the Europeans also have trouble separating the cream from the crap. The whole incident brings back horrible memories of the 1989 American Grammy Awards in which Jethro Tull won out over Metallica for "Best Hard Rock Band."
Even without a shiny prize on his shelf, Satyr can rest assured that Satyricon has always innovated as opposed to imitated. If releasing pioneering albums isn' t enough to win a Grammy, then who the fuck would want one?
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#N/A
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「Burn The Sun」
【#N/A】
◆本文：
−−−ヘッダ開始−−−
"American Extravaganza" by Philip Hinkle
An interview in "Burn The Sun"
When Americans think of Norway, we tend to imagine vast forests, clear lakes, and driving, unrelenting cold, or, at least, the Hoth battle from The Empire Strikes Back. Rarely, do we imagine highways and cell phones. Somehow, the image of Satyricon main man Satyr driving down the street, talking on a cell phone doesn' t quite jive with the bald, maniacal looking creature pictured on the band' s latest release, "Rebel Extravaganza". When he explains that he' s driving to rehearsal, the rather bad connection is forgiven. Currently, the band is practicing for its upcoming U.S. tour.
−−−ヘッダ終了−−−
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Last year' s Milwaukee Metalfest was supposed to be Satyricon' s first U.S. appearance, but the band had to cancel at the eleventh hour when drummer Frost failed to receive a work visa from the United States government. U.S. officials denied Frost entry because of a prior conviction for assault, for which he spent several months in a Norwegian jail. While things seem to be all clear for the upcoming tour (beginning 28 March in Chicago, IL), Satyr isn' t so sure everything is a done deal.
"It' s a sacrifice," Satyr says. "It' s the same thing really with the European tour. In Germany and in Scandinavia, Satyricon has an extremely strong standing. In most cases, they pay us what we' re actually worth and give us the conditions that we deserve. We have [played] a lot of shows on [the "Rebel Extravaganza"] tour where we' re quite unknown, just to get started. [It' s] the same thing with America. We' ll do this tour now, and we don' t expect a lot from it. We' re just going to do it. We feel very confident that we' re going to leave a trace there when we leave. When we go home, people are going to remember this. I feel quite certain about that."
Unfortunately, only a handful of American fans will be able to experience the tour as Satyricon chose to cancel the last two weeks of its tour. The tour now hits only thirteen cities in as many days, concentrating on the East Coast and Midwest.
"There was supposed to be about four weeks in America," Satyr reveals. "That was all over the place, everything from California to Texas [to New York]. After all the routing was set up, we got an offer to support Pantera on their European tour, which is starting in the middle of our scheduled American tour. So we cancelled the last two weeks of our American tour in order to make it back to Europe to join Pantera. It' s quite unfortunate. I asked Nuclear Blast if it was possible to just move the whole thing and do the Pantera tour and then do the whole American tour," he says. "For some reason, they felt that it would be better to cancel the last half of the tour. I don' t know why. They said something about the billing being so strong and they were afraid that they couldn' t set up equally strong billing in June, so they felt we should do it now. I don' t know so much about the situation in America," he admits. "When it comes to European touring matters, I know how it functions; but I don' t know anything about how it functions in America. I want to go [to America] again. I want to do this tour now and then go and do the Pantera tour and then do some festivals in the summer, and then I would like to return to America in the early fall."
Although other Norwegian Black Metal bands like Emperor and Dimmu Borgir have already toured America, Satyr feels no pressure to "keep up" with his fellow countrymen. Simply put, Satyr wouldn' t be making the trip if he didn't want to.
"This is actually something we really want to do," Satyr says. "The European tour was not really something we wanted to do. That was more or less a necessary evil. Of course, we took it very seriously which we always do, but it was not exactly something that I was looking forward to. I was pretty happy when it was over," he says, honestly. "I feel a little bit different about the American tour because it will be our first time, so it will not be the same thing as it is in Europe. I've only been to Louisiana, so there are a lot of new things for me to see. I' m looking forward to seeing other places as well."
For the cancelled performance in Milwaukee, Gehenna vocalist and guitarist Sanrabb was going to be Satyricon' s live guitarist; however, Satyr says that won' t be the case this time around.
"He did a few songs with us ("Intermezzo II" [1999] - Phil), but it didn' t really work out. I mean, it worked out musically and all that, but socially it was a little bit of a problem. Even though we get along, we have quite different attitudes. He' s not very ambitious."
In an interview with "Burn The Sun" in September 1999, Sanrabb commented that Gehenna was extremely lazy.
"Yeah, they are extremely lazy," Satyr concurs. "I don' t think they're willing to do anything to reach anywhere. They just record an album every once in a while, and that' s basically it, whereas we want to go somewhere with what we do. That doesn' t necessarily make us better than them. It just makes us different from them, a different attitude towards what we do."
Satyr says the question of ambition has been a deciding factor in keeping Satyricon a two-person band, and he seriously doubts if the band will ever have a fulltime lineup.
"[Satyricon] started out just being [me and Frost] because there were only us," Satyr explains. "We wanted it to be a full band, but we didn' t have the choice back then. Then we tried working as a full band, and that didn' t really work out. Again that whole thing with ambitions and all that came up. There was nobody that wanted to practice as often as us, and there was nobody willing to bleed as much as we have throughout the years. I just sat down and thought about what we' d really been doing. We' ve been recording as a twosome throughout our career. When we had Samoth (bass/ guitar - Phil) in there and Kveldulv (guitar - Phil) in there, it was good to have them on the albums. Looking back, I' m glad they participated, but on the other hand, I' m pretty sure that the albums would have turned out exactly the same without them," he says, honestly. "It was good having them there, but it wasn' t a necessity; so I just felt that we might as well go on just with the two of us because we know that it works. [Besides]," he adds, "I' m getting pretty sick and tired of having people going in and out of the band. We' ll obviously have guest musicians. We like having guest musicians."
Ambition and desire aren' t traits Satyr can be accused of lacking. Not only has he been the driving force behind Satyricon, he also started Moonfog Records, home to bands such as Gehenna, Darkthrone, Dødheimsgard, and of course Satyricon. Currently, Satyr owns fifty percent of the company and is still heavily involved with the label. While Moonfog CDs are relatively easy to find in European shops (thanks in part to the distribution deal with Connected Distribution), they can be difficult to locate in America.
"America is still a problem," Satyr agrees. "Asia is still a problem." He pauses for a moment then adds, "I don' t know what to do. We' ve been trying all [the distributors] that we find to be possible, interesting partners for Moonfog, but it hasn’t worked out."
Because Moonfog currently lacks the resources to properly distribute its releases worldwide, Satyricon hooked up with Nuclear Blast Records to handle promotions and distribution of the band outside Scandinavia.
"I' m pretty happy with the support we' ve been getting in America," Satyr says. "I feel that there could have been more advertisement in America and there could have been more interviews as well, but [Nuclear Blast America' s] attitude towards Satyricon has been good, and they've been helping out a lot when it comes to this tour. I feel that they respect us, and that they are interested in what we do."
However, Satyr' s attitude is quite different when it comes to Nuclear Blast Germany.
"It would have all been very good if the owner of Nuclear Blast actually worked," Satyr states. "He used to be an active owner, whereas now he just owns the whole thing; he doesn' t really work there anymore. That' s a pity because they' re a company that lacks leadership, and that has been affecting us in a negative way. There are people that have been working there for a long time that maybe were good enough for the company when they were small, but now they' ve become so big, those people should have been fired and replaced. I can' t say that I' m happy," he says, simply. "I' m happy about the owner because I know he' s seriously into Satyricon, and when he's around, he always does his best, but it' s so rare that he actually works there. I feel that the other people that work there don' t really care for us at all."
Nuclear Blast Germany (and NBA for that matter) has been making quite a big deal out of The Kovenent winning the Norwegian Grammy for "Best Hard Rock Band" (who narrowly beat out a Black Sabbath cover band, Black Debbath), but no one seems to be pointing out the fact that not only did more deserving bands not win, most weren' t even nominated. This detail is not lost on Satyr. He says that he' s "not angry but very surprised" Satyricon did not earn a nomination.
"Rebel Extravaganza" actually charted on the Norwegian Billboard, and no Black Metal album has charted as high as that album did," Satyr says. Despite three of the biggest mainstream newspapers in Norway giving "Rebel Extravaganza" exemplary reviews, Satyricon found itself without an invitation to the dance. "We didn' t really expect anything, but I just took it for granted that they' d nominate us because I actually thought they wouldn' t dare to do anything else," Satyr says, candidly, "but I also expected Emperor to be nominated as well. I would have been very happy if we weren' t nominated, but Emperor was nominated because that would have shown that [the Grammy committee] actually understand what' s going on, but they chose to overlook us, Emperor, Immortal, Dødheimsgard. That shows that they don' t really have a clue about what' s going on. I think that the idea of having a prize for Heavy Metal music in the Grammy Awards is a good idea, but everybody felt that if it was going to be something trustworthy, something credible, that it had to be done right. The first year they made a lot of mistakes (Covenant also won last year - Phil), and I was one of many to publicly criticize [the award]. The idea behind the criticism was maybe that if we criticize them then they would make it right the next year and make the prize something trustworthy and honorable. They made it even worse the second year," Satyr says. "I know we feel and Emperor feels that if we were to be given the prize next year, who cares? It doesn' t mean anything. It could have meant something if they would have done it the right way, but Metal people aren' t stupid and you can' t fool them, and that' s what they' ve been trying to do."
"Rebel Extravaganza" reached number 22 on the Billboard charts. The album remained on the charts for two weeks. In the world of Pop music, two weeks on the charts doesn' t make headlines, but when a Black Metal album not only hits as high as 22 but also holds the position for two weeks, people start to notice.
"If you just go in one week and out the next week, that doesn' t really impress the business," Satyr explains. "They like albums that are consistent on the charts, and ours remained on the charts for two weeks. In Black Metal that' s quite sensational."
Americans have a tendency to think the European Metal scene is stronger and more widely accepted than the American scene. While this may be true to some extent, as is evident from the Norwegian Grammy Awards, the Europeans also have trouble separating the cream from the crap. The whole incident brings back horrible memories of the 1989 American Grammy Awards in which Jethro Tull won out over Metallica for "Best Hard Rock Band."
Even without a shiny prize on his shelf, Satyr can rest assured that Satyricon has always innovated as opposed to imitated. If releasing pioneering albums isn' t enough to win a Grammy, then who the fuck would want one?
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「Apostasia」
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An interview in "Apostasia" by AnneMarie Bowman
Black Metal music. Cold and grim, aggressive and extreme. As a genre of music, modern Black Metal is having its ten-year anniversary. As we move towards a new millenium, one wonders in what direction Black Metal can go. Can it, on the one hand, keep its extreme essence, while on the other hand be modern and different. Most Black Metal bands are going for the majestic paganism thing or are still doing the hail Satan thing. This was not an option for Satyricon. As the year 2000 loomed overhead, Satyr and Frost were looking to take charge, and set a new standard for Black Metal. Colder, grimmer, dirtier, more aggressive, more extreme than anything done before. To lead Black Metal into the twenty-first century and beyond.
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A: Is Satyricon now just you and Frost?
Satyr: Yes it is.
A: Did you use studio musicians to record "Rebel Extravaganza" or did you two do it yourself?
Satyr: We did it ourselves. We had some guest musicians but we didn' t bring them in because we needed them to play anything specific. We just needed them to play an odd part here and there. Basically, we did it ourselves.
A: I understand you are going on tour soon. What about touring musicians?
Satyr: We are going to do one off shows right now. In December, we are going to do a couple festivals, and in January we are going to do a full European tour. It was supposed to happen in October, but it had to be postponed. After the European tour, we hope to do America. The touring musicians are completely different people than the ones in the studio. We have not worked with them in the past. Except for the girl who plays keyboards for us, she started working with us for the festivals we did this summer, and will continue to play with us on a live basis in the future. The three other guys are totally new to us, and will be part of our live band.
A: It seems like your EP "Intermezzo II", and now your album "Rebel Extravaganza" has come out back to back. At least here in the states, it has only been a couple of months between the two releases. Is the reason for releasing the EP to give people a taste of what was to come with the album?
Satyr: We recorded the EP in January, and it came out May 10 in Europe. The album we recorded in March, and it will not be out until October 19. So there is a little time between them. The EP was meant to be a teaser, but as it turned out it is not, because the album sounds so different from the CD. I guess in a way that was the intention. The mini CD shows a different side of Satyricon. I like working with mini CD' s. It is a very dynamic format. It allows you to do things on the side, which is a bit different from what you do on albums. On albums, it is important for me to keep the continued feelings throughout the album. On Mini CD' s you can have a cover song, an experimental song, a live track, or a re-recording of an old tune. Whatever you want to do. That' s what I like about them, doing different things. When it comes to the album, I want to keep that continuous feeling.
A: "Intermezzo II" definitely has an experimental feel to it. I also think that "Rebel Extravaganza" has a bit of a different feel from your last full-length album. Many of the more established Black Metal acts are experimenting a bit more with their sound these days. Would you agree with that for Satyricon? Is it because of maturing, or maybe wanting to take it to another level?
Satyr: It is definitely about taking to another level. I do not see "Rebel Extravaganza" as being experimental, I see it as being a very modern Black Metal album. The problem with Black Metal in 1999 in Europe is that it is so extremely outdated. There will be a lot of people bitching about that. It is very important that the established bands like Satyricon take some responsibility and try to do something with it. I feel what we have done is not only a challenge for ourselves, but also a challenge for our fans. I hope it will be an album that will set new standards in Black Metal. I think it will. Everybody in Europe is crazy about the album, so it seems to be making quite an impact already.
A: That' s is kind of the answer I was looking for. I guess when I said experimental, I meant very right on time, very modern. It seems like the important Black Metal bands, the ones who have been around for a while are putting out albums like this. I wanted to get into your head as to reasoning of why you think this is happening right now, at this time. Is it because the Black Metal scene has become saturated, stale?
Satyr: The established bands are going to lead the scene into the future. That is why we need to take responsibility. We need to show them the way.
A: What is the deal you made with Nuclear Blast? Why not release it on Moonfog like before?
Satyr: It is on Moonfog really. Moonfog is releasing it in Scandinavia, and we made a licensing deal with Nuclear Blast for the rest of the world. I have to say I find the roster on Nuclear Blast far from my liking. However, they have showed in the past with other bands that they have the ability to really make the records available. They get the bands the recognition they deserve. We are hoping they do the same for Satyricon. It was a choice of working with them or Century Media. I hope they will prove themselves worthy. I think we have delivered the goods, and now it is up to them what they do with it.
A: Do you still have total artistic freedom?
Satyr: Yes, of course. That is one thing. We totally respect the people at Nuclear Blast and feel they are able to do a good job for us. One thing is for sure; that they do understand very well is that we have been around, doing this Black Metal thing long before they knew what it was. We told them on a very early basis forget about giving us any advice or telling us how this is supposed to be. We know how this works. Let us take care of the music. You just do your thing. We are pretty clear on that, so there is no problem.
A: Have you had any run ins with them about freedom of expression? The reason I am asking this is that I heard a rumor that they did not agree with how you expressed some of your beliefs.
Satyr: It would be easier to comment if you were more specific about the rumor that you heard.
A: I heard that some of the people in the German office were uncomfortable with some comments you made that could have been taken as neo-nazism.
Satyr: We never had any conflicts with them about anything like that. They know very well that Satyricon are a total non-political band with no sympathies either on the left or on right wing.
A: Are German labels extremely sensitive to that whole thing?
Satyr: It has never been a problem for us. They know we are in this for the music and nothing else.
A: You were supposed to play the Milwaukee Metalfest but did not make it. You mentioned you wanted to do an American tour. Do you think you will be allowed into this country to do a tour?
Satyr: Well, if Emperor could, we can, that's for sure.
A: Do you care to tell us the main reason why you could not make it over here?
Satyr: The main thing was that with those kinds of situations it takes a little more time. There' s more paperwork involved. You have to go through the whole bureaucracy mill. There is no problem because people understand you are coming over to play and do a job. We have been invited to play, and that is what we want to do. The bureaucrats know nothing dangerous is going to happen. They just have their rules they have to follow and they have to stick by them. These things take time. Unfortunately, we had to suffer because of it this time. We really spent a lot of time getting all the papers sorted out, passports and blah blah blah, all that shit. It even cost me a lot of money personally to fix all these things. Now it was not worth anything. However, I don't think there will be a problem next time, it will be easier. Now we have time. The inquiry to play at Milwaukee came at a late stage. We were given six weeks to sort it out and you normally need like ten weeks to do it. I understand what you mean, everybody thinks that we couldn't come over because we murdered a lot of people or something. That is not the case. It is just a simple case of running out of time. It is nothing about things that happened years ago. They don't try to stop you from coming into the country, but they do take things that happened in the past into consideration. It just takes time. If Emperor made it in, everybody will make it in!
A: I am glad you wanted to clear that up. It was just a simple case of bureaucracy and paperwork. Now since you have set the wheels in motion, it should be easier next time. Are you planning on coming over here to tour?
Satyr: When they issue the paper work, they need to know for example exactly when the tour is starting, when it is ending. Exactly where we are playing, things like that. Unfortunately, those things you do not really know until a little bit before you go. It' s too bad it has to be so detailed, but that is the way it is. They have to be difficult. We tried to change them, but we cannot. We will just have to play by their rules.
A: Why do you feel it is important for Satyricon to come to America to tour?
Satyr: Well, I' m arrogant enough to say that this Black Metal album we have done now is so very good it not only deserves to be recognized as a good Black Metal album, it deserves to be recognized as a milestone. Those things don' t happen on their own. You have to promote the album and make sure people know about it. America is such a huge country, so it is even more important to do the touring part there. Obviously, it is a growing market with a growing interest in this kind of music. We want to be a part of it as it is starting. On the other hand, I' m a bit skeptical. I know the whole story about the standard of the clubs in America. From what I understand, they are a bit disgraceful, and that is unfortunate. However, we will see. I hope we can support a band that is very established in America. That way we could perform under slightly better conditions.
A: If you had to make a choice, what band would that be?
Satyr: We were in the discussions for Mercyful Fate, the tour they are doing right now. We could not do it unfortunately. Of course when you tour with a bigger band you risk the fact that they are going to fuck up the sound-check, and they are going to make sure you suck in order for them to shine. Oh the other hand, you get better traveling conditions, and get to play in better clubs with better sound systems. If you travel with a band that is confident of their own qualities and strengths, they don' t try to fuck up the support bands.
A: Is the "Mother North" video available in North American format?
Satyr: I don' t think so. We are not planning to release it that way either. We are going to start working on a new video in a few weeks. I am hoping we can release that one on both European and North American formats. It is going to be a longer video. Looks like it' s going to be more of a Satyricon documentary kind of thing. With some music videos, some new stuff, and behind the scenes kind of stuff.
A: What has inspired you in the last couple of years that has caused you to create this album, "Rebel Extravaganza", which you feel so strongly about?
Satyr: Inspiration is not really a subject, it is just what I really wanted to do in the end. I wanted to do the kind of things I' ve done because I felt strongly for them. I do not think anything inspired me, it' s just the way it became. What I felt strongly for was breaking down the barriers and moving the whole thing into new extremities. That has always been the policy of Satyricon, to be one step ahead of the pack. To bring into it new dimensions. To go where other bands have not been before. That is what we have done with "Rebel Extravaganza". I understand you have not seen the booklet, because you have a promo. That is very unfortunate, because you would understand it very well, what I am talking about. You would get to see the total package. The booklet is not your ordinary CD booklet. It' s more like a small piece of art. I hope that you can see it when it is out.
A: Well, just from the new photos I' ve seen, it seems your image have moved away from a standard corpse-painted Black Metal one to a cosmic otherworldly type one. Therefore, I was trying to get into your head as to what has influenced you to move into this direction.
Satyr: What we tried to do is be a little bit more aggressive and grim. More extreme and in your face than anything done before. We wanted to do it in a Satyricon fashion, which means different from what you usually see with other bands. I spoke to this other American guy, and he said that he enjoyed the stuff a lot, and he interpreted it in the way that I was talking about. He said that people would probably say "Oh, this is weird, I don' t understand it". That is exactly what I thought myself, but it is turning out to be the opposite. We' ve done many interviews, and it seems that everybody is totally stoked by the whole thing, the music, the photography, and the booklet art. They understand this is the new thing. You need to renew yourself, and make it more extreme. That is what Black Metal is about. It is about extremity. If you take the extremity out of Black Metal, then it is just something ordinary and uninteresting.
A: I don' t see it as weird. I see it as you taking steps to really find yourselves, and move away from the ordinary, to the extraordinary. I also see it as a growth or maturation.
Satyr: I would have to say maturation into something that is more extreme. Unfortunately, there is something that happens to bands that move on. They just become more normal. That is so boring. If you take the edge out of Black Metal, is just becomes regular Metal. Then it is not interesting for me. We tried instead of going normal, to do something more extreme then we have ever done before. In a way, that nobody else has done before. That was kind of the intention to have it come out like that. Very extreme, but very different. Individual, with character.
A: As for the lyrics on "Rebel Extravaganza", is there anything that people should take an extra look at? Anything that is profound, or has a special meaning for you, that you would like to share?
Satyr: The most important thing is that people read them. Most of the lyrics raise a lot of questions. The main point there is, is to not give the answers, but to raise the questions. Then to challenge people to come up with the answers themselves. The lyrics are done in a way that they are supposed to cause movement in people. I think that is one of the most interesting things about written words, whether it is poetry, books or whatever. That it be informative, but also raise questions, to make you start thinking. One time a guy came up with an interpretation to the song "A Moment Of Clarity" which is on the EP. His interpretations were completely wrong, and he asked me, "why do you say that?" I said,"that' s not what I' m saying." He asked me, "Well, what are you saying?" So then, I explained it to him. In a case like that, where someone is so wrong, I will explain it to him or her, if they ask me. However, usually I like people to think for themselves.
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「Apostasia」
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An interview in "Apostasia" by AnneMarie Bowman
Black Metal music. Cold and grim, aggressive and extreme. As a genre of music, modern Black Metal is having its ten-year anniversary. As we move towards a new millenium, one wonders in what direction Black Metal can go. Can it, on the one hand, keep its extreme essence, while on the other hand be modern and different. Most Black Metal bands are going for the majestic paganism thing or are still doing the hail Satan thing. This was not an option for Satyricon. As the year 2000 loomed overhead, Satyr and Frost were looking to take charge, and set a new standard for Black Metal. Colder, grimmer, dirtier, more aggressive, more extreme than anything done before. To lead Black Metal into the twenty-first century and beyond.
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A: Is Satyricon now just you and Frost?
Satyr: Yes it is.
A: Did you use studio musicians to record "Rebel Extravaganza" or did you two do it yourself?
Satyr: We did it ourselves. We had some guest musicians but we didn' t bring them in because we needed them to play anything specific. We just needed them to play an odd part here and there. Basically, we did it ourselves.
A: I understand you are going on tour soon. What about touring musicians?
Satyr: We are going to do one off shows right now. In December, we are going to do a couple festivals, and in January we are going to do a full European tour. It was supposed to happen in October, but it had to be postponed. After the European tour, we hope to do America. The touring musicians are completely different people than the ones in the studio. We have not worked with them in the past. Except for the girl who plays keyboards for us, she started working with us for the festivals we did this summer, and will continue to play with us on a live basis in the future. The three other guys are totally new to us, and will be part of our live band.
A: It seems like your EP "Intermezzo II", and now your album "Rebel Extravaganza" has come out back to back. At least here in the states, it has only been a couple of months between the two releases. Is the reason for releasing the EP to give people a taste of what was to come with the album?
Satyr: We recorded the EP in January, and it came out May 10 in Europe. The album we recorded in March, and it will not be out until October 19. So there is a little time between them. The EP was meant to be a teaser, but as it turned out it is not, because the album sounds so different from the CD. I guess in a way that was the intention. The mini CD shows a different side of Satyricon. I like working with mini CD' s. It is a very dynamic format. It allows you to do things on the side, which is a bit different from what you do on albums. On albums, it is important for me to keep the continued feelings throughout the album. On Mini CD' s you can have a cover song, an experimental song, a live track, or a re-recording of an old tune. Whatever you want to do. That' s what I like about them, doing different things. When it comes to the album, I want to keep that continuous feeling.
A: "Intermezzo II" definitely has an experimental feel to it. I also think that "Rebel Extravaganza" has a bit of a different feel from your last full-length album. Many of the more established Black Metal acts are experimenting a bit more with their sound these days. Would you agree with that for Satyricon? Is it because of maturing, or maybe wanting to take it to another level?
Satyr: It is definitely about taking to another level. I do not see "Rebel Extravaganza" as being experimental, I see it as being a very modern Black Metal album. The problem with Black Metal in 1999 in Europe is that it is so extremely outdated. There will be a lot of people bitching about that. It is very important that the established bands like Satyricon take some responsibility and try to do something with it. I feel what we have done is not only a challenge for ourselves, but also a challenge for our fans. I hope it will be an album that will set new standards in Black Metal. I think it will. Everybody in Europe is crazy about the album, so it seems to be making quite an impact already.
A: That' s is kind of the answer I was looking for. I guess when I said experimental, I meant very right on time, very modern. It seems like the important Black Metal bands, the ones who have been around for a while are putting out albums like this. I wanted to get into your head as to reasoning of why you think this is happening right now, at this time. Is it because the Black Metal scene has become saturated, stale?
Satyr: The established bands are going to lead the scene into the future. That is why we need to take responsibility. We need to show them the way.
A: What is the deal you made with Nuclear Blast? Why not release it on Moonfog like before?
Satyr: It is on Moonfog really. Moonfog is releasing it in Scandinavia, and we made a licensing deal with Nuclear Blast for the rest of the world. I have to say I find the roster on Nuclear Blast far from my liking. However, they have showed in the past with other bands that they have the ability to really make the records available. They get the bands the recognition they deserve. We are hoping they do the same for Satyricon. It was a choice of working with them or Century Media. I hope they will prove themselves worthy. I think we have delivered the goods, and now it is up to them what they do with it.
A: Do you still have total artistic freedom?
Satyr: Yes, of course. That is one thing. We totally respect the people at Nuclear Blast and feel they are able to do a good job for us. One thing is for sure; that they do understand very well is that we have been around, doing this Black Metal thing long before they knew what it was. We told them on a very early basis forget about giving us any advice or telling us how this is supposed to be. We know how this works. Let us take care of the music. You just do your thing. We are pretty clear on that, so there is no problem.
A: Have you had any run ins with them about freedom of expression? The reason I am asking this is that I heard a rumor that they did not agree with how you expressed some of your beliefs.
Satyr: It would be easier to comment if you were more specific about the rumor that you heard.
A: I heard that some of the people in the German office were uncomfortable with some comments you made that could have been taken as neo-nazism.
Satyr: We never had any conflicts with them about anything like that. They know very well that Satyricon are a total non-political band with no sympathies either on the left or on right wing.
A: Are German labels extremely sensitive to that whole thing?
Satyr: It has never been a problem for us. They know we are in this for the music and nothing else.
A: You were supposed to play the Milwaukee Metalfest but did not make it. You mentioned you wanted to do an American tour. Do you think you will be allowed into this country to do a tour?
Satyr: Well, if Emperor could, we can, that's for sure.
A: Do you care to tell us the main reason why you could not make it over here?
Satyr: The main thing was that with those kinds of situations it takes a little more time. There' s more paperwork involved. You have to go through the whole bureaucracy mill. There is no problem because people understand you are coming over to play and do a job. We have been invited to play, and that is what we want to do. The bureaucrats know nothing dangerous is going to happen. They just have their rules they have to follow and they have to stick by them. These things take time. Unfortunately, we had to suffer because of it this time. We really spent a lot of time getting all the papers sorted out, passports and blah blah blah, all that shit. It even cost me a lot of money personally to fix all these things. Now it was not worth anything. However, I don't think there will be a problem next time, it will be easier. Now we have time. The inquiry to play at Milwaukee came at a late stage. We were given six weeks to sort it out and you normally need like ten weeks to do it. I understand what you mean, everybody thinks that we couldn't come over because we murdered a lot of people or something. That is not the case. It is just a simple case of running out of time. It is nothing about things that happened years ago. They don't try to stop you from coming into the country, but they do take things that happened in the past into consideration. It just takes time. If Emperor made it in, everybody will make it in!
A: I am glad you wanted to clear that up. It was just a simple case of bureaucracy and paperwork. Now since you have set the wheels in motion, it should be easier next time. Are you planning on coming over here to tour?
Satyr: When they issue the paper work, they need to know for example exactly when the tour is starting, when it is ending. Exactly where we are playing, things like that. Unfortunately, those things you do not really know until a little bit before you go. It' s too bad it has to be so detailed, but that is the way it is. They have to be difficult. We tried to change them, but we cannot. We will just have to play by their rules.
A: Why do you feel it is important for Satyricon to come to America to tour?
Satyr: Well, I' m arrogant enough to say that this Black Metal album we have done now is so very good it not only deserves to be recognized as a good Black Metal album, it deserves to be recognized as a milestone. Those things don' t happen on their own. You have to promote the album and make sure people know about it. America is such a huge country, so it is even more important to do the touring part there. Obviously, it is a growing market with a growing interest in this kind of music. We want to be a part of it as it is starting. On the other hand, I' m a bit skeptical. I know the whole story about the standard of the clubs in America. From what I understand, they are a bit disgraceful, and that is unfortunate. However, we will see. I hope we can support a band that is very established in America. That way we could perform under slightly better conditions.
A: If you had to make a choice, what band would that be?
Satyr: We were in the discussions for Mercyful Fate, the tour they are doing right now. We could not do it unfortunately. Of course when you tour with a bigger band you risk the fact that they are going to fuck up the sound-check, and they are going to make sure you suck in order for them to shine. Oh the other hand, you get better traveling conditions, and get to play in better clubs with better sound systems. If you travel with a band that is confident of their own qualities and strengths, they don' t try to fuck up the support bands.
A: Is the "Mother North" video available in North American format?
Satyr: I don' t think so. We are not planning to release it that way either. We are going to start working on a new video in a few weeks. I am hoping we can release that one on both European and North American formats. It is going to be a longer video. Looks like it' s going to be more of a Satyricon documentary kind of thing. With some music videos, some new stuff, and behind the scenes kind of stuff.
A: What has inspired you in the last couple of years that has caused you to create this album, "Rebel Extravaganza", which you feel so strongly about?
Satyr: Inspiration is not really a subject, it is just what I really wanted to do in the end. I wanted to do the kind of things I' ve done because I felt strongly for them. I do not think anything inspired me, it' s just the way it became. What I felt strongly for was breaking down the barriers and moving the whole thing into new extremities. That has always been the policy of Satyricon, to be one step ahead of the pack. To bring into it new dimensions. To go where other bands have not been before. That is what we have done with "Rebel Extravaganza". I understand you have not seen the booklet, because you have a promo. That is very unfortunate, because you would understand it very well, what I am talking about. You would get to see the total package. The booklet is not your ordinary CD booklet. It' s more like a small piece of art. I hope that you can see it when it is out.
A: Well, just from the new photos I' ve seen, it seems your image have moved away from a standard corpse-painted Black Metal one to a cosmic otherworldly type one. Therefore, I was trying to get into your head as to what has influenced you to move into this direction.
Satyr: What we tried to do is be a little bit more aggressive and grim. More extreme and in your face than anything done before. We wanted to do it in a Satyricon fashion, which means different from what you usually see with other bands. I spoke to this other American guy, and he said that he enjoyed the stuff a lot, and he interpreted it in the way that I was talking about. He said that people would probably say "Oh, this is weird, I don' t understand it". That is exactly what I thought myself, but it is turning out to be the opposite. We' ve done many interviews, and it seems that everybody is totally stoked by the whole thing, the music, the photography, and the booklet art. They understand this is the new thing. You need to renew yourself, and make it more extreme. That is what Black Metal is about. It is about extremity. If you take the extremity out of Black Metal, then it is just something ordinary and uninteresting.
A: I don' t see it as weird. I see it as you taking steps to really find yourselves, and move away from the ordinary, to the extraordinary. I also see it as a growth or maturation.
Satyr: I would have to say maturation into something that is more extreme. Unfortunately, there is something that happens to bands that move on. They just become more normal. That is so boring. If you take the edge out of Black Metal, is just becomes regular Metal. Then it is not interesting for me. We tried instead of going normal, to do something more extreme then we have ever done before. In a way, that nobody else has done before. That was kind of the intention to have it come out like that. Very extreme, but very different. Individual, with character.
A: As for the lyrics on "Rebel Extravaganza", is there anything that people should take an extra look at? Anything that is profound, or has a special meaning for you, that you would like to share?
Satyr: The most important thing is that people read them. Most of the lyrics raise a lot of questions. The main point there is, is to not give the answers, but to raise the questions. Then to challenge people to come up with the answers themselves. The lyrics are done in a way that they are supposed to cause movement in people. I think that is one of the most interesting things about written words, whether it is poetry, books or whatever. That it be informative, but also raise questions, to make you start thinking. One time a guy came up with an interpretation to the song "A Moment Of Clarity" which is on the EP. His interpretations were completely wrong, and he asked me, "why do you say that?" I said,"that' s not what I' m saying." He asked me, "Well, what are you saying?" So then, I explained it to him. In a case like that, where someone is so wrong, I will explain it to him or her, if they ask me. However, usually I like people to think for themselves.
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◆出所：
「Aardschok」(issue # 11, 1999)
【#N/A】
◆本文：
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An interview in "Aardschok" by René Veerkamp(issue # 11, 1999)
Translated from Dutch by Justin Faase
With the new album "Rebel Extravaganza", Satyricon from Norway has again proven that they belong to the most adventurous and discussed metal bands nowadays. Where many bands copy other bands without any shame or indulge more and more to the commerce, Satyricon stays true to the roots of the black metal scene. The music is dark and brutal, but in no way simple or cheap. Thus founder and band leader has some definite views about his colleagues.−−−ヘッダ終了−−−
−−−本文開始−−−
Satyr: The metal scene is actually quite narrow-minded and conservative. It is very hard to create different music. Black Metal was the only style of metal where something new happened. However, nowadays the scene is full of so-called Black Metal bands that have little or nothing to offer. If you take a look at the older bands, you'll see that they all had their own style. It' s true, everybody was influenced by bands like Bathory and Celtic Frost, but every band from the early days did their best to lift the scene towards new extremities and to push the limits further. I still see Satyricon as one of those bands. We are extreme. We try new things out and every effort is made to push our personal limits even further. We are not here to entertain Dimmu Borgir or Cradle Of Filth fans, but we make music to satisfy our own. We have made some trips outside metal on our MCDs, which wasn' t always appreciated. We listen to all kinds of music and we are not afraid of new influences. We will stay true to our metal roots on our full length CDs however.
RV: Personally, I' d thought that after "Nemesis Divina" you would come with a more accessible sound and thus reach a bigger public. However, the new album is everything but accessible. How do you see Satyricon' s development?
Satyr: Of course we have developed as musicians and we have progressed in our own way. I think we are progressive in a totally own manner. The music on "Rebel Extravaganza" is more aggressive, darker and more modern than our preceding material. We are an extravagant band and it' s true in a way that we are still rebels, which also explains the title. The title of the album reflects our musical and lyrical nature. It' s a pity that you only have a promo-CD, because the CD booklet is certainly worth it as well. It' s some kind of mini-book with great artwork. There has been put in a lot of energy and time. We haven' t been standing still since "Nemesis Divina". We have toured extensively in 1996 with Dissection and the first material for this album was written during that period. However, we found it too melodic and we weren' t satisfied about the variation and to be honest, the material was quite boring. We have eventually thrown everything away and started all over again. We have been practising a lot and we have taken to time to record the album as well.
RV: Satyricon is still you and Frost. However, people like Fenriz of Darkthrone, Snorre of Thorns, the Norwegian trance artist Ra and the musical singer/ actress Trine Svendsen have cooperated on this album.
Satyr: Fenriz has done only some percussion actually, and Snorre plays guitar on some tracks. The actress/ singer Trine Svendsen was recruited especially for "The Scorn Torrent", because she has such a powerful and authoritarian voice.
RV: That song is something like a mini-musical in my opinion.
Satyr: Oh, that' s not a way I looked at it yet. That is the art of musical expression: it leaves room for own interpretations. If that songs sounds like that in your opinion, than that' s fine with me.
RV: There's also a tour planned, which has been postponed from November to January lately. How do you manage live on stage?
Satyr: Tyr, also known from Emperor, will join us. Furthermore, a female session musician will come along and we have been working in another musician. It will be an extensive European tour with us as headliner.
RV: What do you think about Black Metal nowadays? Is the movement coming to an end or do you believe the scene will go into the millennium with a bright future?
Satyr: I' m very critical of the scene, but that is mainly because of my love for this musical style. It' s controversial, exciting and has brought a lot of good things. However, I think that this style of music can only remain at this level when bands are more critical towards themselves, and try to improve all the time. The quality standard must be higher and bands have to change themselves constantly and search for new limits.
RV: I see a lot of bootlegs in the Black Metal scene nowadays. Your first demo "All Evil" was released on CD lately, together with some bad sounding live recordings. I know you would rather forget about that demo, because it doesn' t meet your quality standards. How do you look upon the phenomenon bootlegs?
Satyr: If you ask me, those fucking recordings damage the band' s reputation. What purpose could there be to release a CD with bad walkman recordings? We are currently busy searching for possibilities for legal actions towards this kind of things.
RV: There has been a lot of commotion surrounding the book "Lords Of Chaos", about all the involvements in the Norwegian Black Metal scene (authors Michael Moynihan and Didrik Søderlind). Have you read this book and if yes, what do you think of it?
Satyr: I haven' t read it myself, but I' ve been told that it' s a poor book and that it' s full of mistakes. I don' t want to read it anyway. I was there when it all happened so what can they tell me about it then?
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#N/A
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「Aardschok」(issue # 11, 1999)
【#N/A】
◆本文：
−−−ヘッダ開始−−−
An interview in "Aardschok" by René Veerkamp(issue # 11, 1999)
Translated from Dutch by Justin Faase
With the new album "Rebel Extravaganza", Satyricon from Norway has again proven that they belong to the most adventurous and discussed metal bands nowadays. Where many bands copy other bands without any shame or indulge more and more to the commerce, Satyricon stays true to the roots of the black metal scene. The music is dark and brutal, but in no way simple or cheap. Thus founder and band leader has some definite views about his colleagues.−−−ヘッダ終了−−−
−−−本文開始−−−
Satyr: The metal scene is actually quite narrow-minded and conservative. It is very hard to create different music. Black Metal was the only style of metal where something new happened. However, nowadays the scene is full of so-called Black Metal bands that have little or nothing to offer. If you take a look at the older bands, you'll see that they all had their own style. It' s true, everybody was influenced by bands like Bathory and Celtic Frost, but every band from the early days did their best to lift the scene towards new extremities and to push the limits further. I still see Satyricon as one of those bands. We are extreme. We try new things out and every effort is made to push our personal limits even further. We are not here to entertain Dimmu Borgir or Cradle Of Filth fans, but we make music to satisfy our own. We have made some trips outside metal on our MCDs, which wasn' t always appreciated. We listen to all kinds of music and we are not afraid of new influences. We will stay true to our metal roots on our full length CDs however.
RV: Personally, I' d thought that after "Nemesis Divina" you would come with a more accessible sound and thus reach a bigger public. However, the new album is everything but accessible. How do you see Satyricon' s development?
Satyr: Of course we have developed as musicians and we have progressed in our own way. I think we are progressive in a totally own manner. The music on "Rebel Extravaganza" is more aggressive, darker and more modern than our preceding material. We are an extravagant band and it' s true in a way that we are still rebels, which also explains the title. The title of the album reflects our musical and lyrical nature. It' s a pity that you only have a promo-CD, because the CD booklet is certainly worth it as well. It' s some kind of mini-book with great artwork. There has been put in a lot of energy and time. We haven' t been standing still since "Nemesis Divina". We have toured extensively in 1996 with Dissection and the first material for this album was written during that period. However, we found it too melodic and we weren' t satisfied about the variation and to be honest, the material was quite boring. We have eventually thrown everything away and started all over again. We have been practising a lot and we have taken to time to record the album as well.
RV: Satyricon is still you and Frost. However, people like Fenriz of Darkthrone, Snorre of Thorns, the Norwegian trance artist Ra and the musical singer/ actress Trine Svendsen have cooperated on this album.
Satyr: Fenriz has done only some percussion actually, and Snorre plays guitar on some tracks. The actress/ singer Trine Svendsen was recruited especially for "The Scorn Torrent", because she has such a powerful and authoritarian voice.
RV: That song is something like a mini-musical in my opinion.
Satyr: Oh, that' s not a way I looked at it yet. That is the art of musical expression: it leaves room for own interpretations. If that songs sounds like that in your opinion, than that' s fine with me.
RV: There's also a tour planned, which has been postponed from November to January lately. How do you manage live on stage?
Satyr: Tyr, also known from Emperor, will join us. Furthermore, a female session musician will come along and we have been working in another musician. It will be an extensive European tour with us as headliner.
RV: What do you think about Black Metal nowadays? Is the movement coming to an end or do you believe the scene will go into the millennium with a bright future?
Satyr: I' m very critical of the scene, but that is mainly because of my love for this musical style. It' s controversial, exciting and has brought a lot of good things. However, I think that this style of music can only remain at this level when bands are more critical towards themselves, and try to improve all the time. The quality standard must be higher and bands have to change themselves constantly and search for new limits.
RV: I see a lot of bootlegs in the Black Metal scene nowadays. Your first demo "All Evil" was released on CD lately, together with some bad sounding live recordings. I know you would rather forget about that demo, because it doesn' t meet your quality standards. How do you look upon the phenomenon bootlegs?
Satyr: If you ask me, those fucking recordings damage the band' s reputation. What purpose could there be to release a CD with bad walkman recordings? We are currently busy searching for possibilities for legal actions towards this kind of things.
RV: There has been a lot of commotion surrounding the book "Lords Of Chaos", about all the involvements in the Norwegian Black Metal scene (authors Michael Moynihan and Didrik Søderlind). Have you read this book and if yes, what do you think of it?
Satyr: I haven' t read it myself, but I' ve been told that it' s a poor book and that it' s full of mistakes. I don' t want to read it anyway. I was there when it all happened so what can they tell me about it then?
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#N/A
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◆出所：
「Backstage」
【#N/A】
◆本文：
−−−ヘッダ開始−−−
"Satyricon - The Gods In The Machine" by Jean Paul Coillard
An interview from "Backstage"
Petrone wrote "Satyricon", a collection of scenes illustrating cruelty, debauchery and poetry in ancient Rome, long before the coming of the 3 ZZ Top look-alike kings. 1970 - Frederico Fellini adapts the book to the screen. 1999-2000: Satyricon, Norwegian avant-garde black metal band, who have nothing to do with the aforemnetioned, release their new album: "Rebel Extravaganza" and are chosen by Phil Anselmo himself to open for Pantera in Europe. Speedy and informative interview with Satyr, singer/ leader, shortly before the ultimate gig of the tour, in Paris, to talk about past, present, future, as well as Eibon and Moonfog.
−−−ヘッダ終了−−−
−−−本文開始−−−
JPC: Does the title of your last LP, "Rebel extravaganza", reflect your personality well?
Satyr: Yes: The title of the album itself is a sort of reflection on the concept of the record in all aspects.
JPC: How do you see the black metal scene today, considering you saw it from the very beginning?
Satyr: I' m hoping that it will be going in a more extreme direction, and we try to contribute to that by doing "Rebel Extravaganza" the way we did it, a more modern, more aggressive sound. To me, it has to be extreme, taking things to new levels and dimensions. We are an influential band, we try to set standards for others, and we hope they will follow.
JPC: How do you feel about Dimmu Borgir and The Kovenant receiving awards in Norway?
Satyr: I don' t really care about them, and I really don' t consider them to be black metal bands, but just a product, like a can of soup. Let' s avoid the subject, it doesn' t interest me!
JPC: Is the make-up for the live shows very important for you and would you leave it to play live?
Satyr: It' s an important part of Satyricon live, not only the music, but light, make-up, clothes, sound are part of it, and everything has to be done very seriously.
JPC: The esthetics of the cover sleeves, very beautiful, is that also something you take care of?
Satyr: Well thank you! Satyricon have always been very conscious about what we' re doing, we' ve never wanted to let a record company decide for us. We have a bunch of people we' re working with, especially, Union Design, who' s been our graphic designer for many years, and I have a very big respect for his talent and ideas.
JPC: Tell me about the Moonfog label, which is very adventurous in its choices...
Satyr: It' s a label I founded with several people and have been running with another guy for about seven years. Darkthrone, Gehenna, Dødheimsgard and Eibon will be on it, as I was a big Darkthrone and Pantera fan. We are focused on things that we like instead of what the majority wants: Dimmu Borgir, Arcturus wanted to sign with us, many bands did want to sign with Moonfog, but we don' t care about that, we only put out quality rather than quantity, which means there are only a few releases per year, but all of high standard.
JPC: You introduced machines in the band: were you industrial rock fans?
Satyr: I' m not a big industrial fan, I like the hardest stuff, like Throbbing Gristle for example, but I' m fond of those who mix mechanical stuff with metal, like Ministry or Laibach, even if I don' t share their ideas which are not that cool...
JPC: What do you think of remixes in general?
Satyr: It can be interesting, as I find interesting the Arcturus remixes LP. Remixing black metal is a very new thing, the future will tell if it' s a good idea. But why not?
JPC: What about Eibon, your side project with Phil Anselmo, Maniac from Mayhem and Fenriz from Darkthrone?
Satyr: Maniac is not part of it anymore. But we' ve been writing a lot the four of us, and during this tour we made a few new parts. Tonight is the last of show of the tour: after that, I' m going home for ten days, and then I' ll fly over to America, to Phil' s place for a week. During this week, we' ll work on the material that is already written and write new material as well. And record that afterwards.
JPC: Talking about him, how is it to tour with Pantera? Were you fans of them?
Satyr: Beautiful! It's great for us because Phil's a very big fan of Satyricon, and so I am of Pantera and we did a lot of things with them and the crew and we' ve been taken very seriously by them. Tonight is gonna be a lot of bullshit because it' s the last night of the tour, so I expect them to fuck around with us and the whole show. Obviously, they treated us very very well, had a lot of respect for us...
JPC: I have heard of a long form video, coming from Moonfog...
Satyr: We made four european tours this year, in January, April, March and now and an American tour, and we' ve filmed all that, and we' re gonna include some older stuff as well to make a full home video for Satyricon. But we' re also talking about making a Moonfog documentary thing in the future, as well as the Satyricon video.
JPC: Does the name Satyricon have something to do with the book or the movie?
Satyr: Nothing at all. It' s a long story: Satyr comes from the god of the woods from Greek mythology, but it comes from our previous guitar player who came up with it and we accepted it and he didn' t want to talk about this, and other stories: lot of mess around the name Satyricon, but no real explanation...
JPC: What are your next projects?
Satyr: Last show tonight, going home ten days, coming back for a few festivals in Scandinavia, then work on the new album, for which quite a lot is already written, then record the album and Eibon LP too.
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Interview by Jean Paul Coillard and Mister X, backstage at the Zenith, Paris, May 18th 2000 AD during the Pantera tour; photos: Christophe Valette
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「Backstage」
【#N/A】
◆本文：
−−−ヘッダ開始−−−
"Satyricon - The Gods In The Machine" by Jean Paul Coillard
An interview from "Backstage"
Petrone wrote "Satyricon", a collection of scenes illustrating cruelty, debauchery and poetry in ancient Rome, long before the coming of the 3 ZZ Top look-alike kings. 1970 - Frederico Fellini adapts the book to the screen. 1999-2000: Satyricon, Norwegian avant-garde black metal band, who have nothing to do with the aforemnetioned, release their new album: "Rebel Extravaganza" and are chosen by Phil Anselmo himself to open for Pantera in Europe. Speedy and informative interview with Satyr, singer/ leader, shortly before the ultimate gig of the tour, in Paris, to talk about past, present, future, as well as Eibon and Moonfog.
−−−ヘッダ終了−−−
−−−本文開始−−−
JPC: Does the title of your last LP, "Rebel extravaganza", reflect your personality well?
Satyr: Yes: The title of the album itself is a sort of reflection on the concept of the record in all aspects.
JPC: How do you see the black metal scene today, considering you saw it from the very beginning?
Satyr: I' m hoping that it will be going in a more extreme direction, and we try to contribute to that by doing "Rebel Extravaganza" the way we did it, a more modern, more aggressive sound. To me, it has to be extreme, taking things to new levels and dimensions. We are an influential band, we try to set standards for others, and we hope they will follow.
JPC: How do you feel about Dimmu Borgir and The Kovenant receiving awards in Norway?
Satyr: I don' t really care about them, and I really don' t consider them to be black metal bands, but just a product, like a can of soup. Let' s avoid the subject, it doesn' t interest me!
JPC: Is the make-up for the live shows very important for you and would you leave it to play live?
Satyr: It' s an important part of Satyricon live, not only the music, but light, make-up, clothes, sound are part of it, and everything has to be done very seriously.
JPC: The esthetics of the cover sleeves, very beautiful, is that also something you take care of?
Satyr: Well thank you! Satyricon have always been very conscious about what we' re doing, we' ve never wanted to let a record company decide for us. We have a bunch of people we' re working with, especially, Union Design, who' s been our graphic designer for many years, and I have a very big respect for his talent and ideas.
JPC: Tell me about the Moonfog label, which is very adventurous in its choices...
Satyr: It' s a label I founded with several people and have been running with another guy for about seven years. Darkthrone, Gehenna, Dødheimsgard and Eibon will be on it, as I was a big Darkthrone and Pantera fan. We are focused on things that we like instead of what the majority wants: Dimmu Borgir, Arcturus wanted to sign with us, many bands did want to sign with Moonfog, but we don' t care about that, we only put out quality rather than quantity, which means there are only a few releases per year, but all of high standard.
JPC: You introduced machines in the band: were you industrial rock fans?
Satyr: I' m not a big industrial fan, I like the hardest stuff, like Throbbing Gristle for example, but I' m fond of those who mix mechanical stuff with metal, like Ministry or Laibach, even if I don' t share their ideas which are not that cool...
JPC: What do you think of remixes in general?
Satyr: It can be interesting, as I find interesting the Arcturus remixes LP. Remixing black metal is a very new thing, the future will tell if it' s a good idea. But why not?
JPC: What about Eibon, your side project with Phil Anselmo, Maniac from Mayhem and Fenriz from Darkthrone?
Satyr: Maniac is not part of it anymore. But we' ve been writing a lot the four of us, and during this tour we made a few new parts. Tonight is the last of show of the tour: after that, I' m going home for ten days, and then I' ll fly over to America, to Phil' s place for a week. During this week, we' ll work on the material that is already written and write new material as well. And record that afterwards.
JPC: Talking about him, how is it to tour with Pantera? Were you fans of them?
Satyr: Beautiful! It's great for us because Phil's a very big fan of Satyricon, and so I am of Pantera and we did a lot of things with them and the crew and we' ve been taken very seriously by them. Tonight is gonna be a lot of bullshit because it' s the last night of the tour, so I expect them to fuck around with us and the whole show. Obviously, they treated us very very well, had a lot of respect for us...
JPC: I have heard of a long form video, coming from Moonfog...
Satyr: We made four european tours this year, in January, April, March and now and an American tour, and we' ve filmed all that, and we' re gonna include some older stuff as well to make a full home video for Satyricon. But we' re also talking about making a Moonfog documentary thing in the future, as well as the Satyricon video.
JPC: Does the name Satyricon have something to do with the book or the movie?
Satyr: Nothing at all. It' s a long story: Satyr comes from the god of the woods from Greek mythology, but it comes from our previous guitar player who came up with it and we accepted it and he didn' t want to talk about this, and other stories: lot of mess around the name Satyricon, but no real explanation...
JPC: What are your next projects?
Satyr: Last show tonight, going home ten days, coming back for a few festivals in Scandinavia, then work on the new album, for which quite a lot is already written, then record the album and Eibon LP too.
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Interview by Jean Paul Coillard and Mister X, backstage at the Zenith, Paris, May 18th 2000 AD during the Pantera tour; photos: Christophe Valette
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「Nordic Vision」(issue # 11)
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An interview in "Nordic Vision" by Melankol X(issue # 11)
Apart from Satyr and Frost, Satyricon have gone through a lot of different musicians up through their albums. Some who have just participated on one album as session musician and then others who have been proper members but have left almost before we got used to seeing them in the band. So what about the new bassist Daemon. How long will we see him playing with Satyricon? His joining to the band will hopefully create the third fundament in the band and reassure us that the band will have more time for the musical side of the band rather than using a lot of time on getting new members settling in now and then. Satyricon' s fourth album is due in about a year if everything goes as planned, and with the splendid title "Rebel Extravaganza" it seems like there is a lot of great music in the horizon. Satyr and Daemon told us about the current situation.
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MX: How was the contact with Daemon established?
Satyr: I was in Sweden in 1995 I think to do promotion for the Wongraven album and under House Of Kicks' direction which is Moonfog distributor in Sweden and then I was invited by House Of Kicks in the evening after all these interviews to attend a concert with different No Fashion bands at a local place in Stockholm. I saw Unanimated which Daemon played session bass for and thought that the band played music that doesn' t appeal to me but I was impressed by his capabilities on the bass and the figure he was on stage. And I thought about that a lot afterwards that it was such a bassist we should have had in Satyricon. Nothing really happened around this, but I talked a bit with him and got the impression that he seemed to be a nice guy but I assumed that he was very established in Dismember and such. And then later at a concert in Oslo with Dismember and Dødheimsgard which I didn' t even know should take place, the situation was like that Satyricon were back to being only me and Frost. I was focused on that we should just continue because I am tired of dragging around incompetent people, tired of people who are competent but that isn' t willing to use that on something smart. Frost was more focused on getting new members so he has in a way taken an initiative towards Daemon without me knowing about it. Though Daemon said he was busy with Dismember and that he was flattered by the interest but that Dismember was his thing. About a month later he contacted Frost and then later he changed his mind and would like to hear more about this, and then I got in touch with him to hear what he meant with his interest and what I would expect from him in case we would cooperate. Then we reached a sort of agreement so we just have to see how it works. I' m an optimist but at the same time I am a realist, I know that it is only Frost and me who have been stable in this band and that is in a way okay because we are the only ones who have meant something in particular for the development of the band so as long as we are here it works out good but we would like to have some more that are steady, so then we just see how it ends up. But as I said I hope it will work out since he is very capable.
MX: Do you have a better feeling around him than what the situation has been with the former members who no longer are with the band?
Satyr: Yeah, maybe some of them! I had at least as good feeling when it came to Kveldulv who was both a great person and a very proficient but he had maybe not pictured that to play in a band would be something that took so extremely much time and that you had to do a lot of sacrifices. He would rather just lick the cream off the cake really and not take the hard work which follows. And that is okay and a lot of people have that attitude but it' s not really that way it works for us, so then it came natural that we wouldn' t cooperate anymore when we went to work with such a different attitude. That is regrettable but that' s just the way it is. But when it comes to Daemon, he says he is ambitious and that he doesn't give a shit, so that is just something time will give an answer to. But he has proved something earlier by having been in Dismember for seven years and been active with that, so he has a history that allows us to be optimistic. And I also think the chemistry between us works out good in addition to the musical side, so then it is basically to hope for that it will work out in the future too.
MX: He has been playing Death Metal for many years, is there a big difference in getting into the routines in how it is to play in Satyricon?
Satyr: I believe that he feels that way, and I also feel that he is a bit engraved by it. I know that a lot of band practice like, how can I explain it, as a finished package in a way, that they rehearse with all the instruments present and at an early stage try to simulate a finished result. While in Satyricon we don' t rehearse because it is cool to practice, that we are standing there and digging music, we look upon it as a working process so that things sound very good at rehearsal and that the sound is so perfect that is not really important. What is important is one learns the rounds on the themes and that one works on the harmony and with the rhythm. So we look upon it very much as a working process, and that is something me and Frost are very used to and when we think about rehearsing we don't think in the way as "oh, this doesn' t sound good, what can we do now". We think in long terms, the rehearsals are very much as a sketch. I don' t think most bands are working in that way and that can perhaps be a bit unusual for him I would believe. And it' s also a bit with the rhythmic that is different, I would say that Death Metal is more technical than Black Metal mostly so in that way it is perhaps to climb one step down for him in a way, that he plays less technical stuff and that it is easier for him. But on the other side he gets a challenge since playing the music we do require more insight contra than to play in for instance Dismember. In quality Black Metal the expression from the individual is more in place than what it is in for instance straight ahead stereotype Death Metal. So it requires more from him as a musical individual than to play Death Metal, but technically speaking it is easier but he has to change his playing style and give more of himslef and he has to work with that. But I think that will work out good with him since he is a capable musician with good experience.
MX: You have already started to rehearse some new material?
Satyr: Yeah, we have quite a lot of new stuff going on, but it is very sketches. Right at the moment we really don' t have one single song finished but we have themes that should be something like... well, it takes us about one hour in the rehearsal room to go through the themes we have so then some of it will be cut down and something else will be added. But quite a lot of the material for the basis of the next album is ready and many of the riffs are ready but what it is all about is to put things together the way we want it and also to work more with the arrangements. If I had wanted to have four songs ready now then that would not have been a problem because I have more than enough riffs to make four songs ready. But the goal is not to get the material finished as soon as possible but to make it as good as possible and then we just have to use the time we need. But the way it is now we work with developing themes and during the summer it will be more to put the developed themes together and make entire songs out of it. When it comes to lyrics, I looked at them the other day and the way it is now we have four lyrics that we definitely will use and then we have a handful of lyrics that we are a bit less secure about whether we will use them or not. We work a bit with the expression in the lyrics and we try to portray the things in a different way than we have done earlier.
MX: In what way?
Satyr: The language for instance. The message is perhaps not as obvious either. The message has been very much in focus so far and what I' m trying to do now is to arrange things rather than produce things. With that I mean to arrange an atmosphere-spectre, arrange an apprehension of something or to arrange a story rather than what it has been earlier, like war prpaganda you know! And that' s not how it is now, and that is because I feel that I burn stronger for these things now than what I even have done earlier but I don' t have the same need to express that anymore. I also have a need to change the language in the lyrics because I think that the language in Black Metal lyrics have been very much watered out and lack effect and being quite boring. We have always had a quite direct language but I want to try to make it much more direct than before but not in a way that it is gonna be raw or something but that it gets right in immediately in a way. Without that being a deliberate goal I see that when I sit an analyse my lyrics a bit, that that' s the way it is. I think that the lyrics to "Rebel Extravaganza" are clearly the best Satyricon lyrics so far, but I don' t know how much people care about it since it seems like people more and more don' t give a shit about the lyrics. That does also perhaps have a connection with what the language in Black Metal lyrics is watered out and that people are tired of it.
MX: When do you picture that you will go into studio with the new material?
Satyr: Those things are a bit difficult to predict, but I have aimed at the months October-November this year. I then want the album to be out early in 1999. A lot of people think it is too long time because "Nemesis Divina" came in 1996 and then three years have passed between the two last full-length albums. But on the other side, it was only half a year between out two first albums and we have released the split with Enslaved and we have released the "Megiddo" MCD. I think we have exposed ourself enough between 1996 and 1997 so that it is quiet around us in 1998 I don' t see anything wrong with that. Nevertheless we don' t have a choice since we need that time to make the result we wish to have.
MX: Is it decided what studio you are going to use?
Satyr: No, and that is because we will have some contribution from other musicians who are capable at special areas on the album. I could be interested in trying out a new studio, I am not very conservative in that way I don' t necessarily seek the safe and the secure, I think it is exciting to try new things. But as I see it, in Norway Waterfall is the best alternative. There are a handful of studios in the same quality league as Waterfall and out of these studios Waterfall is the cheapest one. So that is in a way the only studio that is possible to use, but I could perhaps imagine going to England. I have also been thinking about Sweden, Germany and such things, England is something I have been thinking about now lately but we' ll see if there' s something good there. It would be quite a few pratical problems since we have to bring along so much equipment and then hotel, food and some extra expenses with bringing musicians back and forth over the country borders. So maybe the whole process will just be too expensive. And then there is something else I' m thinking about and that is if it is simply will be too much stress. It would be interesting to try out something new, and I think we will reach a decision about this during the Summer. But whatever we decide to do, we will go through the recording process in a different way than what we have done earlier since we will have more people with different competence areas to get an even better result.
MX: Would it be possible to get a foreign producer to come to Norway, rather than having the whole band going abroad?
Satyr: We have had a dialogue with two producers, in which one of them was Trent Reznor. He seemed to like the Satyricon CDs we sent him but that he didn' t have the possibility to do it in 1998, because then he was busy himself. That is the only thing that is interesting for us to do, so in a way it didn' t work with him. Then there is another producer who is very capable which we have had a dialogue with now, who most possible, if we manage to go through with it financially, will co-produce together with me during the mix of the album, and also do some programming and synths and such things. But wise of earlier damage, it is better if the readers of this magazine don' t know who he is since it always hit back on me even though when I assume that noone would sink that low that they would steal ideas from us, but that happens frequently! But I hope it will work out with him since I am convinced that he will do a good job.
MX: But 1998 Satyricon will remain quiet, no concerts in sight?
Satyr: Perhaps at the end of 1998! We have plans to do a lot of live jobs in regard to "Rebel Extravaganza" so it is very important to bring the music out to the people but I, as most people know by now, don' t really feel for that life. I like playing live and that is cool but what I don' t like is all the stuff that is dragged along, the stress and the miserable life it is to be out on tour. That one never can have some time alone, and that is what I dislike very much. But I assume that it will be for the best of Satyricon if we will be able to do a lot of live jobs in connection with that release. Some tours and festivals and such in the first half of 1999 and then will see when we are finished in the studio not too late in 1998 so maybe we will do some live stuff at the end of the year. As a way to warming up in the direction of doing tours in 1999. But I don' t really picture us being finished at such a state in 1998 that we will have some time left over to do concerts. I think it is more possible that we will start quite late in 1998 and be finished in early 1999 and then that we' ll take a little break for a couple of weeks to get things at a little distance. And then that we' ll get together again and establish a live-lineup with session musicians and start to rehearse a live set and travel around with that after the release of the album.
MX: What is the background for "Rebel Extravaganza"?
Satyr: It is as it has always been before that with every title, apart from "The Shadowthrone", have come as lightning from a clear sky down to my head. "Dark Medieval Times" was just... I don' t even think I was thinking about what the album should be called and suddenly it hit me that "Dark Medieval Times" would have been a good title for the first album. With "The Shadowthrone" it was a bit more thinking to find something that could describe the atmospheres on the album a bit and the basic concept for that album. But that also came quite suddenly, to put it like that. When it comes to "Nemesis Divina" and "Megiddo" it just came, maybe it has something to do with me having it operating in my subconsciousness. That the titles for the albums have their own process which is going on in the back of my head which I am not very conscious about. And that it is something I touch into my thoughts now and then and when I sit and think about other things then it suddenly appear from the subconsciousness, and then it' s just there! I almost think that is fascinating that it has happened so many times and in a way I have been conscious about it happening too. And as long as it appears like that, there has been no questions, then it is just the title. For me it is kind of an obscure process that is going on within me and I have respect for that process. The analysis I do of how the titles appear as they do seem very correct too, because the titles that come after a process in the subconsciousness are very describing for both the musical side and the lyrics for the album. And when it comes to "Rebel Extravaganza" I feel that it is very representative both for the music and the lyrics and it is very Satyriconish as well, it is a grand title. That lies in extravaganza. I feel that rebel is very nice too, I don' t associate that with the traditional uproar thing but with something a bit dirty and filthy in a way. It also fits very good along with the music and the lyrics for that album. A different way to look at it which makes me like it very much is that I have experienced that one of the World' s biggest tea-clubs and gossip-clubs is the Black Metal scene. It is something the most conservative there is! It is a movement that is interested in stopping any kind of development, extremely afraid of new things, oldfashioned, boring, that' s what I think. I feel that in a way both musically and lyrically and also what we are going to do around the coverdesign and the pictures then we will break with some of the standards and the norms which are within Black Metal. So in that way I won't say that it is a "Rebel Extravaganza" from Black Metal but that it is a grand creative way of thinking which one is heading into both lyrically and musically. My goal is not really to sit and analyse the title to death, but I think it is interesting to look at it in several ways. When people aks what the album is gonna be titled then we have several reactions. Either that they feel it is very Satyriconish without them understanding the background for it, but it sounds like a Satyricon title and that they like. While others don' t understand it and shake their head and think that it is not oldfashioned and conservative enough, and don' t like it in a way. That is something I think is rather amusing. I don' t know, I think I' m going a bit away from your question but I think it is regrettable the development things have taken. That is so boring. Black Metal was a fresh breath in its time and had such a glow that was very admirable, it was very fascinating to stand on the outside and watch and admire at the same time as it has been a very big pleasure taking part in it. But now I think that it is so dull, it' s the same boots and the same leatherpants and the same faces and the same beerglasses and the same cigarette brands and the same records and the same logos and the same record companies and nothing new is happening! It seems like it is a carrousel that is going around and around and will never stop. I don' t say I' m going to jump off that carrousel but I rather want to put spikes on the outside of it or something.
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MX: And what' s more appropriate than to also hear what Daemon had to say about his new position!
What made you leave Dismember after being with them for so many years?
Daemon: It was actually quite a few reasons, but basically that I was tired about it. The development that Dismember were heading in wasn' t interesting enough for me, it didn' t give me as much as it once did, it wasn' t the same enthusiasm about it. And I felt that I didn' t have so much to add to the band either. I was tired of the situation.
MX: It must have been quite strange to leave a band in which you have been with for many years.
Daemon: It felt damned strange since we had become so close. We started when we were young and been through so much. We' ve been going on for 8 years all together, but one always has to go forward.
MX: How did you react when you got the inquiry from Frost about joining Satyricon?
Daemon: I was quite surprised (or as Daemon would have said: Snopen! - ed), I hadn' t at all expected that but nothing happened just then since I was living in Stockholm and they were in Oslo so then I had no direct plans to move either and I hadn' t been considering the situation with Dismember. But when I realised that I din' t want to play with Dismember anymore, the Satyricon alternative appeared and it was a very interesting alternative, but it was just that I lived in Stockholm and they were in Oslo which in the beginning felt quite strange.
MX: Do you think you would have left Dismember if you hadn' t been inquired by Satyricon?
Daemon: Yeah I think so, though maybe it would have taken a little bit more time. But it would have happened sooner or later. But Satyricon had a very big impact that I quit Dismember.
MX: What' s the difference about playing in Satyricon contra Dismember?
Daemon: The style of music is perhaps closer to my heart than what Dismember' s music is. I have always been a big fan of Black Metal through all the years and very extreme forms of music, and I very much like the loyalty and the professionalism behind Satyricon. It suits me very good. It' s a very different way of playing for me than how I' m used to play. I' m learning a lot and develope as a musician as well in regard to the fact that it's a different way of thinking behind the music and what type of tones which one use in the music. I play a lot faster on the bass than what I have done in Dismember. Quite a lot different! And even tough I' m quite experienced by now, it always takes time to get into a new band, but I think it will be very good.
MX: Now as you are a new member of the Norwegian society, what is the biggest difference between Sweden and Norway?
Daemon: The access to alcohol is a lot better than in Sweden. but at the same time the prices are very high! But the people seem to be more friendly in a way, it seems to be a big difference in the mentality.
MX: I feel that Swedish people are more friendly than the Norwegian, that they are more open!
Daemon: Yeah that' s possible, but in a different way. The Swedes are nice in their way and the same with the Norwegians but in a very different way. Swedes are more, I don' t know what to say, a bit more unserious or something (or as Daemon said: Flamsiga! - ed). Norway is a bit more conservative.
MX: You also played in a couple of other bands when you were in Sweden. Are there some ideas you will bring with you and perhaps do besides playing is Satyricon?
Daemon: Soulreaper and Murdersquad. Murdersquad with Matti and then Peter and Uffe from Entombed that is something I will leave behind since there is no time since they are doing it here in Sweden and they have just taken Jørgen from Entombed on bass, so it is almost entirely an Entombed band. Three members from Entombed and then Matti. But with Soulreaper, I don' t know if there' s time for it. Right now I feel that I don't have time for anything but to get into everything with Satyricon, but I still have material for Soulreaper so it would be cool to do something. But it' s a completely different thing, it' s more Heavy Metal.
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Nordic Vision
P.O. Box 285
1450 Nesoddtangen
Norway
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「Nordic Vision」(issue # 11)
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An interview in "Nordic Vision" by Melankol X(issue # 11)
Apart from Satyr and Frost, Satyricon have gone through a lot of different musicians up through their albums. Some who have just participated on one album as session musician and then others who have been proper members but have left almost before we got used to seeing them in the band. So what about the new bassist Daemon. How long will we see him playing with Satyricon? His joining to the band will hopefully create the third fundament in the band and reassure us that the band will have more time for the musical side of the band rather than using a lot of time on getting new members settling in now and then. Satyricon' s fourth album is due in about a year if everything goes as planned, and with the splendid title "Rebel Extravaganza" it seems like there is a lot of great music in the horizon. Satyr and Daemon told us about the current situation.
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MX: How was the contact with Daemon established?
Satyr: I was in Sweden in 1995 I think to do promotion for the Wongraven album and under House Of Kicks' direction which is Moonfog distributor in Sweden and then I was invited by House Of Kicks in the evening after all these interviews to attend a concert with different No Fashion bands at a local place in Stockholm. I saw Unanimated which Daemon played session bass for and thought that the band played music that doesn' t appeal to me but I was impressed by his capabilities on the bass and the figure he was on stage. And I thought about that a lot afterwards that it was such a bassist we should have had in Satyricon. Nothing really happened around this, but I talked a bit with him and got the impression that he seemed to be a nice guy but I assumed that he was very established in Dismember and such. And then later at a concert in Oslo with Dismember and Dødheimsgard which I didn' t even know should take place, the situation was like that Satyricon were back to being only me and Frost. I was focused on that we should just continue because I am tired of dragging around incompetent people, tired of people who are competent but that isn' t willing to use that on something smart. Frost was more focused on getting new members so he has in a way taken an initiative towards Daemon without me knowing about it. Though Daemon said he was busy with Dismember and that he was flattered by the interest but that Dismember was his thing. About a month later he contacted Frost and then later he changed his mind and would like to hear more about this, and then I got in touch with him to hear what he meant with his interest and what I would expect from him in case we would cooperate. Then we reached a sort of agreement so we just have to see how it works. I' m an optimist but at the same time I am a realist, I know that it is only Frost and me who have been stable in this band and that is in a way okay because we are the only ones who have meant something in particular for the development of the band so as long as we are here it works out good but we would like to have some more that are steady, so then we just see how it ends up. But as I said I hope it will work out since he is very capable.
MX: Do you have a better feeling around him than what the situation has been with the former members who no longer are with the band?
Satyr: Yeah, maybe some of them! I had at least as good feeling when it came to Kveldulv who was both a great person and a very proficient but he had maybe not pictured that to play in a band would be something that took so extremely much time and that you had to do a lot of sacrifices. He would rather just lick the cream off the cake really and not take the hard work which follows. And that is okay and a lot of people have that attitude but it' s not really that way it works for us, so then it came natural that we wouldn' t cooperate anymore when we went to work with such a different attitude. That is regrettable but that' s just the way it is. But when it comes to Daemon, he says he is ambitious and that he doesn't give a shit, so that is just something time will give an answer to. But he has proved something earlier by having been in Dismember for seven years and been active with that, so he has a history that allows us to be optimistic. And I also think the chemistry between us works out good in addition to the musical side, so then it is basically to hope for that it will work out in the future too.
MX: He has been playing Death Metal for many years, is there a big difference in getting into the routines in how it is to play in Satyricon?
Satyr: I believe that he feels that way, and I also feel that he is a bit engraved by it. I know that a lot of band practice like, how can I explain it, as a finished package in a way, that they rehearse with all the instruments present and at an early stage try to simulate a finished result. While in Satyricon we don' t rehearse because it is cool to practice, that we are standing there and digging music, we look upon it as a working process so that things sound very good at rehearsal and that the sound is so perfect that is not really important. What is important is one learns the rounds on the themes and that one works on the harmony and with the rhythm. So we look upon it very much as a working process, and that is something me and Frost are very used to and when we think about rehearsing we don't think in the way as "oh, this doesn' t sound good, what can we do now". We think in long terms, the rehearsals are very much as a sketch. I don' t think most bands are working in that way and that can perhaps be a bit unusual for him I would believe. And it' s also a bit with the rhythmic that is different, I would say that Death Metal is more technical than Black Metal mostly so in that way it is perhaps to climb one step down for him in a way, that he plays less technical stuff and that it is easier for him. But on the other side he gets a challenge since playing the music we do require more insight contra than to play in for instance Dismember. In quality Black Metal the expression from the individual is more in place than what it is in for instance straight ahead stereotype Death Metal. So it requires more from him as a musical individual than to play Death Metal, but technically speaking it is easier but he has to change his playing style and give more of himslef and he has to work with that. But I think that will work out good with him since he is a capable musician with good experience.
MX: You have already started to rehearse some new material?
Satyr: Yeah, we have quite a lot of new stuff going on, but it is very sketches. Right at the moment we really don' t have one single song finished but we have themes that should be something like... well, it takes us about one hour in the rehearsal room to go through the themes we have so then some of it will be cut down and something else will be added. But quite a lot of the material for the basis of the next album is ready and many of the riffs are ready but what it is all about is to put things together the way we want it and also to work more with the arrangements. If I had wanted to have four songs ready now then that would not have been a problem because I have more than enough riffs to make four songs ready. But the goal is not to get the material finished as soon as possible but to make it as good as possible and then we just have to use the time we need. But the way it is now we work with developing themes and during the summer it will be more to put the developed themes together and make entire songs out of it. When it comes to lyrics, I looked at them the other day and the way it is now we have four lyrics that we definitely will use and then we have a handful of lyrics that we are a bit less secure about whether we will use them or not. We work a bit with the expression in the lyrics and we try to portray the things in a different way than we have done earlier.
MX: In what way?
Satyr: The language for instance. The message is perhaps not as obvious either. The message has been very much in focus so far and what I' m trying to do now is to arrange things rather than produce things. With that I mean to arrange an atmosphere-spectre, arrange an apprehension of something or to arrange a story rather than what it has been earlier, like war prpaganda you know! And that' s not how it is now, and that is because I feel that I burn stronger for these things now than what I even have done earlier but I don' t have the same need to express that anymore. I also have a need to change the language in the lyrics because I think that the language in Black Metal lyrics have been very much watered out and lack effect and being quite boring. We have always had a quite direct language but I want to try to make it much more direct than before but not in a way that it is gonna be raw or something but that it gets right in immediately in a way. Without that being a deliberate goal I see that when I sit an analyse my lyrics a bit, that that' s the way it is. I think that the lyrics to "Rebel Extravaganza" are clearly the best Satyricon lyrics so far, but I don' t know how much people care about it since it seems like people more and more don' t give a shit about the lyrics. That does also perhaps have a connection with what the language in Black Metal lyrics is watered out and that people are tired of it.
MX: When do you picture that you will go into studio with the new material?
Satyr: Those things are a bit difficult to predict, but I have aimed at the months October-November this year. I then want the album to be out early in 1999. A lot of people think it is too long time because "Nemesis Divina" came in 1996 and then three years have passed between the two last full-length albums. But on the other side, it was only half a year between out two first albums and we have released the split with Enslaved and we have released the "Megiddo" MCD. I think we have exposed ourself enough between 1996 and 1997 so that it is quiet around us in 1998 I don' t see anything wrong with that. Nevertheless we don' t have a choice since we need that time to make the result we wish to have.
MX: Is it decided what studio you are going to use?
Satyr: No, and that is because we will have some contribution from other musicians who are capable at special areas on the album. I could be interested in trying out a new studio, I am not very conservative in that way I don' t necessarily seek the safe and the secure, I think it is exciting to try new things. But as I see it, in Norway Waterfall is the best alternative. There are a handful of studios in the same quality league as Waterfall and out of these studios Waterfall is the cheapest one. So that is in a way the only studio that is possible to use, but I could perhaps imagine going to England. I have also been thinking about Sweden, Germany and such things, England is something I have been thinking about now lately but we' ll see if there' s something good there. It would be quite a few pratical problems since we have to bring along so much equipment and then hotel, food and some extra expenses with bringing musicians back and forth over the country borders. So maybe the whole process will just be too expensive. And then there is something else I' m thinking about and that is if it is simply will be too much stress. It would be interesting to try out something new, and I think we will reach a decision about this during the Summer. But whatever we decide to do, we will go through the recording process in a different way than what we have done earlier since we will have more people with different competence areas to get an even better result.
MX: Would it be possible to get a foreign producer to come to Norway, rather than having the whole band going abroad?
Satyr: We have had a dialogue with two producers, in which one of them was Trent Reznor. He seemed to like the Satyricon CDs we sent him but that he didn' t have the possibility to do it in 1998, because then he was busy himself. That is the only thing that is interesting for us to do, so in a way it didn' t work with him. Then there is another producer who is very capable which we have had a dialogue with now, who most possible, if we manage to go through with it financially, will co-produce together with me during the mix of the album, and also do some programming and synths and such things. But wise of earlier damage, it is better if the readers of this magazine don' t know who he is since it always hit back on me even though when I assume that noone would sink that low that they would steal ideas from us, but that happens frequently! But I hope it will work out with him since I am convinced that he will do a good job.
MX: But 1998 Satyricon will remain quiet, no concerts in sight?
Satyr: Perhaps at the end of 1998! We have plans to do a lot of live jobs in regard to "Rebel Extravaganza" so it is very important to bring the music out to the people but I, as most people know by now, don' t really feel for that life. I like playing live and that is cool but what I don' t like is all the stuff that is dragged along, the stress and the miserable life it is to be out on tour. That one never can have some time alone, and that is what I dislike very much. But I assume that it will be for the best of Satyricon if we will be able to do a lot of live jobs in connection with that release. Some tours and festivals and such in the first half of 1999 and then will see when we are finished in the studio not too late in 1998 so maybe we will do some live stuff at the end of the year. As a way to warming up in the direction of doing tours in 1999. But I don' t really picture us being finished at such a state in 1998 that we will have some time left over to do concerts. I think it is more possible that we will start quite late in 1998 and be finished in early 1999 and then that we' ll take a little break for a couple of weeks to get things at a little distance. And then that we' ll get together again and establish a live-lineup with session musicians and start to rehearse a live set and travel around with that after the release of the album.
MX: What is the background for "Rebel Extravaganza"?
Satyr: It is as it has always been before that with every title, apart from "The Shadowthrone", have come as lightning from a clear sky down to my head. "Dark Medieval Times" was just... I don' t even think I was thinking about what the album should be called and suddenly it hit me that "Dark Medieval Times" would have been a good title for the first album. With "The Shadowthrone" it was a bit more thinking to find something that could describe the atmospheres on the album a bit and the basic concept for that album. But that also came quite suddenly, to put it like that. When it comes to "Nemesis Divina" and "Megiddo" it just came, maybe it has something to do with me having it operating in my subconsciousness. That the titles for the albums have their own process which is going on in the back of my head which I am not very conscious about. And that it is something I touch into my thoughts now and then and when I sit and think about other things then it suddenly appear from the subconsciousness, and then it' s just there! I almost think that is fascinating that it has happened so many times and in a way I have been conscious about it happening too. And as long as it appears like that, there has been no questions, then it is just the title. For me it is kind of an obscure process that is going on within me and I have respect for that process. The analysis I do of how the titles appear as they do seem very correct too, because the titles that come after a process in the subconsciousness are very describing for both the musical side and the lyrics for the album. And when it comes to "Rebel Extravaganza" I feel that it is very representative both for the music and the lyrics and it is very Satyriconish as well, it is a grand title. That lies in extravaganza. I feel that rebel is very nice too, I don' t associate that with the traditional uproar thing but with something a bit dirty and filthy in a way. It also fits very good along with the music and the lyrics for that album. A different way to look at it which makes me like it very much is that I have experienced that one of the World' s biggest tea-clubs and gossip-clubs is the Black Metal scene. It is something the most conservative there is! It is a movement that is interested in stopping any kind of development, extremely afraid of new things, oldfashioned, boring, that' s what I think. I feel that in a way both musically and lyrically and also what we are going to do around the coverdesign and the pictures then we will break with some of the standards and the norms which are within Black Metal. So in that way I won't say that it is a "Rebel Extravaganza" from Black Metal but that it is a grand creative way of thinking which one is heading into both lyrically and musically. My goal is not really to sit and analyse the title to death, but I think it is interesting to look at it in several ways. When people aks what the album is gonna be titled then we have several reactions. Either that they feel it is very Satyriconish without them understanding the background for it, but it sounds like a Satyricon title and that they like. While others don' t understand it and shake their head and think that it is not oldfashioned and conservative enough, and don' t like it in a way. That is something I think is rather amusing. I don' t know, I think I' m going a bit away from your question but I think it is regrettable the development things have taken. That is so boring. Black Metal was a fresh breath in its time and had such a glow that was very admirable, it was very fascinating to stand on the outside and watch and admire at the same time as it has been a very big pleasure taking part in it. But now I think that it is so dull, it' s the same boots and the same leatherpants and the same faces and the same beerglasses and the same cigarette brands and the same records and the same logos and the same record companies and nothing new is happening! It seems like it is a carrousel that is going around and around and will never stop. I don' t say I' m going to jump off that carrousel but I rather want to put spikes on the outside of it or something.
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MX: And what' s more appropriate than to also hear what Daemon had to say about his new position!
What made you leave Dismember after being with them for so many years?
Daemon: It was actually quite a few reasons, but basically that I was tired about it. The development that Dismember were heading in wasn' t interesting enough for me, it didn' t give me as much as it once did, it wasn' t the same enthusiasm about it. And I felt that I didn' t have so much to add to the band either. I was tired of the situation.
MX: It must have been quite strange to leave a band in which you have been with for many years.
Daemon: It felt damned strange since we had become so close. We started when we were young and been through so much. We' ve been going on for 8 years all together, but one always has to go forward.
MX: How did you react when you got the inquiry from Frost about joining Satyricon?
Daemon: I was quite surprised (or as Daemon would have said: Snopen! - ed), I hadn' t at all expected that but nothing happened just then since I was living in Stockholm and they were in Oslo so then I had no direct plans to move either and I hadn' t been considering the situation with Dismember. But when I realised that I din' t want to play with Dismember anymore, the Satyricon alternative appeared and it was a very interesting alternative, but it was just that I lived in Stockholm and they were in Oslo which in the beginning felt quite strange.
MX: Do you think you would have left Dismember if you hadn' t been inquired by Satyricon?
Daemon: Yeah I think so, though maybe it would have taken a little bit more time. But it would have happened sooner or later. But Satyricon had a very big impact that I quit Dismember.
MX: What' s the difference about playing in Satyricon contra Dismember?
Daemon: The style of music is perhaps closer to my heart than what Dismember' s music is. I have always been a big fan of Black Metal through all the years and very extreme forms of music, and I very much like the loyalty and the professionalism behind Satyricon. It suits me very good. It' s a very different way of playing for me than how I' m used to play. I' m learning a lot and develope as a musician as well in regard to the fact that it's a different way of thinking behind the music and what type of tones which one use in the music. I play a lot faster on the bass than what I have done in Dismember. Quite a lot different! And even tough I' m quite experienced by now, it always takes time to get into a new band, but I think it will be very good.
MX: Now as you are a new member of the Norwegian society, what is the biggest difference between Sweden and Norway?
Daemon: The access to alcohol is a lot better than in Sweden. but at the same time the prices are very high! But the people seem to be more friendly in a way, it seems to be a big difference in the mentality.
MX: I feel that Swedish people are more friendly than the Norwegian, that they are more open!
Daemon: Yeah that' s possible, but in a different way. The Swedes are nice in their way and the same with the Norwegians but in a very different way. Swedes are more, I don' t know what to say, a bit more unserious or something (or as Daemon said: Flamsiga! - ed). Norway is a bit more conservative.
MX: You also played in a couple of other bands when you were in Sweden. Are there some ideas you will bring with you and perhaps do besides playing is Satyricon?
Daemon: Soulreaper and Murdersquad. Murdersquad with Matti and then Peter and Uffe from Entombed that is something I will leave behind since there is no time since they are doing it here in Sweden and they have just taken Jørgen from Entombed on bass, so it is almost entirely an Entombed band. Three members from Entombed and then Matti. But with Soulreaper, I don' t know if there' s time for it. Right now I feel that I don't have time for anything but to get into everything with Satyricon, but I still have material for Soulreaper so it would be cool to do something. But it' s a completely different thing, it' s more Heavy Metal.
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Nordic Vision
P.O. Box 285
1450 Nesoddtangen
Norway
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◆出所：
「Tales Of The Macabre」
【#N/A】
◆本文：
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An interview with Satyr in "Tales Of The Macabre"
"The Shadowthrone" contains song material like you have never heard before and the great production makes this album a hammer in the face of god. We have played the advance tape to a lot of people and the response has been superb. You will find the concept in the lyrics and the songtitles can also be found in the booklet. By the way, the album is also released on limited edition gatefold sleeve LP and Picture Disc (Great!!! —ed.), both in numbered copies.
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TOTM: What has changed since your debut-album and are you still happy with "Dark Medieval Times"?
Satyr: I have developed myself as a musician and human being. That results in the music' s changing too. This time it' s even better! Yes, I'm still very happy with "Dark Medieval Times" and it seems like the ones who have bought it seems satisfied too.
TOTM: You have the typical high Norwegian Black Metal sound (besides of course the medieval elements), so do you think you' re destined to use this kind of sound because you' re from the north? Could you imagine having a sound like Celtic Frost or Slayer ("Reign In Blood"). Two bands who are very important for today' s Black Metal?
Satyr: No, the sound is not typical northern, because it' s sharp as a razorblade compared to other releases of the north. We use this sound, because it' s a wind of cold northern atmosphere. I love this sound, it makes me freeze in my soul. We could not have sound like Celtic Frost or Slayer, because our music is totally different. I like their sound, because it suits them. It would not suit Satyricon, because it does not sound northern.
TOTM: On your debut album you seem to adore the medieval age, a dark indeed, but don' t you think that it was only a dictatorship and triumph of Christianity? Also it was a time of less development (Both in technology and literature)…
Satyr: Absolutely not! The middle ages were full of plagues, death and misery. The atmosphere around it is hopeless to explain, but it was a call form an energy force which made me do so.
TOTM: For what does Satyricon stand? Is there a special message behind it?
Satyr: For me it' s a Satyr as an icon.
TOTM: Optically you look like a Black Metal outfit, but is it really like that in your opinion when you look at your concept? Do you really cultivate Satan or is it your spiritual bondage with darkness?
Satyr: Spiritual bondage with darkness, misanthropy and strongest christ-hate in the world make us follow this path. Our drummer is a Satanist, me and Samoth aren' t. I will continue to create majestic black metal for the black souls and spirits. My music is filled with atmospheres. If you think it' s important, call it what you will. (Musically: Medieval Black Metal —ed.)
TOTM: Why didn' t you record at Grieghallen studios like most Norwegian hordes do?
Satyr: Because we didn' t follow the other ones when it comes to do these kind of things and I don' t like Pytten either. We either record in Waterfall or in the ancient spectre ruins.
TOTM: You released your album on Moonfog, your very own label, so do you think it' s financially seen an advantage?
Satyr: Moonfog is a division of Tatra Records. I now stand as the owner of Moonfog, but practically they run the label. I help out with promotion and I do a little mail-order here in Norway and from now on I sign the bands. It' s very good financially for the artists as we don' t pay anything, we just get royalties.
TOTM: You also released Neptune Towers, a project by Fenriz, so I suppose that further stuff is planned to get released through Moonfog, right?
Satyr: So far we have released:
* Satyricon "Dark Medieval Times"
* Neptune Towers "Caravans To Kingdom Algol"
* Satyricon "The Shadowthrone"
Coming up:
* Storm "Nordavind" (Folk Metal project by Fenriz and Satyr)
* Darkthrone "Panzerfaust"
* Darkthrone "Goatlord" (the unreleased follower to "Soulside Journey")
* Satyricon "The Forest Is My Throne" (limited edition: 2000 copies, demo on CD)
* Isengard "Samlet Mot Gud Og Hvite Krist"
* Neptune Towers "Transmissions From Empire Algol"
* Darkthrone "Total Death"
* Satyr' s solo-project which is atmospheric music with synth, acoustic guitar, percussion, bass, piano and vocals. Ihsahn (from Emperor) plays synth and piano. This is original music with a deep emotion piercing your soul.
TOTM: Talking about Fenriz (The guy from Darkthrone if somebody doesn' t know): you' re doing a band with him called Storm, so please would you give us some info about that band? Can we expect something on vinyl/ CD?
Satyr: The album "Nordavind" is set for beginning of 1995, It was an idea I had for a very long time. I asked Fenriz if he would join me on the project and he did. It' s basically old Norwegian folk songs which we make our own versions of. Viking styled vocals and tribal drumming give new fuel into these great old songs.
TOTM: What differs Storm from Satyricon?
Satyr: A lot! It can' t be compared, except for the fact that the music of Satyricon goes back to my roots as in Storm.
TOTM: How is it working with Fenriz? I often heard that he must be a weird guy?
Satyr: It' s ok, we’re best friends, but he can be very annoying too, ha ha. Yes, he is undoubtedly very weird. Vir er to norske brodre som alt vil gi.
TOTM: There are a lot of bands coming from the area around Oslo like Mayhem, Darkthrone, Fleurety, Strid… So how is the relationship between all bands? Aren't there any "true" or "untrue" fights or something like that?
Satyr: My brothers are the rest of Satyricon, Emperor and Darkthrone/ Isengard. I will go very far to protect these guys. And I expect them to go far for my sake too. I don' t give a shit about the others you mentioned.
TOTM: What does Mayhem mean to you and what do you think of Euronymous tragic end? Have you ever met him and what kind of person was he?
Satyr: Mayhem means nothing to me(I wonder how he would have answered this two years ago. —ed.), still though their album is good (the vocal is terrible)I respect Euronymous for doing a great job for the Norwegian scene, the label, it was good work. I met him a lot and he was ok, but too many negative sides were lurking around for my sake. He was too incompetent even though he did some good things for the scene.
TOTM: What has moved you to form a band like Satyricon and what did you do before it' s birth?
Satyr: I am very related to nature and I want to recreate the atmosphere I feel. Before we started I was into the same thing. Metal and dark philosophies, wandering around the nature. I have developed and I feel great. The autumn casts a dark shadow over Norway and winter is at hand. This is my time of year…
TOTM: I heard you had some problems like fights with Manowar fans at one of the old metal warriors concert in Oslo. True?
Satyr: No, it' s not true. We, Enslaved and Dissection were there and we thought it was terribly shit. We never had problems with Manowar fans. Anyway, how could we? (Because people got angry due to your spikes as hurt people with it —ed.) A bunch of bitches and mongoloid kids around 14 years. (Strange, here in Germany people under 18 were not allowed to enter the hall —ed.) I got the ticket for free. Oh man how I hate Manowar (and worship the epic Bathory at the same time? —ed.)! But I can' t understand were you have got this from. Well, as usual, rumours suck.
TOTM: How do you see the future for Black Metal in Norway?
Satyr: The good bands will develop and grow stronger continuously, the weak bands will fade away, some have already done.
TOTM: And of Satyricon?
Satyr: We have been around since 1991 and we have come far. Two albums which sell very good and a great deal of respect for our art. I have already made four songs and six lyrics for our third album. We grow stronger! Kampen mot Gud og White Krist er i gang!
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「Tales Of The Macabre」
【#N/A】
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An interview with Satyr in "Tales Of The Macabre"
"The Shadowthrone" contains song material like you have never heard before and the great production makes this album a hammer in the face of god. We have played the advance tape to a lot of people and the response has been superb. You will find the concept in the lyrics and the songtitles can also be found in the booklet. By the way, the album is also released on limited edition gatefold sleeve LP and Picture Disc (Great!!! —ed.), both in numbered copies.
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TOTM: What has changed since your debut-album and are you still happy with "Dark Medieval Times"?
Satyr: I have developed myself as a musician and human being. That results in the music' s changing too. This time it' s even better! Yes, I'm still very happy with "Dark Medieval Times" and it seems like the ones who have bought it seems satisfied too.
TOTM: You have the typical high Norwegian Black Metal sound (besides of course the medieval elements), so do you think you' re destined to use this kind of sound because you' re from the north? Could you imagine having a sound like Celtic Frost or Slayer ("Reign In Blood"). Two bands who are very important for today' s Black Metal?
Satyr: No, the sound is not typical northern, because it' s sharp as a razorblade compared to other releases of the north. We use this sound, because it' s a wind of cold northern atmosphere. I love this sound, it makes me freeze in my soul. We could not have sound like Celtic Frost or Slayer, because our music is totally different. I like their sound, because it suits them. It would not suit Satyricon, because it does not sound northern.
TOTM: On your debut album you seem to adore the medieval age, a dark indeed, but don' t you think that it was only a dictatorship and triumph of Christianity? Also it was a time of less development (Both in technology and literature)…
Satyr: Absolutely not! The middle ages were full of plagues, death and misery. The atmosphere around it is hopeless to explain, but it was a call form an energy force which made me do so.
TOTM: For what does Satyricon stand? Is there a special message behind it?
Satyr: For me it' s a Satyr as an icon.
TOTM: Optically you look like a Black Metal outfit, but is it really like that in your opinion when you look at your concept? Do you really cultivate Satan or is it your spiritual bondage with darkness?
Satyr: Spiritual bondage with darkness, misanthropy and strongest christ-hate in the world make us follow this path. Our drummer is a Satanist, me and Samoth aren' t. I will continue to create majestic black metal for the black souls and spirits. My music is filled with atmospheres. If you think it' s important, call it what you will. (Musically: Medieval Black Metal —ed.)
TOTM: Why didn' t you record at Grieghallen studios like most Norwegian hordes do?
Satyr: Because we didn' t follow the other ones when it comes to do these kind of things and I don' t like Pytten either. We either record in Waterfall or in the ancient spectre ruins.
TOTM: You released your album on Moonfog, your very own label, so do you think it' s financially seen an advantage?
Satyr: Moonfog is a division of Tatra Records. I now stand as the owner of Moonfog, but practically they run the label. I help out with promotion and I do a little mail-order here in Norway and from now on I sign the bands. It' s very good financially for the artists as we don' t pay anything, we just get royalties.
TOTM: You also released Neptune Towers, a project by Fenriz, so I suppose that further stuff is planned to get released through Moonfog, right?
Satyr: So far we have released:
* Satyricon "Dark Medieval Times"
* Neptune Towers "Caravans To Kingdom Algol"
* Satyricon "The Shadowthrone"
Coming up:
* Storm "Nordavind" (Folk Metal project by Fenriz and Satyr)
* Darkthrone "Panzerfaust"
* Darkthrone "Goatlord" (the unreleased follower to "Soulside Journey")
* Satyricon "The Forest Is My Throne" (limited edition: 2000 copies, demo on CD)
* Isengard "Samlet Mot Gud Og Hvite Krist"
* Neptune Towers "Transmissions From Empire Algol"
* Darkthrone "Total Death"
* Satyr' s solo-project which is atmospheric music with synth, acoustic guitar, percussion, bass, piano and vocals. Ihsahn (from Emperor) plays synth and piano. This is original music with a deep emotion piercing your soul.
TOTM: Talking about Fenriz (The guy from Darkthrone if somebody doesn' t know): you' re doing a band with him called Storm, so please would you give us some info about that band? Can we expect something on vinyl/ CD?
Satyr: The album "Nordavind" is set for beginning of 1995, It was an idea I had for a very long time. I asked Fenriz if he would join me on the project and he did. It' s basically old Norwegian folk songs which we make our own versions of. Viking styled vocals and tribal drumming give new fuel into these great old songs.
TOTM: What differs Storm from Satyricon?
Satyr: A lot! It can' t be compared, except for the fact that the music of Satyricon goes back to my roots as in Storm.
TOTM: How is it working with Fenriz? I often heard that he must be a weird guy?
Satyr: It' s ok, we’re best friends, but he can be very annoying too, ha ha. Yes, he is undoubtedly very weird. Vir er to norske brodre som alt vil gi.
TOTM: There are a lot of bands coming from the area around Oslo like Mayhem, Darkthrone, Fleurety, Strid… So how is the relationship between all bands? Aren't there any "true" or "untrue" fights or something like that?
Satyr: My brothers are the rest of Satyricon, Emperor and Darkthrone/ Isengard. I will go very far to protect these guys. And I expect them to go far for my sake too. I don' t give a shit about the others you mentioned.
TOTM: What does Mayhem mean to you and what do you think of Euronymous tragic end? Have you ever met him and what kind of person was he?
Satyr: Mayhem means nothing to me(I wonder how he would have answered this two years ago. —ed.), still though their album is good (the vocal is terrible)I respect Euronymous for doing a great job for the Norwegian scene, the label, it was good work. I met him a lot and he was ok, but too many negative sides were lurking around for my sake. He was too incompetent even though he did some good things for the scene.
TOTM: What has moved you to form a band like Satyricon and what did you do before it' s birth?
Satyr: I am very related to nature and I want to recreate the atmosphere I feel. Before we started I was into the same thing. Metal and dark philosophies, wandering around the nature. I have developed and I feel great. The autumn casts a dark shadow over Norway and winter is at hand. This is my time of year…
TOTM: I heard you had some problems like fights with Manowar fans at one of the old metal warriors concert in Oslo. True?
Satyr: No, it' s not true. We, Enslaved and Dissection were there and we thought it was terribly shit. We never had problems with Manowar fans. Anyway, how could we? (Because people got angry due to your spikes as hurt people with it —ed.) A bunch of bitches and mongoloid kids around 14 years. (Strange, here in Germany people under 18 were not allowed to enter the hall —ed.) I got the ticket for free. Oh man how I hate Manowar (and worship the epic Bathory at the same time? —ed.)! But I can' t understand were you have got this from. Well, as usual, rumours suck.
TOTM: How do you see the future for Black Metal in Norway?
Satyr: The good bands will develop and grow stronger continuously, the weak bands will fade away, some have already done.
TOTM: And of Satyricon?
Satyr: We have been around since 1991 and we have come far. Two albums which sell very good and a great deal of respect for our art. I have already made four songs and six lyrics for our third album. We grow stronger! Kampen mot Gud og White Krist er i gang!
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◆出所：
「The Plague」
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An interview with Frost in "The Plague" by Daniel Hinds
Satyricon is one of the oldest and most accomplished bands in the Norwegian black metal scene, yet they often get overlooked in favor of some of the more notorious acts. With a brand new album getting rave reviews all over the world, that is bound to change very soon. Though the band has seen a number of guest musicians come and go over the years, the basis of Satyr(vocals, guitar) and Frost (drums) has been the rock-solid foundation of Satyricon since way back in 1992.
I spoke with Frost recently and I must say he is one of the most articulate and thoughtful interview subjects I' ve had in a while. He clearly takes a lot of pride in his work with Satyricon, yet he never seemed arrogant about it.
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DH: How would you say "Rebel Extravaganza" differs from previous albums?
Frost: All of our albums differ quite a lot and, in the case of the new one, we have taken the elements from our previous efforts a step further. We have also added new elements to the music, all of this to add further to the splendor of Satyricon. I think we have succeeded at this very well and we have grown as musicians and as music composers. We have worked extremely hard with this new material and I feel that the blackness and the harshness and the grimness is more present than ever.
DH: Did you do anything differently in terms of the way the album was written or recorded?
Frost: Of course, we have spent more time in the creative process and the recording process this time. When it comes to the process of recording the album, we could spend more time in the studio because we had more money to spend. That' s actually very important because getting a good sound is essential and, when the music is growing and getting so complex as it has, then you need to use a lot of time to differentiate each instrument. You also have to get the right guitar sound, etc, etc., and this is all very hard, but we had lots of time and the sound is a lot better than on previous albums, which is easy for everyone to hear.
DH: You have taken on a pretty different image for the new album. How important is the band' s look?
Frost: I' ve always pointed out that the visual aspect of Satyricon is extremely important, as it is with black metal in general. Already at the start of this musical genre, it was viewed as very important, back with Venom and Hellhammer and Celtic Frost. We feel that we to present 100% professional product and that means the visual aspect must be as good as possible, because it goes along with the music, even if the music is the most important part. You know, when looking at the cover, that is very much what you have in mind when listening to the record, so it' s very important to create the right atmosphere. So that is the main reason that we work so hard with the layout and with the image.
DH: Who comes up with the ideas for your image?
Frost: It was Satyr who came up with those ideas on the first hand. Actually, we were a bit unsure if it was going to work or not, so we just decided to try them out and we immediately saw that this was going to be very good and exactly what we wanted. So we just continued from there on and did the shots with this make-up that we wanted to have and tried out different ideas that we had and also ideas that the photographer had.
DH: How do you guys work together, in terms of writing songs, ideas for album artwork, etc.?
Frost: Well, it differs from song to song, but usually it starts with Satyr coming up with guitar themes. Quite often, he can hear the whole picture of arrangement in his head and from the start knows how the guitar should be, how the bass should be, how the drums will be. Or else, he will just play the guitar riff and he will present it to me and either I will try out a beat that I think will fit in or we just cooperate until we find a beat that fits right. Sometimes we just start with a lyric and we try to create the right music part for that lyric.
DH: How did you hook up with Nuclear Blast?
Frost: We felt that Nuclear Blast could help Satyricon grow as a band, that it would be posible for us to spread out worldwide if we were working with a major company and Nuclear Blast gave us the best offers. We have not signed to Nuclear Blast, so they are just licensing us outside of Scandinavia. In Scandinavia, Moonfog is still handling us.
DH: What are your feelings about how the black metal scene has evolved over the years?
Frost: There' s been a great change. First, there was a very mystic and dark aura surrounding the scene. The people that made the core of the black metal scene in Norway, they were very extreme personalities with quite sick morals, in other folks' viewpoint I guess. You had the first black metal album in the 1990s, which was "A Blaze In The Northern Sky" and you had the first Burzum album and there was something very strange and eerie and very dark and exotic about these albums back then. I can remember I could almost feel the darkness in the room when I first listened to "A Blaze In The Northern Sky". It turned out that a lot of other people got the same feeling because the music scene and the music itself gained a lot of popularity. Later on, you had the media attention, which brought more people into the scene and got more people wanting to play black metal. It just evolved from there and is quite a popular musical genre now. I know for sure that a lot of other bands playing black metal really have no deep feeling for the music - they could just as well play heavy metal or death metal or thrash metal or whatever. But, they will get more attention playing black metal. This means that, the scene and music genre is watered down by a lot of non-dedicated people being into that kind of extreme music, extreme imagery and extreme ideology. The whole aura of darkness and mysticism is gone, but still a lot of other bands are creating good music. We are trying to give a very great contribution to the black metal scene, bringing back the intense aggressiveness and eeriness and blackness that I feel is disappearing these days. So, it' s good and bad, you know. You had a lot more herd mentality in the early days because the Inner Circle demanded very much from people. That meant that a lot of people did things to please the leadership. Now there is no leadership, with the death of Euronymous, and now people just do what they want. It seems that what many people is just being dull and boring. (laughs) There are pluses and minuses but basically, we don' t care. We have to do what we want to do and show the world how we think black metal should be.
DH: Do you think it was inevitable that black metal should become more popular? From the start?
Frost: No, I had no such idea back then. Before the media attention, it was almost unimaginable. (laughs) We still saw a glimpse of a trend in the early days, but nothing like this.
DH: What happened with customs that caused you guys to miss the Milwaukee Metalfest appearance?
Frost: The immigration authorities in the States are quite difficult to work with and it takes a long time to get a working license and visas, because(laughs) half the band have been convicted of stuff. So it just took too long and we couldn' t get it done before the Metalfest. That was a shame, but there was nothing we could do about that. So we will probably return to the States later and do a tour there.
DH: When you hear other bands that sound like Satyricon, does it bother you or is it a compliment?
Frost: I think when we have a record like the one we have released now, Satyricon is a natural inspiration for a band. But it' s stupid not creating your own music. If there are just influences and they manage to create their own music, I think that is just splendid, but what I see with many bands is they try to copy their influences and then it sounds very ridiculous. That' s also the case with all those bands trying to copy Dimmu Borgir and whatever shit, they should just stick to their own stuff. If they gain inspiration from a band, they should gain inspiration for the atmospheric part, but not for trying to make their own music similar to the bands they like. It could never be as good as the original anyway.
DH: I might just ask you, how is the metal scene in the States right now, with this tour and stuff that we are planning?
Frost: It' s actually quite a bit better than it was a few years ago… Yeah, I know it hasn't been as good in the 1990s. I think right now is probably the best time in the last decade or so. It' s definitely gotten better, though I still don' t think it' s as good as-- Yeah the Emperor guys told us they were doing pretty good over there. There have been a lot more real tours lately, for one thing. For a long time, no one could really tour because they couldn' t get the people out to the shows. So we can expect the gates of black metal to be opened? (laughs)
DH: Were you happy with the results of the "Mother North" video? Have you done other videos?
Frost: We haven' t done any other videos, but we will do one for a track on "Rebel Extravaganza". We haven' t chosen the track yet, but we will decide on that later. As for "Mother North", we are both very satisfied with it, but if we are going to do something now, we will do it a lot better because we will use a better film crew and put more money into it. Also, I feel the standard today is expected to be quite a lot higher.
DH: Can you tell me a bit about the track "Blessed From Below?" Do I detect some industrial influences?
Frost: I don' t know if it' s right to call it "industrial", but it is of course influenced by non-metal stuff, electronic music. I feel it is just very eerie and chilling and actually it is my favorite track on the MCD. Usually, I am very narrow-minded and stick to metal, but this track... (laughs) well, it just gives me the creeps, you know, and I love it because of that. It' s hard describing the genre because there are almost black metal parts, the very noisy and distorted guitar stuff, there are also black parts that are clearly not metal. And there are other parts that are other parts that are influence by not industrial music maybe, but something related to it. Hard to classify, but then that is not necessary, I feel.
DH: How did you hook up with Apoptygma Berzerk for the remix on the "Megiddo" MCD?
Frost: You know, Grothesk from Berzerk listened to our album shortly after we recorded it and he thought he could do something very bizarre out of it. He just started to work with the song that he liked the most, which was "Dawn Of A New Age", and he presented the idea to Satyr and he thought it was quite fascinating. When the result was presented, new vocals were made, and it just sounded very great, very harsh and destroying. It' s very important that Satyricon - we have not made this remix, it is Apoptygma Berzerk' s work with Satyr' s new vocals on it - but I still think that track has a lot of interest, but we will not do something similar again, I guess.
DH: I like the fact that you guys don' t have a problem with experimenting like that.
Frost: It' s the natural result of a creative mind. You will want to explore new territories and new musical fields. From what I' ve seen, the reviews of "Rebel Extravaganza" so far have been very positive. They are overwhelming and ten minutes ago I got to hear that the second biggest newspaper in Norway, which is also very conservative, gave us 6 out of 6 points and the largest selling newspaper in Norway gave us 6 out of 6 points. We also got 7 out 7 in "Metal Hammer", 9.5 out of 10 in "Rock Hard". I guess they originally gave us 10 but they were then told to be a bit firmer when giving a 10, so they gave us 9.5, which I still think is incredible. Things are bright for the moment. (laughs)
DH: How important for you is it for people to like your music? Do you need to have that connection or would you be just as happy if no one liked it but yourselves?
Frost: Of course, it does matter. It is not the most important part and it' s not a driving force either, because when making the music, we are not thinking about the critics or what people in general may think of this, because if we thought that, we couldn' t make the best music possible. It would be shit and ruin the band. When the music is made, you do of course like to harvest fruits of our work and it' s very good to see that people enjoy music that we ourselves do enjoy very, very much. And also we feel as if this is very sincere and good for black metal. In our eyes, it' s good for the scene that people like this record because we feel we can judge if music is good or bad, we have some experience and we are musicians ourselves, and we are satisfied when people like this.
DH: When did you first get into playing music?
Frost: I was battering around as a kid, hammering on everything and on myself, boxes and stuff. I got my drum kit when I was 15 years old, but I didn' t start to play seriously before the end of 1992 when I was asked to join Satyricon. I was a terrible drummer back then, I could hardly play the double-bass at all, so I just rehearsed day and night. It was a pain in the ass, but it was the only way to go.
DH: Are you currently working on any projects outside of the band?
Frost: No, I' m not. This is taking all the time that I' ve got.
DH: Have you got a tour planned yet?
Frost: Yes, we will start touring on the 28th of October and tour until the 21st of November. Later on, there will be a festival tour in December and also some single concerts, and also we' d like to tour after that, maybe in the States. We want to tour quite a lot throughout this year, because I' ve taken the year off from school to concentrate fully upon Satyricon.
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「The Plague」
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An interview with Frost in "The Plague" by Daniel Hinds
Satyricon is one of the oldest and most accomplished bands in the Norwegian black metal scene, yet they often get overlooked in favor of some of the more notorious acts. With a brand new album getting rave reviews all over the world, that is bound to change very soon. Though the band has seen a number of guest musicians come and go over the years, the basis of Satyr(vocals, guitar) and Frost (drums) has been the rock-solid foundation of Satyricon since way back in 1992.
I spoke with Frost recently and I must say he is one of the most articulate and thoughtful interview subjects I' ve had in a while. He clearly takes a lot of pride in his work with Satyricon, yet he never seemed arrogant about it.
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DH: How would you say "Rebel Extravaganza" differs from previous albums?
Frost: All of our albums differ quite a lot and, in the case of the new one, we have taken the elements from our previous efforts a step further. We have also added new elements to the music, all of this to add further to the splendor of Satyricon. I think we have succeeded at this very well and we have grown as musicians and as music composers. We have worked extremely hard with this new material and I feel that the blackness and the harshness and the grimness is more present than ever.
DH: Did you do anything differently in terms of the way the album was written or recorded?
Frost: Of course, we have spent more time in the creative process and the recording process this time. When it comes to the process of recording the album, we could spend more time in the studio because we had more money to spend. That' s actually very important because getting a good sound is essential and, when the music is growing and getting so complex as it has, then you need to use a lot of time to differentiate each instrument. You also have to get the right guitar sound, etc, etc., and this is all very hard, but we had lots of time and the sound is a lot better than on previous albums, which is easy for everyone to hear.
DH: You have taken on a pretty different image for the new album. How important is the band' s look?
Frost: I' ve always pointed out that the visual aspect of Satyricon is extremely important, as it is with black metal in general. Already at the start of this musical genre, it was viewed as very important, back with Venom and Hellhammer and Celtic Frost. We feel that we to present 100% professional product and that means the visual aspect must be as good as possible, because it goes along with the music, even if the music is the most important part. You know, when looking at the cover, that is very much what you have in mind when listening to the record, so it' s very important to create the right atmosphere. So that is the main reason that we work so hard with the layout and with the image.
DH: Who comes up with the ideas for your image?
Frost: It was Satyr who came up with those ideas on the first hand. Actually, we were a bit unsure if it was going to work or not, so we just decided to try them out and we immediately saw that this was going to be very good and exactly what we wanted. So we just continued from there on and did the shots with this make-up that we wanted to have and tried out different ideas that we had and also ideas that the photographer had.
DH: How do you guys work together, in terms of writing songs, ideas for album artwork, etc.?
Frost: Well, it differs from song to song, but usually it starts with Satyr coming up with guitar themes. Quite often, he can hear the whole picture of arrangement in his head and from the start knows how the guitar should be, how the bass should be, how the drums will be. Or else, he will just play the guitar riff and he will present it to me and either I will try out a beat that I think will fit in or we just cooperate until we find a beat that fits right. Sometimes we just start with a lyric and we try to create the right music part for that lyric.
DH: How did you hook up with Nuclear Blast?
Frost: We felt that Nuclear Blast could help Satyricon grow as a band, that it would be posible for us to spread out worldwide if we were working with a major company and Nuclear Blast gave us the best offers. We have not signed to Nuclear Blast, so they are just licensing us outside of Scandinavia. In Scandinavia, Moonfog is still handling us.
DH: What are your feelings about how the black metal scene has evolved over the years?
Frost: There' s been a great change. First, there was a very mystic and dark aura surrounding the scene. The people that made the core of the black metal scene in Norway, they were very extreme personalities with quite sick morals, in other folks' viewpoint I guess. You had the first black metal album in the 1990s, which was "A Blaze In The Northern Sky" and you had the first Burzum album and there was something very strange and eerie and very dark and exotic about these albums back then. I can remember I could almost feel the darkness in the room when I first listened to "A Blaze In The Northern Sky". It turned out that a lot of other people got the same feeling because the music scene and the music itself gained a lot of popularity. Later on, you had the media attention, which brought more people into the scene and got more people wanting to play black metal. It just evolved from there and is quite a popular musical genre now. I know for sure that a lot of other bands playing black metal really have no deep feeling for the music - they could just as well play heavy metal or death metal or thrash metal or whatever. But, they will get more attention playing black metal. This means that, the scene and music genre is watered down by a lot of non-dedicated people being into that kind of extreme music, extreme imagery and extreme ideology. The whole aura of darkness and mysticism is gone, but still a lot of other bands are creating good music. We are trying to give a very great contribution to the black metal scene, bringing back the intense aggressiveness and eeriness and blackness that I feel is disappearing these days. So, it' s good and bad, you know. You had a lot more herd mentality in the early days because the Inner Circle demanded very much from people. That meant that a lot of people did things to please the leadership. Now there is no leadership, with the death of Euronymous, and now people just do what they want. It seems that what many people is just being dull and boring. (laughs) There are pluses and minuses but basically, we don' t care. We have to do what we want to do and show the world how we think black metal should be.
DH: Do you think it was inevitable that black metal should become more popular? From the start?
Frost: No, I had no such idea back then. Before the media attention, it was almost unimaginable. (laughs) We still saw a glimpse of a trend in the early days, but nothing like this.
DH: What happened with customs that caused you guys to miss the Milwaukee Metalfest appearance?
Frost: The immigration authorities in the States are quite difficult to work with and it takes a long time to get a working license and visas, because(laughs) half the band have been convicted of stuff. So it just took too long and we couldn' t get it done before the Metalfest. That was a shame, but there was nothing we could do about that. So we will probably return to the States later and do a tour there.
DH: When you hear other bands that sound like Satyricon, does it bother you or is it a compliment?
Frost: I think when we have a record like the one we have released now, Satyricon is a natural inspiration for a band. But it' s stupid not creating your own music. If there are just influences and they manage to create their own music, I think that is just splendid, but what I see with many bands is they try to copy their influences and then it sounds very ridiculous. That' s also the case with all those bands trying to copy Dimmu Borgir and whatever shit, they should just stick to their own stuff. If they gain inspiration from a band, they should gain inspiration for the atmospheric part, but not for trying to make their own music similar to the bands they like. It could never be as good as the original anyway.
DH: I might just ask you, how is the metal scene in the States right now, with this tour and stuff that we are planning?
Frost: It' s actually quite a bit better than it was a few years ago… Yeah, I know it hasn't been as good in the 1990s. I think right now is probably the best time in the last decade or so. It' s definitely gotten better, though I still don' t think it' s as good as-- Yeah the Emperor guys told us they were doing pretty good over there. There have been a lot more real tours lately, for one thing. For a long time, no one could really tour because they couldn' t get the people out to the shows. So we can expect the gates of black metal to be opened? (laughs)
DH: Were you happy with the results of the "Mother North" video? Have you done other videos?
Frost: We haven' t done any other videos, but we will do one for a track on "Rebel Extravaganza". We haven' t chosen the track yet, but we will decide on that later. As for "Mother North", we are both very satisfied with it, but if we are going to do something now, we will do it a lot better because we will use a better film crew and put more money into it. Also, I feel the standard today is expected to be quite a lot higher.
DH: Can you tell me a bit about the track "Blessed From Below?" Do I detect some industrial influences?
Frost: I don' t know if it' s right to call it "industrial", but it is of course influenced by non-metal stuff, electronic music. I feel it is just very eerie and chilling and actually it is my favorite track on the MCD. Usually, I am very narrow-minded and stick to metal, but this track... (laughs) well, it just gives me the creeps, you know, and I love it because of that. It' s hard describing the genre because there are almost black metal parts, the very noisy and distorted guitar stuff, there are also black parts that are clearly not metal. And there are other parts that are other parts that are influence by not industrial music maybe, but something related to it. Hard to classify, but then that is not necessary, I feel.
DH: How did you hook up with Apoptygma Berzerk for the remix on the "Megiddo" MCD?
Frost: You know, Grothesk from Berzerk listened to our album shortly after we recorded it and he thought he could do something very bizarre out of it. He just started to work with the song that he liked the most, which was "Dawn Of A New Age", and he presented the idea to Satyr and he thought it was quite fascinating. When the result was presented, new vocals were made, and it just sounded very great, very harsh and destroying. It' s very important that Satyricon - we have not made this remix, it is Apoptygma Berzerk' s work with Satyr' s new vocals on it - but I still think that track has a lot of interest, but we will not do something similar again, I guess.
DH: I like the fact that you guys don' t have a problem with experimenting like that.
Frost: It' s the natural result of a creative mind. You will want to explore new territories and new musical fields. From what I' ve seen, the reviews of "Rebel Extravaganza" so far have been very positive. They are overwhelming and ten minutes ago I got to hear that the second biggest newspaper in Norway, which is also very conservative, gave us 6 out of 6 points and the largest selling newspaper in Norway gave us 6 out of 6 points. We also got 7 out 7 in "Metal Hammer", 9.5 out of 10 in "Rock Hard". I guess they originally gave us 10 but they were then told to be a bit firmer when giving a 10, so they gave us 9.5, which I still think is incredible. Things are bright for the moment. (laughs)
DH: How important for you is it for people to like your music? Do you need to have that connection or would you be just as happy if no one liked it but yourselves?
Frost: Of course, it does matter. It is not the most important part and it' s not a driving force either, because when making the music, we are not thinking about the critics or what people in general may think of this, because if we thought that, we couldn' t make the best music possible. It would be shit and ruin the band. When the music is made, you do of course like to harvest fruits of our work and it' s very good to see that people enjoy music that we ourselves do enjoy very, very much. And also we feel as if this is very sincere and good for black metal. In our eyes, it' s good for the scene that people like this record because we feel we can judge if music is good or bad, we have some experience and we are musicians ourselves, and we are satisfied when people like this.
DH: When did you first get into playing music?
Frost: I was battering around as a kid, hammering on everything and on myself, boxes and stuff. I got my drum kit when I was 15 years old, but I didn' t start to play seriously before the end of 1992 when I was asked to join Satyricon. I was a terrible drummer back then, I could hardly play the double-bass at all, so I just rehearsed day and night. It was a pain in the ass, but it was the only way to go.
DH: Are you currently working on any projects outside of the band?
Frost: No, I' m not. This is taking all the time that I' ve got.
DH: Have you got a tour planned yet?
Frost: Yes, we will start touring on the 28th of October and tour until the 21st of November. Later on, there will be a festival tour in December and also some single concerts, and also we' d like to tour after that, maybe in the States. We want to tour quite a lot throughout this year, because I' ve taken the year off from school to concentrate fully upon Satyricon.
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「Oskorei Magazine」(issue #01)
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An interview with Frost in "Oskorei" by Lars Jamne (issue # 01)
After the Emperor/ Enslaved concert in Bergen earlier this year I suddenly got to talk to Frost as we both were quite drunk we managed to exchange our adresses and he promised to give me an interview for my magazine and some time after this gig I wrote down some questions and after a while I received the answers. I thought it was not easy to get an interview with these guys anymore after what they stated in the booklet of "Nemesis Divina", but I got it and was very pleased with the answers. Frost provided me with as I think very good and well thought before writing them down answers. I will thank Frost for the opportunity and I think there will be another interview with him in one of our later issues. Noticed that the pictures that are used in this magazine has never before seen the light, but they might be used on upcoming stuff! Well, enjoy this...
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LJ: Hello Frost, I think we can safely skip the past of your band don't you think so? Well, there has been some changes in the line-up of Satyricon what is new there?
Frost: Two guys are recruited to Satyricon now and they will help us doing a couple of gigs in the nearest future. It will be decided whether they are to become member of the band or not, but it surely looks promising. We are also looking for synth-player; we manage with a session member for the time being though.
LJ: Was there any special situation that occurred in between the band since Kveldulv and Svartalv? What about the guy who handle the synth for you, will he still be a member of Satyricon?
Frost: Kveldulv has moved to the forest, hence he has quit. Svartalv decided to concentrate less on playing bass and left the band because of this. He would have had to improve his skills if he were to continue playing with us. As far as the synth-guy is concerned, it is uncertain what will happen in the future. He will under no circumstances become a member of the band.
LJ: Not too long ago the MCD entitled "Megiddo" was released and it contained remix, re-recording, a live song and a cover of Motörhead' s "Orgasmatron". Why did you release this MCD and how did the idea of a remix of "The Dawn Of A New Age" come up? And are you Motörhead fans since you included one cover of them?
Frost: "Megiddo" is a collection of special tracks that turned out good, but don' t fit on a regular album. Stephan of Apoptygma Berzerk heard some of our material; found it to be interesting and thought that he could make an asskicking remix of "The Dawn Of A New Age". Satyr liked the idea, and they went to work with it. The result was brilliant I think, even if it was a bit hard to swallow for a narrow-minded person like me the first times. Now, the re-recording then... We saw (or rather heard) that "A Dark Castle In The Deep Forest" had a great potential, that was not delivered properly on "Dark Mediaval Times". Therefore we recorded it again, and it now sounds the way it should be sounding from the beginning. Then, you have the Motörhead cover "Orgasmatron". As a matter of fact it was a situation similar to the one when we decided to record the song from our first album; we saw a potential which we wanted to release. Our cover version really is a lot stronger and more powerful than the original, and the vocals of Satyr beats the most. Neither me nor Satyr are big Motörhead fans, but we are into some of their songs like "Orgasmatron".
LJ: After the release of your third full length "Nemesis Divina" you entered the European continent with a European tour, how did you feel that tour went? I heard some rumours that many small problems occured during that period of time, if this is true do you mind telling us what they where?
Frost: There were, as one could except, ups and downs on the tour, maybe more downs than ups. Some problems occurred, yes; our tourbus was smaller than the one Metallyssee promised we would get, and there were too few beds in it. The roadcrew we got couldn' t speak English properly, and they did not understand us at all. Well, a lot of shit happened because of bad organisation, due to Metallysee' s shitty way of doing business. Anyway, the tour had ist brighter moments also, and I did for sure enjoy playing when everything worked on stage, and the audience went crazy.
LJ: Satyricon is to be looked upon now as one of the best selling Black Metal bands world-wide and how does it feel to be apart of Satyricon now? How many copies of "Nemesis Divina" has been sold so far?
Frost: I am very satisfied being a part of Satyricon now, as we are creating better music than ever, and our musical skills has improved quite a lot lately - still improves. It is undoubtedly positive that the sales are good, but making the best music possible must be the main motivation. About the amount of copies sold of "Nemesis Divina", I don' t really know exactly how many are sold, but I know that the sales have been pretty good.
LJ: You have been faithful to Moonfog during six releases, have Satyricon ever thought of changing label? And if I' m not mistaken Moonfog is run by Satyr or something...
Frost: There are no plans made concerning any change of label, even if I won' t say it will never happen. We have got very good distribution deal now, so there should be no reason for us to change from Moonfog to another label for the time being. Moonfog, which is a division of Tatra Records, is as you correctly suggested, run by Satyr.
LJ: What do you think in general of the current situation the Black Metal scene is in today, there has been quite many changes since you were recruited I guess, are ther any special changes that you will point out to us?
Frost: Today, a lot of bands are playing Black Metal as this is the more popular kind of extreme metal at the time. Many of those could just as well have been playing death metal, heavy metal, thrash metal of something else. In other words, this style of music is no longer that geniune as it used to be, and Black Metal is not played only by people totally dedicated to the music and the ideology which lays behind. The result is that extreme no more, and the somehow dark mysterious feeling that surrounded the scene has almost disappeared (at least for me it has). Some years back in time, there was exactly this dark, evil and mysterious aura that surrounded Black Metal. There was a firmer discipline at all. People without a connection to the darkside and an extreme moral attitude would not feel well within the "inner" Black Metal movement. The price one had to pay for having a real movement based on extreme, dark principles was falsehood and herd-mentality. Individual thoughts and behaviour was hardly welcome if it didn' t fit with the moral codes and standards set by the more respected persons in the Black Metal environment. Obviously this led to a lot of people doing and saying things only to get accepted, regardless of what their real attitude were. But even this being the situation back then, I sometimes come to wonder if it wasn' t worth the price after all. I wish that there would be a stronger Black Metal movement again, but this is very unlikely to happen as there are none that have the authority nor the will necessary to conduct such a movement. Luckily, there are still some bands that make excellent music.
LJ: One thing I am a bit curious about is, what made you interested in the Black Metal scene and when did you first enter it? Was it because of a band you entered it or...? <[>The music was what caught my interest at first; I started to listen to the old Black/ Thrash Metal bands quite early, but I didn' t care so much for the message or the image/ style. I was very fascinated by the darkness and evilness that rested over the music of bands like Bathory, but I did not understand what that music was all about really. I also listened to a lot of death metal for some time, but I got bored of that, and sort of discovered the magnificence of Black Metal. In spring/summer 1991 I got to visit the now so famous "Helvete" shop in Oslo for the first time, and something happened to me then; it immediately struck me that this was the place I had always dreamt about seeing. It was like a kick in the ass. The obscure, dark and evil feeling I got there has never quite left me. From that point on I realised that this was for me, it could not be doubted. Eventually I made Black Metal my lifestyle, which it still is, and it seems to sontinue that way for the future. My career as a musician started in late 1992/ early 1993, when I joined Satyricon. I had been playing a little before that, but it never resulted in anything serious. In other words, joining a band was not the reason for my entering the Black Metal scene.
LJ: Well, I wish you good luck with the "Megiddo" mini album and the future and if there is anything you would like to add then do it now or else it will be too late.
Frost: That will be it... so come darkness.
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"Oskorei"
P.O. Box 241
5260 Indre Arna
Norway
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「Oskorei Magazine」(issue #01)
【#N/A】
◆本文：
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An interview with Frost in "Oskorei" by Lars Jamne (issue # 01)
After the Emperor/ Enslaved concert in Bergen earlier this year I suddenly got to talk to Frost as we both were quite drunk we managed to exchange our adresses and he promised to give me an interview for my magazine and some time after this gig I wrote down some questions and after a while I received the answers. I thought it was not easy to get an interview with these guys anymore after what they stated in the booklet of "Nemesis Divina", but I got it and was very pleased with the answers. Frost provided me with as I think very good and well thought before writing them down answers. I will thank Frost for the opportunity and I think there will be another interview with him in one of our later issues. Noticed that the pictures that are used in this magazine has never before seen the light, but they might be used on upcoming stuff! Well, enjoy this...
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LJ: Hello Frost, I think we can safely skip the past of your band don't you think so? Well, there has been some changes in the line-up of Satyricon what is new there?
Frost: Two guys are recruited to Satyricon now and they will help us doing a couple of gigs in the nearest future. It will be decided whether they are to become member of the band or not, but it surely looks promising. We are also looking for synth-player; we manage with a session member for the time being though.
LJ: Was there any special situation that occurred in between the band since Kveldulv and Svartalv? What about the guy who handle the synth for you, will he still be a member of Satyricon?
Frost: Kveldulv has moved to the forest, hence he has quit. Svartalv decided to concentrate less on playing bass and left the band because of this. He would have had to improve his skills if he were to continue playing with us. As far as the synth-guy is concerned, it is uncertain what will happen in the future. He will under no circumstances become a member of the band.
LJ: Not too long ago the MCD entitled "Megiddo" was released and it contained remix, re-recording, a live song and a cover of Motörhead' s "Orgasmatron". Why did you release this MCD and how did the idea of a remix of "The Dawn Of A New Age" come up? And are you Motörhead fans since you included one cover of them?
Frost: "Megiddo" is a collection of special tracks that turned out good, but don' t fit on a regular album. Stephan of Apoptygma Berzerk heard some of our material; found it to be interesting and thought that he could make an asskicking remix of "The Dawn Of A New Age". Satyr liked the idea, and they went to work with it. The result was brilliant I think, even if it was a bit hard to swallow for a narrow-minded person like me the first times. Now, the re-recording then... We saw (or rather heard) that "A Dark Castle In The Deep Forest" had a great potential, that was not delivered properly on "Dark Mediaval Times". Therefore we recorded it again, and it now sounds the way it should be sounding from the beginning. Then, you have the Motörhead cover "Orgasmatron". As a matter of fact it was a situation similar to the one when we decided to record the song from our first album; we saw a potential which we wanted to release. Our cover version really is a lot stronger and more powerful than the original, and the vocals of Satyr beats the most. Neither me nor Satyr are big Motörhead fans, but we are into some of their songs like "Orgasmatron".
LJ: After the release of your third full length "Nemesis Divina" you entered the European continent with a European tour, how did you feel that tour went? I heard some rumours that many small problems occured during that period of time, if this is true do you mind telling us what they where?
Frost: There were, as one could except, ups and downs on the tour, maybe more downs than ups. Some problems occurred, yes; our tourbus was smaller than the one Metallyssee promised we would get, and there were too few beds in it. The roadcrew we got couldn' t speak English properly, and they did not understand us at all. Well, a lot of shit happened because of bad organisation, due to Metallysee' s shitty way of doing business. Anyway, the tour had ist brighter moments also, and I did for sure enjoy playing when everything worked on stage, and the audience went crazy.
LJ: Satyricon is to be looked upon now as one of the best selling Black Metal bands world-wide and how does it feel to be apart of Satyricon now? How many copies of "Nemesis Divina" has been sold so far?
Frost: I am very satisfied being a part of Satyricon now, as we are creating better music than ever, and our musical skills has improved quite a lot lately - still improves. It is undoubtedly positive that the sales are good, but making the best music possible must be the main motivation. About the amount of copies sold of "Nemesis Divina", I don' t really know exactly how many are sold, but I know that the sales have been pretty good.
LJ: You have been faithful to Moonfog during six releases, have Satyricon ever thought of changing label? And if I' m not mistaken Moonfog is run by Satyr or something...
Frost: There are no plans made concerning any change of label, even if I won' t say it will never happen. We have got very good distribution deal now, so there should be no reason for us to change from Moonfog to another label for the time being. Moonfog, which is a division of Tatra Records, is as you correctly suggested, run by Satyr.
LJ: What do you think in general of the current situation the Black Metal scene is in today, there has been quite many changes since you were recruited I guess, are ther any special changes that you will point out to us?
Frost: Today, a lot of bands are playing Black Metal as this is the more popular kind of extreme metal at the time. Many of those could just as well have been playing death metal, heavy metal, thrash metal of something else. In other words, this style of music is no longer that geniune as it used to be, and Black Metal is not played only by people totally dedicated to the music and the ideology which lays behind. The result is that extreme no more, and the somehow dark mysterious feeling that surrounded the scene has almost disappeared (at least for me it has). Some years back in time, there was exactly this dark, evil and mysterious aura that surrounded Black Metal. There was a firmer discipline at all. People without a connection to the darkside and an extreme moral attitude would not feel well within the "inner" Black Metal movement. The price one had to pay for having a real movement based on extreme, dark principles was falsehood and herd-mentality. Individual thoughts and behaviour was hardly welcome if it didn' t fit with the moral codes and standards set by the more respected persons in the Black Metal environment. Obviously this led to a lot of people doing and saying things only to get accepted, regardless of what their real attitude were. But even this being the situation back then, I sometimes come to wonder if it wasn' t worth the price after all. I wish that there would be a stronger Black Metal movement again, but this is very unlikely to happen as there are none that have the authority nor the will necessary to conduct such a movement. Luckily, there are still some bands that make excellent music.
LJ: One thing I am a bit curious about is, what made you interested in the Black Metal scene and when did you first enter it? Was it because of a band you entered it or...? <[>The music was what caught my interest at first; I started to listen to the old Black/ Thrash Metal bands quite early, but I didn' t care so much for the message or the image/ style. I was very fascinated by the darkness and evilness that rested over the music of bands like Bathory, but I did not understand what that music was all about really. I also listened to a lot of death metal for some time, but I got bored of that, and sort of discovered the magnificence of Black Metal. In spring/summer 1991 I got to visit the now so famous "Helvete" shop in Oslo for the first time, and something happened to me then; it immediately struck me that this was the place I had always dreamt about seeing. It was like a kick in the ass. The obscure, dark and evil feeling I got there has never quite left me. From that point on I realised that this was for me, it could not be doubted. Eventually I made Black Metal my lifestyle, which it still is, and it seems to sontinue that way for the future. My career as a musician started in late 1992/ early 1993, when I joined Satyricon. I had been playing a little before that, but it never resulted in anything serious. In other words, joining a band was not the reason for my entering the Black Metal scene.
LJ: Well, I wish you good luck with the "Megiddo" mini album and the future and if there is anything you would like to add then do it now or else it will be too late.
Frost: That will be it... so come darkness.
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"Oskorei"
P.O. Box 241
5260 Indre Arna
Norway
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◆出所：
「Deadnoise」
【#N/A】
◆本文：
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An interview with Frost from "Deadnoise"
by Colin Conway
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CC: In the past few years, the band has taken a slightly different approach. I hear a bit of VoiVod influence on a few parts. What newer influences did you bring into the music?
Frost: On every new album, Satyricon has taken a slightly different approach. There are major differences between all of our albums, and this time with "Rebel Extravaganza", we have yet again, made an unpredictable and uncompromising album. I guess you can hear some VoiVod influences here and there, as well as references to Hellhammer, Black Sabbath, and Bathory, but our main influences are not musical ones. What influences the musicmaking of Satyricon is mainly the will to create, to make the kind of music that we, ourselves, want to hear. "Rebel Extravaganza" is a title that reflects the controversy, and at the same time, the extravaganza of the band which also fits our music very well. It' s very non-conformative, but with style and splendour.
CC: After hearing "Intermezzo II", I was beginning to think that the band was going in a completely different direction, like on the fourth track, "Blessed From Below". How did this song come about and do you intend on playing that style in the future?
Frost: This is a bit interesting really. I know a lot of people are thinking like you did: if we present one song on an album that clearly sticks out, then people seem to think that this one track is indicating the future direction on the band. The same thing happened with "Megiddo…" after hearing the remix of "Dawn Of A New Age", seemingly everybody thought that Satyricon was going industrial, or even techno! We didn' t even make that song. It was Apoptygma Berzerk doing it with basis in a Satyricon track. And so it says in the booklet, but still, people were ignoring all facts, thinking that we were turning non-metal. After "Intermezzo II", I know some magazines wrote that our next album would be an industrial album, or contain purely electronica. We have never said anything like that, but why as us? People always know what's best themselves. Anyway, concerning "Blessed From Below", I' m not completely sure what Satyr had in mind making that song. What matters is that it makes my flesh crawl, and therefore I like it very much. Still, "Blessed From Below" was an experiment, and even if both Satyr and I think it was a successful one, it is not certain whether we will do something like that again or not. If so, that would be on a MCD, not a full-length, since we are doing our experiments on mini-albums. Experimenting on mini-albums is quite common because of the dynamic format, when will people learn that?
CC: In between the albums "Nemesis Divina" and "Rebel…" you recruited Richard Cabeza from Dismember, who he had left to join Satyricon full time. Did he play any live shows and what exactly happened to him?
Frost: Richard Daemon did not get to play any live shows with us as intended since he just vanished all of a sudden. He was just going on a short trip back to Sweden after living in my apartment for a while, and he never came back.
CC: On "Nemesis Divina", you had Nocturnal Culto of Darkthrone playing bass under another name. What happened with him?
Frost: Kveldulv was a full-time member of Satyricon for some time, but he didn' t have the sky-high ambitions that Satyr and I had with the band. He didn' t feel too comfortable playing live and rehearsing all of the time, so he moved to a little place far from Oslo. He was fed up with living in a city and it is very important for him to be out in the nature.
CC: "Rebel…" was initially supposed to be released by Moonfog, how exactly did the deal with Nuclear Blast come along?
Frost: "Rebel…" has been released by Moonfog in Scandinavia, by Spinefarm in Finland, and by Nuclear Blast throughout most of the world outside of the Nordic countries. We were looking for better distribution for our album, and we wanted to cooperate with a company that could support more live activities, that is why we began cooperation with Nuclear Blast. They gave us the best offers.
CC: You were involved with Zyklon-B (now Zyklon) some years ago as well. How did that come about and have you been involved with any other projects?
Frost: Zyklon-B was a project that Samoth started, and the intention was to create some really extreme Death Metal that actually was all about death, destruction, and murder. Samoth was playing in Satyricon back then, hence it was quite natural to ask me to do the drums. He also thought that I would like the concept, which I did. Apart from Zyklon-B, I was playing with Gorgoroth, but it is only Satyricon for me now.
CC: Your drum technique on the new album has greatly improved and the blast beats are some of the fastest that I have yet to hear. Were/ are triggers used and any help on your playing?
Frost: Triggers are used on a few of the fast double bass drumbeats to make them sound as smooth as possible. But, apart from that, there is no other triggering, it' s acoustic drums. No kind of "cheating" is involved. Boy, am I tired of that question.
CC: Lately, some Norwegian Black Metal bands have been changing by adding electronic elements to their music, such as Dødheimsgard, and others such as Ulver who now make music nothing but electronic. Even Satyricon has done a few songs like that. Do you see this as an upcoming trend?
Frost: Fewer and fewer of the bands having played Black Metal for some years, are still playing Black Metal. Probably because of the musical taste of people naturally changes over the years, or because they want to seek out new musical fields, and there are other reasons as well. So I see that former Black Metal bands drift away from their original music genre, mostly into more electronic based music or into other kinds of metal. But, there are also bands that continue to develop within the frames of Black Metal such as Darkthrone, ourselves, and Mayhem to name the most significant.
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Taken from: www.dnwz.home.att.net
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「Deadnoise」
【#N/A】
◆本文：
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An interview with Frost from "Deadnoise"
by Colin Conway
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CC: In the past few years, the band has taken a slightly different approach. I hear a bit of VoiVod influence on a few parts. What newer influences did you bring into the music?
Frost: On every new album, Satyricon has taken a slightly different approach. There are major differences between all of our albums, and this time with "Rebel Extravaganza", we have yet again, made an unpredictable and uncompromising album. I guess you can hear some VoiVod influences here and there, as well as references to Hellhammer, Black Sabbath, and Bathory, but our main influences are not musical ones. What influences the musicmaking of Satyricon is mainly the will to create, to make the kind of music that we, ourselves, want to hear. "Rebel Extravaganza" is a title that reflects the controversy, and at the same time, the extravaganza of the band which also fits our music very well. It' s very non-conformative, but with style and splendour.
CC: After hearing "Intermezzo II", I was beginning to think that the band was going in a completely different direction, like on the fourth track, "Blessed From Below". How did this song come about and do you intend on playing that style in the future?
Frost: This is a bit interesting really. I know a lot of people are thinking like you did: if we present one song on an album that clearly sticks out, then people seem to think that this one track is indicating the future direction on the band. The same thing happened with "Megiddo…" after hearing the remix of "Dawn Of A New Age", seemingly everybody thought that Satyricon was going industrial, or even techno! We didn' t even make that song. It was Apoptygma Berzerk doing it with basis in a Satyricon track. And so it says in the booklet, but still, people were ignoring all facts, thinking that we were turning non-metal. After "Intermezzo II", I know some magazines wrote that our next album would be an industrial album, or contain purely electronica. We have never said anything like that, but why as us? People always know what's best themselves. Anyway, concerning "Blessed From Below", I' m not completely sure what Satyr had in mind making that song. What matters is that it makes my flesh crawl, and therefore I like it very much. Still, "Blessed From Below" was an experiment, and even if both Satyr and I think it was a successful one, it is not certain whether we will do something like that again or not. If so, that would be on a MCD, not a full-length, since we are doing our experiments on mini-albums. Experimenting on mini-albums is quite common because of the dynamic format, when will people learn that?
CC: In between the albums "Nemesis Divina" and "Rebel…" you recruited Richard Cabeza from Dismember, who he had left to join Satyricon full time. Did he play any live shows and what exactly happened to him?
Frost: Richard Daemon did not get to play any live shows with us as intended since he just vanished all of a sudden. He was just going on a short trip back to Sweden after living in my apartment for a while, and he never came back.
CC: On "Nemesis Divina", you had Nocturnal Culto of Darkthrone playing bass under another name. What happened with him?
Frost: Kveldulv was a full-time member of Satyricon for some time, but he didn' t have the sky-high ambitions that Satyr and I had with the band. He didn' t feel too comfortable playing live and rehearsing all of the time, so he moved to a little place far from Oslo. He was fed up with living in a city and it is very important for him to be out in the nature.
CC: "Rebel…" was initially supposed to be released by Moonfog, how exactly did the deal with Nuclear Blast come along?
Frost: "Rebel…" has been released by Moonfog in Scandinavia, by Spinefarm in Finland, and by Nuclear Blast throughout most of the world outside of the Nordic countries. We were looking for better distribution for our album, and we wanted to cooperate with a company that could support more live activities, that is why we began cooperation with Nuclear Blast. They gave us the best offers.
CC: You were involved with Zyklon-B (now Zyklon) some years ago as well. How did that come about and have you been involved with any other projects?
Frost: Zyklon-B was a project that Samoth started, and the intention was to create some really extreme Death Metal that actually was all about death, destruction, and murder. Samoth was playing in Satyricon back then, hence it was quite natural to ask me to do the drums. He also thought that I would like the concept, which I did. Apart from Zyklon-B, I was playing with Gorgoroth, but it is only Satyricon for me now.
CC: Your drum technique on the new album has greatly improved and the blast beats are some of the fastest that I have yet to hear. Were/ are triggers used and any help on your playing?
Frost: Triggers are used on a few of the fast double bass drumbeats to make them sound as smooth as possible. But, apart from that, there is no other triggering, it' s acoustic drums. No kind of "cheating" is involved. Boy, am I tired of that question.
CC: Lately, some Norwegian Black Metal bands have been changing by adding electronic elements to their music, such as Dødheimsgard, and others such as Ulver who now make music nothing but electronic. Even Satyricon has done a few songs like that. Do you see this as an upcoming trend?
Frost: Fewer and fewer of the bands having played Black Metal for some years, are still playing Black Metal. Probably because of the musical taste of people naturally changes over the years, or because they want to seek out new musical fields, and there are other reasons as well. So I see that former Black Metal bands drift away from their original music genre, mostly into more electronic based music or into other kinds of metal. But, there are also bands that continue to develop within the frames of Black Metal such as Darkthrone, ourselves, and Mayhem to name the most significant.
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Taken from: www.dnwz.home.att.net
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◆出所：
「Ledo Takas」
【#N/A】
◆本文：
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"Extravagantly Rebellious"
An interview with Frost by Ledo Takas Records (June 1998 AD)
Start was in 1992, when soon to become black metal leading duo Satyr and Frost took the corn of much promising project. Actually at the dawn of Satyricon it was Carl-Michael Eide (Ved Buens Ende, Aphrodisiac, Inferno, Aura Noir) who put Satyricon in action. Yet first recordings were done with Frost already…
This is the ultimate force in today' s blackmetal scene, and we are fucking proud to present a chat with highly intelligent Mr. Frost, who, according to his own words, is currently serving some time in jail and has some time to spend. Any news on this will follow in our upcoming issue, and thus far - Frost' s answers. Questions were addressed to Satyr, who back then in June 1998 was very busy with work, so some specific things remain unanswered… Yet no complaints at all, just read it:
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LT: After a majestic top-notch "The Shadowthrone" album how have you managed to write a tremendous follow-up in the form of "Nemesis Divina"? That previous work was the most perfect form to combine various black metal hints into one wholeness.
Frost: We always develop. The musical skills get better, and so do the composing skills. When creating "Nemesis Divina", we had far better technical abilities than when creating "The Shadowthrone", something that was actually necessary to make the material work. "The Shadowthrone" with its combination of different atmospheres is a good album indeed, but not our best effort in my opinion.
LT: You are ready for another crusade soon? I mean a new record. Could you tell just some things how it will sound, be named, different and special? "Nemesis Divina" can be a reference?
Frost: Satyricon are currently working on the 4th full-length album, which will (most probably) be entitled "Rebel Extravaganza". This album that is to be recorded late autumn/ early winter this year, will be our blackest and hardest album so far. Fast, freezing, dark, slow, eerie, bizarre, intense… It will even contain some "groovy" themes in the vein of Black Sabbath. We try to avoid too melodic and heavy metal oriented stuff, as that would only ruin the devastating feeling of this forthcoming assault. Then "nice" black metal sucks - big time! I shall not compare our new material to "Nemesis Divina". No two Satyricon albums will be alike.
LT: Writing your new tunes you try to reach some new musical dimensions, to cover some yet undiscovered landscapes, or better lead a well-known path, mixing it up with a perfect composing?
Frost: A combination of the two, but we always try to be innovative and find new ways to express the atmospheres in our music. So there will be some experimenting on the 4th album also.
LT: Since the start your music was turning more and more intense, extreme, compromiseless. "Nemesis Divina" was like a final station? Is there a road to even higher level of extremity, or you start to calm down?
Frost: Calm down?? Why?… No way we will calm down. The next album is going to be even more intense and extreme than "Nemesis Divina", but not for the sake of just being so. Our music is always going to be varied, and "calmer" parts and songs will be present on "Rebel Extravaganza" as well.
LT: A new tour after the album release will follow again? I have heard you were not satisfied with first tour in 1996. Is it true you cancelled some shows?
Frost: There is going to be a new tour following the album. The tour in 1996 could in general be described as problems, problems and more of the same - all due to the total lack of professionality of our tour organizer, Metallyssee. Fuck Johan and his crew, may they suffer the worst of agonies! We cancelled some shows… Despite all shit, some gigs came out highly successful.
LT: "Nemesis Divina" CD layout was amazing. You spent loads of money on that? Do you think these expenses were worth of the result? Will you come up with any majestic composition of details again?
Frost: The "Nemesis Divina" layout was rather expensive, but no doubt it was worth the expense. The booklet is meant to show a visual side of Satyricon, and in order to express the visual aspect our music deserves, we put the money, work and creativity necessary into it to make it right. The layout for the fourth album will not stand back for the "Nemesis Divina" layout. Exceed! Exceed!
LT: Kveldulv (aka Nocturno Culto) is not going to record bass once more? Then why you used him on "Nemesis Divina"?
Frost: Kveldulv was a full-time member of Satyricon at the time of recording "Nemesis Divina". Later he moved far away to the woods - just all of a sudden. He planned to stay in Satyricon, but no longed back to a more desolate place. Satyr will take care of the bass on our next recording, I suppose.
LT: Tell me if you had any professional music education and if it has influenced somehow your manner to write and play?
Frost: Neither me nor Satyr has any professional musical education.
LT: Some professionals claim it has nothing to do with their current musical experience. Do you suppose why it is so?
Frost: Some professionals claim what? If I understand you correctly, what they may mean is that their musical education has only increased their technical abilities, without afflicting their creativity or style of playing. (Exactly - and this is an extra bonus for talented musician - ed.)
LT: You have some incredible ideas on drumwork. Do your contribution make music stronger? Any other drummer could fit more perfectly?
Frost: I surely hope my drumwork strengthens the music of Satyricon, but I think the drumming on the forthcoming album will be a lot better than on the first three. Who knows if any other drummer would fit better?
LT: Stepping back in time, don' t you regret that let' s say "Dark Medieval Times" could be recorded better, in a more perfect way, if it was done these days? Your music back then was still growing up or already was an individual matured creation?
Frost: We were not exactly skilled and experienced musicians when recording our debut LP/ CD. What we had was our black metal spirit and iron will. Satyr also demonstrated great creativity in composing. If recorded today, considering the musicianship, "D. M. T. " would technically belong to an other dimension I believe. But we did the best we could do back then, and hence it is pointless to regret what is done years ago. Anyway, the characteristics of "Dark Medieval Times" are the mystic, dark, medieval feelings to it, atmospheres that would be difficult to capture in such a perfect manner one more time. To the last part of your question: yes - and yes! Our music is always growing up as you put it, but each album is still an individual/ matured creation. Exceed! Exceed! (seems like this is Frost's favourite expression - ed.)
LT: Stepping even further back, what are your thoughts about the demo? Why Enslaved were chosen as an other split part? You know them since early days?
Frost: The demo is excellent - primitive, raw die hard black metal with frighteningly bad drum-playing, chainsaw guitars and killer riffs. Enslaved then - whatever happened to them? "Yggdrasill", their demo, is just splendid, and we wanted to re-release that one on the split as it deserved more attention - at least in our eyes. The mini LP "Hordanes Land" was also a little masterpiece. But then what happened? "Hordanes Land" is characterised by innovative and creative composing, while the three full-length albums following it are characterised by the lack of the same. Personally I must admit that I find them to be quite boring, with some great themes here and there (like the opening theme on "Vikingligr Veldi"). Too bad, because Enslaved was a very promising band in their early years, and the guys are cool metalheads. Hopefully, the future holds far better times for Enslaved. Maybe they just drink too little beer - could that be the reason of their stagnation? (Of curse that is the reason, but who could believe it is true!! Well, Ivar has lost some kilos in last few years… - ed.) By the way, Satyr told me on the phone the other day that Enslaved had delivered a more than decent cover track for a Darkthrone tribute album about to be released. Could be a hint of better times.
LT: How has it turned that Nuclear Blast started taking care on Satyricon distribution? Black metal underground hates this label.
Frost: Nuclear Blast gave us the best offer, that is why we did business with them. I suppose many underground people hate Nuclear Blast for their album release of the stupid christian project horde. And that band surely deserves no respect from anyone! But then, it is Satyricon' s goal (not the main goal, though) to expand, and no christian shit shall prevent us in any way from doing so. If we were to stay away from the label giving us the best opportunities because of an unimportant, lousy band like horde being on that label, that would be horde's victory, not ours. Moreover, Satyr tried to make Nuclear Blast kick horde out of the label (cool! - ed.) as just a project and will not release anything again.
LT: What about true spirit and natural commercialism, which still takes presence, combination? You know, you deal with people who spread your stuff and gain money out of that… For example, do you bother that your releases are spread in lots of commercial shops?
Frost: We do not bother our releases being sold in commercial shops. And why the hell should we? Selling our stuff only through underground distributors and shops is absolutely no guarantee that just the "true" and dedicated people get hold of it. And just to make that clear - Satyricon will never under any circumstance turn into a commercial band. It simply will not happen that we change our music in order to sell more records. Satyricon creates the music that pleases us. There would be no problems making an album more pompous and commercial than you could imagine, but we will not, because such music sucks. What is fortunate is that it seems to be unavoidable that others earn as much, or more, on Satyricon than we ourselves do.
LT: I have read in one interview Satyr claimed not to be a satanist. What about inverted crosses, satanic lyrics and overall approach? Antichristian and satanic do differ, but have much in common either.
Frost: Satyr is no satanist, he has never been and never said so, but he surely belongs to the darkside. Satyr does not believe in satan, and strongly hates religion. However there are other approaches to the darkside than satanism. Yep, read the lyrics; they reflect his inner world of darkness without being satanic. No question - the contents of the lyrics are black as are the music we play, but this blackness is not tied up with the deity satan. What antichristianity and satanism have in common is an antichristian ideology, nothing else. Antichristianity does not have anything to do with a belief in, or worship of any deity. Concerning the use of the peter cross (inverted cross), this is not only a satanic symbol, it is a symbol of the left hand path (the darkside), of antichristianity and really - of black metal. The peter cross is no doubt a powerful, evil symbol and should therefor be used with a certain respect. Satyricon has made use of this symbol, and we fully stand for the darkness it represents.
LT: How Satyricon manages to remain so obscure unit? Even in Oslo legends are dwelling about the band. Elm Street is a place Satyr hates to visit?
Frost: Satyr does not enjoy himself on Elm Street, that is correct (where did you get that from?) (it is no problem to receive such news when you visit the place yourself! - ed.), but personally I drink some beers there from time to time. I used to hang around there a couple of years ago.
LT: Tell me your opinion on works of Mr. Th. Kittelsen. I guess you have used him in the past absolutely not by occasion? So where is the key of his majestic works, full of natural mystery? And what about his work becoming a trend?
Frost: What was so magnificent with Th. Kittelsen was his ability to express the mystique and grimness he saw in Norwegian nature through his art. Kittelsen' s imagination was obviously very vivid, combined with unique talent and a profound interest in Norwegian myths. This resulted in numerous enchanting pictures of trolls and other mythological creatures, the personification of the black death a.s.o. We used a splendid drawing by this artist for our debut album, because it fitted the concept perfectly. Since then, a lot of bands have made use and misuse of almost every single Kittelsen drawing that could fit a black metal concept. It pretty much makes the magic disappear… still nothing can change the fact that the drawings are great.
LT: You took part in a famous underground documentary "Det Svarte Alvor" years ago… Comment why just rehearsal footage, no mention of Satyricon, and no interview was done back then? What about making a home video?
Frost: A rehearsal footage was all we wanted to do, we had no message we would like to share with the Norwegian people. The sequence was planned to be a lot longer (the cameraman was filming for about ten minutes!). And of course it should have been mentioned which band was playing. But the TV company fucked everything up… The whole documentary is ridiculous and completely worthless. We have participated in another documentary as well, but did no interview. "What about making a home video" - what about "Mother North" then? (I wanted to ask about full-length video full of music and not only - ed.)
LT: Motörhead is your fave old school band, or you liked so much "Orgasmatron"? Tell me which older heavy metal bands you appreciate? Don' t you feel that cover version was a shock for many black metal followers?
Frost: The fave old school band of both Satyr and me is Bathory. But "Orgasmatron" is a killer song, and we thought it could be made a bit rawer and more powerful - which we did successfully. I do not know how the bm people have reacted to the cover version, but I have heard some very positive comments. I do not care really, I think the cover sounds very good. I am not that into heavy metal at all, be it older or newer, but Iron Maiden, Judas Priest and Accept have made some decent stuff in the past. Old Mercyful Fate and King Diamond, if you count them among heavy metal bands, are of course both great, Mercyful Fate being considerably better than King Diamond.
LT: Moonfog seems to stand as strong as possible in these years of current trends. You think a neat choice of artists make it as it is? Is it true you work there as well? Will you ever sign a non-Norwegian band?
Frost: Not for me to answer. I may however mention that Moonfog stand stronger than ever as Gehenna and Thorns are signed to Moonfog, and presumably Dødheimsgard is to be signed as well. A non-Norwegian band may be signed, if only it is good enough. (Satyr manages the label, if you wonder - ed.)
LT: Do your beliefs have anything to do with militaristic actions? Is it possible to reach the goal many black metal freaks try to through such experience?
Frost: Militaristic actions are great, but there are nothing in my beliefs that necessitates such actions. Also they may easily turn back on you - militaristic actions against christianity have resulted in a situation where the police watches our every move.
LT: These described vikings, pagan traditions or natural mysteries should remain just in our books, not being forcefully brought to any other human, or on the contrary?
Frost: About pagan traditions and so on - I am not the one to talk about them.
LT: Your comment on Satyricon by Petronius Arbiter. You think to invent something similar?
Frost: I began reading Satyricon by Arbiter some years ago, but strangely enough it got lost - I do not know how it could happen, but it just suddenly was not where I meant I left it. It is still gone, and I cannot comment a book I have not finished. (The tragedy is recommendable, believe me, as it is so bizarre, odd reading… - ed.) To your second question: no plans about any such thing. Decadence and hedonism are not the most prominent traits of ours.
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「Ledo Takas」
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"Extravagantly Rebellious"
An interview with Frost by Ledo Takas Records (June 1998 AD)
Start was in 1992, when soon to become black metal leading duo Satyr and Frost took the corn of much promising project. Actually at the dawn of Satyricon it was Carl-Michael Eide (Ved Buens Ende, Aphrodisiac, Inferno, Aura Noir) who put Satyricon in action. Yet first recordings were done with Frost already…
This is the ultimate force in today' s blackmetal scene, and we are fucking proud to present a chat with highly intelligent Mr. Frost, who, according to his own words, is currently serving some time in jail and has some time to spend. Any news on this will follow in our upcoming issue, and thus far - Frost' s answers. Questions were addressed to Satyr, who back then in June 1998 was very busy with work, so some specific things remain unanswered… Yet no complaints at all, just read it:
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LT: After a majestic top-notch "The Shadowthrone" album how have you managed to write a tremendous follow-up in the form of "Nemesis Divina"? That previous work was the most perfect form to combine various black metal hints into one wholeness.
Frost: We always develop. The musical skills get better, and so do the composing skills. When creating "Nemesis Divina", we had far better technical abilities than when creating "The Shadowthrone", something that was actually necessary to make the material work. "The Shadowthrone" with its combination of different atmospheres is a good album indeed, but not our best effort in my opinion.
LT: You are ready for another crusade soon? I mean a new record. Could you tell just some things how it will sound, be named, different and special? "Nemesis Divina" can be a reference?
Frost: Satyricon are currently working on the 4th full-length album, which will (most probably) be entitled "Rebel Extravaganza". This album that is to be recorded late autumn/ early winter this year, will be our blackest and hardest album so far. Fast, freezing, dark, slow, eerie, bizarre, intense… It will even contain some "groovy" themes in the vein of Black Sabbath. We try to avoid too melodic and heavy metal oriented stuff, as that would only ruin the devastating feeling of this forthcoming assault. Then "nice" black metal sucks - big time! I shall not compare our new material to "Nemesis Divina". No two Satyricon albums will be alike.
LT: Writing your new tunes you try to reach some new musical dimensions, to cover some yet undiscovered landscapes, or better lead a well-known path, mixing it up with a perfect composing?
Frost: A combination of the two, but we always try to be innovative and find new ways to express the atmospheres in our music. So there will be some experimenting on the 4th album also.
LT: Since the start your music was turning more and more intense, extreme, compromiseless. "Nemesis Divina" was like a final station? Is there a road to even higher level of extremity, or you start to calm down?
Frost: Calm down?? Why?… No way we will calm down. The next album is going to be even more intense and extreme than "Nemesis Divina", but not for the sake of just being so. Our music is always going to be varied, and "calmer" parts and songs will be present on "Rebel Extravaganza" as well.
LT: A new tour after the album release will follow again? I have heard you were not satisfied with first tour in 1996. Is it true you cancelled some shows?
Frost: There is going to be a new tour following the album. The tour in 1996 could in general be described as problems, problems and more of the same - all due to the total lack of professionality of our tour organizer, Metallyssee. Fuck Johan and his crew, may they suffer the worst of agonies! We cancelled some shows… Despite all shit, some gigs came out highly successful.
LT: "Nemesis Divina" CD layout was amazing. You spent loads of money on that? Do you think these expenses were worth of the result? Will you come up with any majestic composition of details again?
Frost: The "Nemesis Divina" layout was rather expensive, but no doubt it was worth the expense. The booklet is meant to show a visual side of Satyricon, and in order to express the visual aspect our music deserves, we put the money, work and creativity necessary into it to make it right. The layout for the fourth album will not stand back for the "Nemesis Divina" layout. Exceed! Exceed!
LT: Kveldulv (aka Nocturno Culto) is not going to record bass once more? Then why you used him on "Nemesis Divina"?
Frost: Kveldulv was a full-time member of Satyricon at the time of recording "Nemesis Divina". Later he moved far away to the woods - just all of a sudden. He planned to stay in Satyricon, but no longed back to a more desolate place. Satyr will take care of the bass on our next recording, I suppose.
LT: Tell me if you had any professional music education and if it has influenced somehow your manner to write and play?
Frost: Neither me nor Satyr has any professional musical education.
LT: Some professionals claim it has nothing to do with their current musical experience. Do you suppose why it is so?
Frost: Some professionals claim what? If I understand you correctly, what they may mean is that their musical education has only increased their technical abilities, without afflicting their creativity or style of playing. (Exactly - and this is an extra bonus for talented musician - ed.)
LT: You have some incredible ideas on drumwork. Do your contribution make music stronger? Any other drummer could fit more perfectly?
Frost: I surely hope my drumwork strengthens the music of Satyricon, but I think the drumming on the forthcoming album will be a lot better than on the first three. Who knows if any other drummer would fit better?
LT: Stepping back in time, don' t you regret that let' s say "Dark Medieval Times" could be recorded better, in a more perfect way, if it was done these days? Your music back then was still growing up or already was an individual matured creation?
Frost: We were not exactly skilled and experienced musicians when recording our debut LP/ CD. What we had was our black metal spirit and iron will. Satyr also demonstrated great creativity in composing. If recorded today, considering the musicianship, "D. M. T. " would technically belong to an other dimension I believe. But we did the best we could do back then, and hence it is pointless to regret what is done years ago. Anyway, the characteristics of "Dark Medieval Times" are the mystic, dark, medieval feelings to it, atmospheres that would be difficult to capture in such a perfect manner one more time. To the last part of your question: yes - and yes! Our music is always growing up as you put it, but each album is still an individual/ matured creation. Exceed! Exceed! (seems like this is Frost's favourite expression - ed.)
LT: Stepping even further back, what are your thoughts about the demo? Why Enslaved were chosen as an other split part? You know them since early days?
Frost: The demo is excellent - primitive, raw die hard black metal with frighteningly bad drum-playing, chainsaw guitars and killer riffs. Enslaved then - whatever happened to them? "Yggdrasill", their demo, is just splendid, and we wanted to re-release that one on the split as it deserved more attention - at least in our eyes. The mini LP "Hordanes Land" was also a little masterpiece. But then what happened? "Hordanes Land" is characterised by innovative and creative composing, while the three full-length albums following it are characterised by the lack of the same. Personally I must admit that I find them to be quite boring, with some great themes here and there (like the opening theme on "Vikingligr Veldi"). Too bad, because Enslaved was a very promising band in their early years, and the guys are cool metalheads. Hopefully, the future holds far better times for Enslaved. Maybe they just drink too little beer - could that be the reason of their stagnation? (Of curse that is the reason, but who could believe it is true!! Well, Ivar has lost some kilos in last few years… - ed.) By the way, Satyr told me on the phone the other day that Enslaved had delivered a more than decent cover track for a Darkthrone tribute album about to be released. Could be a hint of better times.
LT: How has it turned that Nuclear Blast started taking care on Satyricon distribution? Black metal underground hates this label.
Frost: Nuclear Blast gave us the best offer, that is why we did business with them. I suppose many underground people hate Nuclear Blast for their album release of the stupid christian project horde. And that band surely deserves no respect from anyone! But then, it is Satyricon' s goal (not the main goal, though) to expand, and no christian shit shall prevent us in any way from doing so. If we were to stay away from the label giving us the best opportunities because of an unimportant, lousy band like horde being on that label, that would be horde's victory, not ours. Moreover, Satyr tried to make Nuclear Blast kick horde out of the label (cool! - ed.) as just a project and will not release anything again.
LT: What about true spirit and natural commercialism, which still takes presence, combination? You know, you deal with people who spread your stuff and gain money out of that… For example, do you bother that your releases are spread in lots of commercial shops?
Frost: We do not bother our releases being sold in commercial shops. And why the hell should we? Selling our stuff only through underground distributors and shops is absolutely no guarantee that just the "true" and dedicated people get hold of it. And just to make that clear - Satyricon will never under any circumstance turn into a commercial band. It simply will not happen that we change our music in order to sell more records. Satyricon creates the music that pleases us. There would be no problems making an album more pompous and commercial than you could imagine, but we will not, because such music sucks. What is fortunate is that it seems to be unavoidable that others earn as much, or more, on Satyricon than we ourselves do.
LT: I have read in one interview Satyr claimed not to be a satanist. What about inverted crosses, satanic lyrics and overall approach? Antichristian and satanic do differ, but have much in common either.
Frost: Satyr is no satanist, he has never been and never said so, but he surely belongs to the darkside. Satyr does not believe in satan, and strongly hates religion. However there are other approaches to the darkside than satanism. Yep, read the lyrics; they reflect his inner world of darkness without being satanic. No question - the contents of the lyrics are black as are the music we play, but this blackness is not tied up with the deity satan. What antichristianity and satanism have in common is an antichristian ideology, nothing else. Antichristianity does not have anything to do with a belief in, or worship of any deity. Concerning the use of the peter cross (inverted cross), this is not only a satanic symbol, it is a symbol of the left hand path (the darkside), of antichristianity and really - of black metal. The peter cross is no doubt a powerful, evil symbol and should therefor be used with a certain respect. Satyricon has made use of this symbol, and we fully stand for the darkness it represents.
LT: How Satyricon manages to remain so obscure unit? Even in Oslo legends are dwelling about the band. Elm Street is a place Satyr hates to visit?
Frost: Satyr does not enjoy himself on Elm Street, that is correct (where did you get that from?) (it is no problem to receive such news when you visit the place yourself! - ed.), but personally I drink some beers there from time to time. I used to hang around there a couple of years ago.
LT: Tell me your opinion on works of Mr. Th. Kittelsen. I guess you have used him in the past absolutely not by occasion? So where is the key of his majestic works, full of natural mystery? And what about his work becoming a trend?
Frost: What was so magnificent with Th. Kittelsen was his ability to express the mystique and grimness he saw in Norwegian nature through his art. Kittelsen' s imagination was obviously very vivid, combined with unique talent and a profound interest in Norwegian myths. This resulted in numerous enchanting pictures of trolls and other mythological creatures, the personification of the black death a.s.o. We used a splendid drawing by this artist for our debut album, because it fitted the concept perfectly. Since then, a lot of bands have made use and misuse of almost every single Kittelsen drawing that could fit a black metal concept. It pretty much makes the magic disappear… still nothing can change the fact that the drawings are great.
LT: You took part in a famous underground documentary "Det Svarte Alvor" years ago… Comment why just rehearsal footage, no mention of Satyricon, and no interview was done back then? What about making a home video?
Frost: A rehearsal footage was all we wanted to do, we had no message we would like to share with the Norwegian people. The sequence was planned to be a lot longer (the cameraman was filming for about ten minutes!). And of course it should have been mentioned which band was playing. But the TV company fucked everything up… The whole documentary is ridiculous and completely worthless. We have participated in another documentary as well, but did no interview. "What about making a home video" - what about "Mother North" then? (I wanted to ask about full-length video full of music and not only - ed.)
LT: Motörhead is your fave old school band, or you liked so much "Orgasmatron"? Tell me which older heavy metal bands you appreciate? Don' t you feel that cover version was a shock for many black metal followers?
Frost: The fave old school band of both Satyr and me is Bathory. But "Orgasmatron" is a killer song, and we thought it could be made a bit rawer and more powerful - which we did successfully. I do not know how the bm people have reacted to the cover version, but I have heard some very positive comments. I do not care really, I think the cover sounds very good. I am not that into heavy metal at all, be it older or newer, but Iron Maiden, Judas Priest and Accept have made some decent stuff in the past. Old Mercyful Fate and King Diamond, if you count them among heavy metal bands, are of course both great, Mercyful Fate being considerably better than King Diamond.
LT: Moonfog seems to stand as strong as possible in these years of current trends. You think a neat choice of artists make it as it is? Is it true you work there as well? Will you ever sign a non-Norwegian band?
Frost: Not for me to answer. I may however mention that Moonfog stand stronger than ever as Gehenna and Thorns are signed to Moonfog, and presumably Dødheimsgard is to be signed as well. A non-Norwegian band may be signed, if only it is good enough. (Satyr manages the label, if you wonder - ed.)
LT: Do your beliefs have anything to do with militaristic actions? Is it possible to reach the goal many black metal freaks try to through such experience?
Frost: Militaristic actions are great, but there are nothing in my beliefs that necessitates such actions. Also they may easily turn back on you - militaristic actions against christianity have resulted in a situation where the police watches our every move.
LT: These described vikings, pagan traditions or natural mysteries should remain just in our books, not being forcefully brought to any other human, or on the contrary?
Frost: About pagan traditions and so on - I am not the one to talk about them.
LT: Your comment on Satyricon by Petronius Arbiter. You think to invent something similar?
Frost: I began reading Satyricon by Arbiter some years ago, but strangely enough it got lost - I do not know how it could happen, but it just suddenly was not where I meant I left it. It is still gone, and I cannot comment a book I have not finished. (The tragedy is recommendable, believe me, as it is so bizarre, odd reading… - ed.) To your second question: no plans about any such thing. Decadence and hedonism are not the most prominent traits of ours.
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「Walls Of Fire」
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An interview with Frost from "Walls Of Fire" by Deni Petrounova (Summer-Autumn 2002 AD)
Sigurd Wongraven a.k.a. Satyr (vocals, guitars, bass and synths) and Kjetil Haraldstad a.k.a. Frost (drums and percussion) are in their late twenties now - unbelievably young, in fact, given that they celebrate this year the 10th anniversary of their band Satyricon. Although it was actually in 1991 that Satyr put down the basis of Satyricon, 1992 saw the first demo ("Satyricon") and Frost joining in, and that was exactly 10 years ago. Even though they were a band with "full" line-up at the time, soon it proved that only the two of them are enough to carry on and create some of the greatest music in the Black Metal genre; so Satyricon was ever after to be thought of as a duo. In 1993 a second demo ("The Forest Is My Throne", re-released in 1995 as a split with Enslaved) was recorded and next year No Fashion Records signed the band, but due to heavy financial problems during the recording sessions for the debut album ("Dark Medieval Times"), Tatra Records bought the master tape. In order to differentiate from the mostly industrial and electro-oriented releases of Tatra, a sub-label was started, which gradually became independent, and that was Satyr's own Moonfog Productions. After this a bit hard beginning, many extraordinary albums carrying the brand of Satyricon followed, namely "The Shadowthrone" (1994), "Nemesis Divina" (1996), "Megiddo" (EP, 1997), "Intermezzo II" (EP, 1999), "Rebel Extravaganza" (1999), and the band was established as one of the leading forces in Norwegian Metal. Going up the spiral of success, they became recently also one of the very first Black Metal bands to sign a deal with a major label, namely EMI. In the meantime, both musicians never confined themselves to one band only. Satyr has been involved, to name but a few, with Storm ("Nordavind", 1995), together with Herr Nagel (Gylve Nagell, a.k.a. Fenriz from Darkthrone) and Kari Rueslåtten (ex-The 3rd And The Mortal); Wongraven ("Fjelltronen", 1995), his solo project, where Ihsahn (ex-Emperor) can also be heard on grand piano and synths; Eibon, with Phil Anselmo (Pantera), Fenriz (Darkthrone) and Killjoy (Necrophagia); Thorns, where he performed guest vocals, etc. Frost, on the other hand, has played with a.o. Zyklon-B ("Blood Must Be Shed", 1995) with Samoth (ex-Emperor), Ihsahn (ex-Emperor) and Aldrahn (DHG); on the Gorgoroth albums "Antichrist" and "Destroyer"; now with 1349... 10 years in the scene: a lot of time, and also a lot of things to look back to. Satyricon' s anniversary will be naturally celebrated with the retrospective album "Ten Horns - Ten Diadems". Including two songs from each album (except the debut and the EP "Megiddo", which are represented with one each), many of them remastered, this compilation has also one exclusive track ("Serpent's Rise") and an important thread to the future - the song "Repined Bastard Nation", from the fifth, brand new full-length album "Volcano". The anniversary album, the past, present and future of Norway' s greatest Black Metal band ever, and first details about "Volcano" - these are some of the things we talked about with Frost - a man as cultured and polite as very few are...
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DP: Satyricon' s 10-year-anniversary album "Ten Horns - Ten Diadems" is out now... First of all, why did you choose that title?
Frost: It sounds majestic, it has a relevance to darkness - the beast is symbolized by ten horns and ten diadems in the book of revelations - and is furthermore a reference to our ten years of musical activity. What more fitting title could there be for the album?
DP: And how did you choose which songs to include?
Frost: We just tried to pick the most significant and representative songs from the different albums, in order to sum up our musical history the best way possible, and hint a little about what the future will bring, too. It' s impossible to say whether the collection is optimal; luckily, there is no bad material to pick from!
DP: What is the story behind "Serpent' s Rise", which appears for the first time now?
Frost: It was originally intended to be the opening song for "Volcano", but plans were altered. It is a very strange and dark piece of music, and it would have been a shame not to release it. Putting it on "Ten Horns..." was the only natural thing to do, as we anyway wanted there to be one exclusive track on that album.
DP: "Repined Bastard Nation" is a song from "Volcano". Why did you choose it for the anniversary album?
Frost: It is a track that is quite easy to get into, and, since it is also an outstandingly great song, it was a wise choice for the compilation album. Anyway, when there are several strong and representative songs to choose between, you will just have to pick one, won' t you?
DP: So how do you feel now, after ten years in the scene?
Frost: I feel comfortable about using the cliché "stronger that ever". Satyricon is highly vital and powerful, a fact that bears evidence of our dedication and will. Growing success is a natural result of our focused work and increasing musical strength, and we can handle it. We have never made any compromises with the band, and that is the way it' s going to stay.
DP: What was, according to you, Satyricon' s greatest moment up to now?
Frost: I really can' t tell. The release of "Rebel Extravaganza" was undoubtedly an important event, as will be the release of "Volcano".
DP: How far do you think has Satyricon made it from 1992 till 2002?
Frost: To measure something as abstract as that is difficult; the obvious facts are, however, that today we are a band with much authority, a band that set standards, and we are deeply respected in many different environments - also apart from the Black Metal scene - for our strong artistic integrity and high level of quality. It seems like it is due time to start harvesting the fruits of all those years of dedicated work.
DP: Taking a look at the past, is there anything you' re sorry for?
Frost: No. We have definitely made decisions that have turned out not to be the best for the band, but at the time of making them, those decisions seemed to be the right ones.
DP: And taking a look at the future, what do you wish for?
Frost: To make an impact, expand and grow stronger. I hope to see Satyricon turning into a beast of vast proportions - nothing less.
DP: The next step in that direction should be your new album "Volcano". What should we expect from it?
Frost: Strong, dark atmospheres, coldness, eeriness - you can expect "Volcano" to invoke this in you. This album is mostly about powerful and quite straightforward Black Metal, with some Thrash and Hardrock elements thrown in. Don' t bother so much with how it eventually differs from the other albums or what means are used to make the music - "Volcano" is a journey to the deepest dark, you just have to let it take you there!
DP: In fact, why were both "Ten Horns - Ten Diadems" and "Volcano" delayed so much?
Frost: Mostly because the mix was delayed to such an extent. First we waited for a long time in order to get Joe Baresi, whom Satyr strongly wanted to work with, to help us with the mix - he was full-booked and therefore we just had to wait until he could do it. We got an appointment with him, but then, when two months of waiting had passed, it became evident he was double-booked. So we just had to start the process of finding a suitable technician again… Luckily, at last we ended up with Jeff "Critter" who did a splendid work with the mix.
DP: How do you feel now working with a major label, EMI?
Frost: It seems like the cooperation is working well, but, since Satyr handles the communication between band and label, I don' t know that much about the current situation. We' ll see how good support EMI can give us when "Volcano" is released and we start touring. Anyway, getting signed on a major label that gives us 100% artistic freedom is really an accomplishment for a strictly non-commercial Black Metal band!
DP: Satyricon is, indeed, one of the first Black Metal band on a big label, but it might become a trend - Cradle Of Filth also got a deal with Sony... What do you think of the directions the Black Metal scene is taking in general?
Frost: The wrong kind of bands is shaping the scene to a large extent, and this is not at all fortunate. A general conception of Black Metal being mostly harmonic and pompous music totally without an edge is the opposite of how I want it to be, but this seems to be the situation today. OK, so fuck the general misconception; I focus on what interests me, and truly the scene is still very strong. Satyricon aside, there is excellent musical art being made by bands like Mayhem, Furze, Carpathian Forest, Enslaved, Thorns, Darkthrone, 1349, Aura Noir, Gorgoroth, Khold and many others. So Black Metal can' t really be on the totally wrong track, even if there are tons of shit being released as "Black Metal" every day!
DP: What has changed in the scene in general, according to you, for the ten years you' ve been witnessing that scene as an insider?
Frost: Increased popularity and knowledge of the musical genre Black Metal have inevitably lead to this, that the obscure, mysterious feeling that was connected to Black Metal before has gone. It used to be a real happening when a new Black Metal album was released; now Black Metal releases are a run-of-the-mill affair. It' s not exciting anymore, much due to the fact that 98% of the releases are pure shit. Then, the focus has moved from actions done by people connected to the Black Metal scene, to the music itself. This latter development is, of course, fortunate for the scene.
DP: Controversy, extravagance, progress, extremity - these are words that are often mentioned in connection with Satyricon. Your comment on them?
Frost: What could I say about this? These words are all rightfully mentioned in connection with Satyricon!
DP: Over the years, many session musicians have played in Satyricon (e.g. Ted Skjellum a.k.a. Kveldulv or Nocturno Culto from Darkthrone with guitars on "Nemesis Divina", Samoth from Emperor with guitars on "The Shadowthrone", Snorre W. Ruch from Thorns on "Rebel Extravaganza", etc.). Whom in particular did you enjoy the most working with?
Frost: Kveldulv and Richard "Daemon" Cabeza (bass, ex-Dismember) did in particular fit in Satyricon… too bad the cooperation couldn' t last. Anyway, I feel more than fine with the line-up for the live band as it is today. Both Azarak (Steinar Gundersen, lead guitar) and Lars (Lars Norberg, bass) are magnificent and dedicated people that it is a true pleasure to work with. Hopefully we will get people of their calibre to fill the two remaining roles.
DP: Please say a couple of words, now from the distance of time and at the point of looking back with the anniversary album, on each of the Satyricon releases:
Frost: "Rebel Extravaganza": Perfect aggression, coldness and darkness. "Rebel Extravaganza" is state-of-the-art Black Metal.
"Intermezzo II": Our first audible sign after almost three years in the creative pit. Most noteworthy on this release is the insane fury of "I.N.R.I.", the Sarcofago classic, and the mysterious darkness invoked by "Blessed From Below". I like this release a lot.
"Megiddo": Our most experimental release. Especially the (Apoptygma Berzerk) remix of "The Dawn Of A New Age" has been a bit hard to swallow by many fans, including me, but I still think "Megiddo" is a good mini album.
"Nemesis Divina": Brutal and intense Black Metal. I am particularly satisfied with the guitar work on this album.
"The Shadowthrone": "The Shadowthrone" sounds majestic and Norse above all, but is definitely a Black Metal album, rather than a Viking Metal one.
"Dark Medieval Times": A damn fine debut album; the whole thing is LOADED with a weird kind of darkness. The album set some standards back at the time of its release.
"The Forest Is My Throne": Primitive and barbaric Black Metal, Bathory-style. This demo is fucking great, even if the drums sound like being handled by a hippopotamus, or some other animal lacking anything close to rhythmical sense!
DP: Oh - so when did you first start playing the drums?
Frost: In 1989. I didn' t start to rehearse seriously before late 1992, though, when I joined Satyricon.
DP: That explains "The Forest..." - case... And when do you think you' ll stop playing music - if ever?
Frost: It' s totally useless thinking in terms like that.
DP: What do you do in your everyday life, apart from Satyricon?
Frost: I study at a college, then I work at a gas station in order to pay my bills... I exercise quite a lot, and rehearse almost every day. There' s not much time left to do other things, but I am soon finishing my studies, so that will change the situation quite a bit. I like to wander in the forest, and that is one of those things I will do more regularly when getting the time to do so.
DP: How exactly did it happen that you decided to play full-time with 1349 [the current line-up comprising you on drums, Ravn (vocals), Archaon (guitar), Tjalve (guitar) and Seidemann (bass)]? By the way, does the band name have anything to do with the Black Death, the great plague epidemy of that year?
Frost: When it dawned upon me what a force 1349 really was, I decided to join the band. It' s pure Black Metal hell! It suits me perfectly to play in one band that is all about controlled hatred and discipline playing-wise, and one that is all about sheer brutality and violent intensity. The moniker 1349 has everything to do with the Black Death, it symbolizes the arrival of darkness, death and grimness.
DP: When should "Liberation" (the debut album of 1349) be out?
Frost: Sometime this autumn.
DP: Do you currently take part in any other musical projects?
Frost: Apart from the mentioned two? Not really, but I'll record the drums for the next Gehenna album, which will, by the way, be magnificent.
DP: How would you define those ten years in the world of music in only, say, 3 words?
Frost: Ingenious dark creativity.
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----Shortly after we published the interview above, "Volcano" finally got released, so here' s a little update with Frost, focusing on the new record and tour activities of Satyricon... ----
DP: First of all, congratulations on the European release of "Volcano"!
Frost: Oh, thanks a lot!
DP: How have the reactions to the album been so far?
Frost: We' ve got reactions from the Nordic countries only, because that was the first place where "Volcano" was released. We were certain that the reception will be good, but it was even better than we hoped for! We are more than satisfied, and we also feel that this time people are getting the album much faster than was the case with our previous releases, which, I think, is a positive sign.
DP: "Volcano" has an incredibly dark feeling. How did you accomplish that?
Frost: It is a wish and the ability to fullfil it, and the hard work you put into it. We have a composer who has the ability to project his own very dark wishes and thoughts into the music, meaning Satyr, and also the two of us having the spirit and the attitude that is demanded to take it all the way to a finished album. We have been working tremendously hard, and we had all along the passion that is needed to make an album with such a strong feeling.
DP: It seems to me the music is more minimalistic than on, say, "Rebel Extravaganza".
Frost: Yeah, that is true. It was a definite point for us to make the album a lot simpler, the reason for that being that we wanted to pour that dark element over the music. And in order for us to make that come through even more clear than we' ve ever done it before, we had to make the music as simple as possible. Everything was going to serve that main purpose, the uplifting dark atmosphere. If the music has a lot of what you could call unnecessary details, that will steal attention away from the feeling. If you listen to "Volcano" now, you' re not going to concentrate on how the music is performed technically and musically; we wanted the atmosphere to grasp you immediately and to stay that way throughout the entire album, so we stripped it of all effects and all details that didn' t help create the atmosphere, which is the wholeness of "Volcano".
DP: "Fuel For Hatred" is a song many of your older fans will be surprised with...
Frost: Well, perhaps - I don' t know. It actually seems to be a track that even many old-school people like, because it has these old-school rock elements in it. To me it seems that we have succeeded in many aspects with that song. No negative remarks so far, actually.
DP: There is also a video for "Fuel For Hatred".
Frost: Oh, that' s something! We' ve had it in our tourbus for a week or so now and we have watched it several times and it' s simply blowing us away! That video is so monumental, so very much what we wanted, that we feel a very deep level of satisfaction with it. It' s like a constant attack of aggression and intensity, and the scenery makes up for a very strong kind of darkness. It' s everything we could have wished for, and we had the best man in the world to do a video for us - Jonas Akerlund (famous for his work with Metallica, Ozzy Osbourne, Madonna, Prodigy, etc.; he was also the drummer on the first Bathory album) - with his background and his skill... I think it' s an honour for us to have worked with a guy like him. It' s a victory every time that we get to work with the best people, who could have made a lot of money working with something else! I understand that this is something Jonas had a very strong feeling about, he strictly WANTED to do that video and he wanted to make it really GOOD - and he has done it, so many thanks to him for that! Have you seen it? No, of course you haven' t, just a few people have so far, but they are astonished, I can tell you!
DP: So how is it going to be released?
Frost: We will release it on VHS and DVD, but in what sort of package, that' s still a bit uncertain. We have thought about releasing it on DVD with a couple of songs that we recorded for "Volcano", but we didn' t get to fit in on the album... Or perhaps it will be released on a "Fuel For Hatred" single, or EP or something... There are many possibilities, but we will release it in one way or another, that' s for sure.
DP: Do you have a favourite track on the album?
Frost: I think I' ll have to mention two - "Repined Bastard Nation" and "Mental Mercury". These are the two songs that make the strongest impact on me as I am now. I love the entire album, but these ones... What about you? What do you think about the album? Do you have any favourites?
DP: I loved "Black Lava" and "Angstridden", and I also like "Mental Mercury" a lot... But I must say that "Fuel For Hatred" was the one I couldn' t quite come up with.
Frost: Well, it sticks out in a way... It' s a lot shorter and more direct, it has a different kind of dynamics than the other tracks... The idea of it is like being run over by some very large machine.
DP: Maybe I' ll get it at some later point of listening... To change the topic for a moment, the photos in the booklet have been taken in Iceland, right?
Frost: Yes, we were in Iceland in December last year. They are shot in different locations - we rented a car and drove as far as we could before it gets dark. We tried to find places that looked coherent with the idea we had for the pictures. We wanted them to be very strict, and hard, and cold, and dark. I think we have succeeded - they are just like we imagined them to be. We also worked with the make-up and the clothing in order to get that kind of strict, simple line. We had a very competent guy to take the shots - it' s the same one who took the "Rebel Extravagnza" pictures (Marcel Lelienhof), he really understands our way of working.
DP: And what is the idea behind the snake on the cover?
Frost: At first, we had to choose from several alternatives, and pick the best one. Among these we wanted a picture of a snake taken form an angle just above the head - so that one looked exactly the way we wanted to have it. It turned out it's the one we also wanted to use, it had the cover-quality to it. The snake is a very apparent symbol of darkness. Furthermore, it is a being of nature, and a very dark one. It has got an evil touch... It fits the organic sound and the darkness of the album perfectly!
DP: Looking a bit back, what was the studio experience like this time?
Frost: The studio itself (Puk Studios in Denmark, and partly Barracuda in Norway) was the best equipped studio we' ve ever been in - a state-of-the-art mixing console and everything else we needed. The recording process itself was initially what has always been the case, but we were stressed with the element of perfection even more this time. We have gotten much better, but we still strive for more... We had a bit of a problem with the technical side of it, however, because the engineer we were at first working with was an American, and after the September attacks in the States last year he had some sort of a breakdown and didn' t feel capable of working with anything that had negativity and darkness in it. So he basically just let us hang - we had made a lot of takes with him, and he had worked with us in his own way, so finding a new technical engineer wasn' t an easy task. It was like starting all over again... But we found a very skilled and competent person in Critter later. That delayed the whole thing quite a lot, but it' s all been because of the strive for perfection, all along the line. So that' s the basic story behind the recording work this time.
DP: How did it happen that you have a guest appearance by Anja Garbarek (daughter of the world-famous Jazz saxophonist Jan Garbarek) on "Volcano"?
Frost: She was chosen after going through quite a lot of names. Satyr visualized the kind of voice that he wanted on certain themes of the album, and looking for that voice he found it on a solo record by Anja Garbarek - she' s actually quite a known artist here in Norway. He contacted her, and it turned out that she was more than willing to do the task. Finally, getting in the studio, she felt very inspired and motivated. I think it was very interesting and fascinating for her to do that, and very exciting as well - she devoted herself totally to the task at hand. She managed to bring forth some elements of herself that she didn' t know she was capable of, or didn' t know she possessed at all! Originally, what Satyr wanted from her was a contribution of a very naked, bizzare kind of female voice, but she even managed to bring forth a very dominant, dark-sounding voice on the "Black Lava" theme. I think it all sounds very good, very mysterious and has that nice little touch to it that we wanted.
DP: And how about Erik Ljunggren of Zeromancer?
Frost: He was working with us as an engineer. He had to deal with the technical things around producing the album, that' s where he came into the picture.
DP: Now you are on tour with Khold. As far as I know, both you and Satyr like this band very much...
Frost: Ah, that is true! They deserve all the credits you can think of. It' s a band that is very healthy for the scene to have. It sounds very old-school in a Hellhammer-ish or Bathory-ish kind of way, but also has a modern, unique touch to it. I like it a lot, it' s ingenious! It fits to Satyricon very well, too - both bands have some sort of a rock basis, but sound completely different and that is very good.
DP: By the way, what is the live line-up of Satyricon, except you on drums and Satyr as vocalist?
Frost: We have kept the lead guitar player from the "Rebel Extravaganza" tours (Steinar Gundersen). We are very happy with the capacity he has and I think he feels at home with the band. We are most satisfied with having him there. I guess he will remain a permanent member of the Satyricon live line-up. Our bass player (Lars K. Norberg) is from Spiral Architect, a very technical progressive Metal band from Norway. He is the best bass player I have ever witnessed play - at least this kind of music. He' s just terrific, he' s monumental in his way of playing and his steadiness! There' s also the rhythm guitar player (A.O. Grønbech), whom we found through auditions. He used to play in a Black Metal band here in Norway, called Keep Of Kalessin, but I believe it' s now a finished project. He is professional to the bone and fits very well in the band. We also currently have a session synth player. Ivar Peersen from Enslaved was handling the keyboards for us at the summer festivals, but he had to go back to Enslaved and focus on their work. However, he knew someone that he recommended very strongly - he said the guy was an even better keyboard player than himself, playing in Malignant Eternal from Bergen, Norway... We also found that he was good enough, so he is doing the keys for us now. It' s definitely the best live line-up that we' ve ever had!
DP: Has anything crazy happened on the road so far?
Frost: I wouldn' t say so... I can' t think of any particular thing that would strike me as crazy. There has been just one incident - on the Rockefeller gig (in Oslo, Norway) there was this stupid guy who threw a beer at the mixing console and ruined 8 of the channels - it cost 1.2 million Norwegian crowns to repair it afterwards - he spoiled so much at the most important show on this tour! Unfortunately, we haven' t been able to get hold of him - his life would have been shortened quite a bit if that had happened! There has been some beer spilling in the light mixer in Turku, Finland, as well... People just have to stop throwing all these beers around - it seems they don' t realize there' s a lot of technical equipment surrounding them. It's very sad that things like that happen and that there are people who ruin a show like that! But the overall response from our concerts has been totally good and that' s what is important.
DP: You will be having just one concert in Germany... Why?
Frost: Oh, it' s too early to say. We are working right now putting up a tour, but we are having some difficulties - there are too many short notices and so on... I don' t think we will end up doing just one show in Germany, but so far only a club in Hamburg has given a decent offer. It may happen that we will delay the whole thing a bit in order to put up a much better tour, in a better time and with a better organization.
DP: Talking about organization, are you happy with the support of your new label, Capitol, so far?
Frost: Yes, they have done quite a lot to put up the Nordic tour, and also about the availability of the album - that is a result of the very good distribution system that Capitol/ EMI has got, which we can make use of now. We had about 10 concerts in Norway and there have been a lot of people on all of them, and sales in the Nordic countries have been overwhelming as well, so seemingly the co-operation with EMI is carrying fruits. What we can say so far, is that it' s very good both for the label and for us that the contract came about. Besides, they are not interfering with our musical or artistic work - they are rather providing us with a very strong support, which is just what we need.
DP: What comes next on your schedule now?
Frost: After we are finished with the Nordic tour, we' ll start working on the European one. As I said, I' m not sure if it will happen in November and December, or it will be delayed a bit. That is the next thing, and we will also be looking after the video matters. Live activity - that is the key word, I guess.
DP: If there is anything you'd like to add...
Frost: Oh, there are always books to write about those things you have on your mind... but that' s not the time to start such a large subject, so I' d better leave it with the talking there.
And I' m sure these books would be fascinating to read, but until then we' ll spend our time enjoying "Volcano"... A masterpiece as it is.
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Taken from: www.wallsoffire.de
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「Walls Of Fire」
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An interview with Frost from "Walls Of Fire" by Deni Petrounova (Summer-Autumn 2002 AD)
Sigurd Wongraven a.k.a. Satyr (vocals, guitars, bass and synths) and Kjetil Haraldstad a.k.a. Frost (drums and percussion) are in their late twenties now - unbelievably young, in fact, given that they celebrate this year the 10th anniversary of their band Satyricon. Although it was actually in 1991 that Satyr put down the basis of Satyricon, 1992 saw the first demo ("Satyricon") and Frost joining in, and that was exactly 10 years ago. Even though they were a band with "full" line-up at the time, soon it proved that only the two of them are enough to carry on and create some of the greatest music in the Black Metal genre; so Satyricon was ever after to be thought of as a duo. In 1993 a second demo ("The Forest Is My Throne", re-released in 1995 as a split with Enslaved) was recorded and next year No Fashion Records signed the band, but due to heavy financial problems during the recording sessions for the debut album ("Dark Medieval Times"), Tatra Records bought the master tape. In order to differentiate from the mostly industrial and electro-oriented releases of Tatra, a sub-label was started, which gradually became independent, and that was Satyr's own Moonfog Productions. After this a bit hard beginning, many extraordinary albums carrying the brand of Satyricon followed, namely "The Shadowthrone" (1994), "Nemesis Divina" (1996), "Megiddo" (EP, 1997), "Intermezzo II" (EP, 1999), "Rebel Extravaganza" (1999), and the band was established as one of the leading forces in Norwegian Metal. Going up the spiral of success, they became recently also one of the very first Black Metal bands to sign a deal with a major label, namely EMI. In the meantime, both musicians never confined themselves to one band only. Satyr has been involved, to name but a few, with Storm ("Nordavind", 1995), together with Herr Nagel (Gylve Nagell, a.k.a. Fenriz from Darkthrone) and Kari Rueslåtten (ex-The 3rd And The Mortal); Wongraven ("Fjelltronen", 1995), his solo project, where Ihsahn (ex-Emperor) can also be heard on grand piano and synths; Eibon, with Phil Anselmo (Pantera), Fenriz (Darkthrone) and Killjoy (Necrophagia); Thorns, where he performed guest vocals, etc. Frost, on the other hand, has played with a.o. Zyklon-B ("Blood Must Be Shed", 1995) with Samoth (ex-Emperor), Ihsahn (ex-Emperor) and Aldrahn (DHG); on the Gorgoroth albums "Antichrist" and "Destroyer"; now with 1349... 10 years in the scene: a lot of time, and also a lot of things to look back to. Satyricon' s anniversary will be naturally celebrated with the retrospective album "Ten Horns - Ten Diadems". Including two songs from each album (except the debut and the EP "Megiddo", which are represented with one each), many of them remastered, this compilation has also one exclusive track ("Serpent's Rise") and an important thread to the future - the song "Repined Bastard Nation", from the fifth, brand new full-length album "Volcano". The anniversary album, the past, present and future of Norway' s greatest Black Metal band ever, and first details about "Volcano" - these are some of the things we talked about with Frost - a man as cultured and polite as very few are...
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DP: Satyricon' s 10-year-anniversary album "Ten Horns - Ten Diadems" is out now... First of all, why did you choose that title?
Frost: It sounds majestic, it has a relevance to darkness - the beast is symbolized by ten horns and ten diadems in the book of revelations - and is furthermore a reference to our ten years of musical activity. What more fitting title could there be for the album?
DP: And how did you choose which songs to include?
Frost: We just tried to pick the most significant and representative songs from the different albums, in order to sum up our musical history the best way possible, and hint a little about what the future will bring, too. It' s impossible to say whether the collection is optimal; luckily, there is no bad material to pick from!
DP: What is the story behind "Serpent' s Rise", which appears for the first time now?
Frost: It was originally intended to be the opening song for "Volcano", but plans were altered. It is a very strange and dark piece of music, and it would have been a shame not to release it. Putting it on "Ten Horns..." was the only natural thing to do, as we anyway wanted there to be one exclusive track on that album.
DP: "Repined Bastard Nation" is a song from "Volcano". Why did you choose it for the anniversary album?
Frost: It is a track that is quite easy to get into, and, since it is also an outstandingly great song, it was a wise choice for the compilation album. Anyway, when there are several strong and representative songs to choose between, you will just have to pick one, won' t you?
DP: So how do you feel now, after ten years in the scene?
Frost: I feel comfortable about using the cliché "stronger that ever". Satyricon is highly vital and powerful, a fact that bears evidence of our dedication and will. Growing success is a natural result of our focused work and increasing musical strength, and we can handle it. We have never made any compromises with the band, and that is the way it' s going to stay.
DP: What was, according to you, Satyricon' s greatest moment up to now?
Frost: I really can' t tell. The release of "Rebel Extravaganza" was undoubtedly an important event, as will be the release of "Volcano".
DP: How far do you think has Satyricon made it from 1992 till 2002?
Frost: To measure something as abstract as that is difficult; the obvious facts are, however, that today we are a band with much authority, a band that set standards, and we are deeply respected in many different environments - also apart from the Black Metal scene - for our strong artistic integrity and high level of quality. It seems like it is due time to start harvesting the fruits of all those years of dedicated work.
DP: Taking a look at the past, is there anything you' re sorry for?
Frost: No. We have definitely made decisions that have turned out not to be the best for the band, but at the time of making them, those decisions seemed to be the right ones.
DP: And taking a look at the future, what do you wish for?
Frost: To make an impact, expand and grow stronger. I hope to see Satyricon turning into a beast of vast proportions - nothing less.
DP: The next step in that direction should be your new album "Volcano". What should we expect from it?
Frost: Strong, dark atmospheres, coldness, eeriness - you can expect "Volcano" to invoke this in you. This album is mostly about powerful and quite straightforward Black Metal, with some Thrash and Hardrock elements thrown in. Don' t bother so much with how it eventually differs from the other albums or what means are used to make the music - "Volcano" is a journey to the deepest dark, you just have to let it take you there!
DP: In fact, why were both "Ten Horns - Ten Diadems" and "Volcano" delayed so much?
Frost: Mostly because the mix was delayed to such an extent. First we waited for a long time in order to get Joe Baresi, whom Satyr strongly wanted to work with, to help us with the mix - he was full-booked and therefore we just had to wait until he could do it. We got an appointment with him, but then, when two months of waiting had passed, it became evident he was double-booked. So we just had to start the process of finding a suitable technician again… Luckily, at last we ended up with Jeff "Critter" who did a splendid work with the mix.
DP: How do you feel now working with a major label, EMI?
Frost: It seems like the cooperation is working well, but, since Satyr handles the communication between band and label, I don' t know that much about the current situation. We' ll see how good support EMI can give us when "Volcano" is released and we start touring. Anyway, getting signed on a major label that gives us 100% artistic freedom is really an accomplishment for a strictly non-commercial Black Metal band!
DP: Satyricon is, indeed, one of the first Black Metal band on a big label, but it might become a trend - Cradle Of Filth also got a deal with Sony... What do you think of the directions the Black Metal scene is taking in general?
Frost: The wrong kind of bands is shaping the scene to a large extent, and this is not at all fortunate. A general conception of Black Metal being mostly harmonic and pompous music totally without an edge is the opposite of how I want it to be, but this seems to be the situation today. OK, so fuck the general misconception; I focus on what interests me, and truly the scene is still very strong. Satyricon aside, there is excellent musical art being made by bands like Mayhem, Furze, Carpathian Forest, Enslaved, Thorns, Darkthrone, 1349, Aura Noir, Gorgoroth, Khold and many others. So Black Metal can' t really be on the totally wrong track, even if there are tons of shit being released as "Black Metal" every day!
DP: What has changed in the scene in general, according to you, for the ten years you' ve been witnessing that scene as an insider?
Frost: Increased popularity and knowledge of the musical genre Black Metal have inevitably lead to this, that the obscure, mysterious feeling that was connected to Black Metal before has gone. It used to be a real happening when a new Black Metal album was released; now Black Metal releases are a run-of-the-mill affair. It' s not exciting anymore, much due to the fact that 98% of the releases are pure shit. Then, the focus has moved from actions done by people connected to the Black Metal scene, to the music itself. This latter development is, of course, fortunate for the scene.
DP: Controversy, extravagance, progress, extremity - these are words that are often mentioned in connection with Satyricon. Your comment on them?
Frost: What could I say about this? These words are all rightfully mentioned in connection with Satyricon!
DP: Over the years, many session musicians have played in Satyricon (e.g. Ted Skjellum a.k.a. Kveldulv or Nocturno Culto from Darkthrone with guitars on "Nemesis Divina", Samoth from Emperor with guitars on "The Shadowthrone", Snorre W. Ruch from Thorns on "Rebel Extravaganza", etc.). Whom in particular did you enjoy the most working with?
Frost: Kveldulv and Richard "Daemon" Cabeza (bass, ex-Dismember) did in particular fit in Satyricon… too bad the cooperation couldn' t last. Anyway, I feel more than fine with the line-up for the live band as it is today. Both Azarak (Steinar Gundersen, lead guitar) and Lars (Lars Norberg, bass) are magnificent and dedicated people that it is a true pleasure to work with. Hopefully we will get people of their calibre to fill the two remaining roles.
DP: Please say a couple of words, now from the distance of time and at the point of looking back with the anniversary album, on each of the Satyricon releases:
Frost: "Rebel Extravaganza": Perfect aggression, coldness and darkness. "Rebel Extravaganza" is state-of-the-art Black Metal.
"Intermezzo II": Our first audible sign after almost three years in the creative pit. Most noteworthy on this release is the insane fury of "I.N.R.I.", the Sarcofago classic, and the mysterious darkness invoked by "Blessed From Below". I like this release a lot.
"Megiddo": Our most experimental release. Especially the (Apoptygma Berzerk) remix of "The Dawn Of A New Age" has been a bit hard to swallow by many fans, including me, but I still think "Megiddo" is a good mini album.
"Nemesis Divina": Brutal and intense Black Metal. I am particularly satisfied with the guitar work on this album.
"The Shadowthrone": "The Shadowthrone" sounds majestic and Norse above all, but is definitely a Black Metal album, rather than a Viking Metal one.
"Dark Medieval Times": A damn fine debut album; the whole thing is LOADED with a weird kind of darkness. The album set some standards back at the time of its release.
"The Forest Is My Throne": Primitive and barbaric Black Metal, Bathory-style. This demo is fucking great, even if the drums sound like being handled by a hippopotamus, or some other animal lacking anything close to rhythmical sense!
DP: Oh - so when did you first start playing the drums?
Frost: In 1989. I didn' t start to rehearse seriously before late 1992, though, when I joined Satyricon.
DP: That explains "The Forest..." - case... And when do you think you' ll stop playing music - if ever?
Frost: It' s totally useless thinking in terms like that.
DP: What do you do in your everyday life, apart from Satyricon?
Frost: I study at a college, then I work at a gas station in order to pay my bills... I exercise quite a lot, and rehearse almost every day. There' s not much time left to do other things, but I am soon finishing my studies, so that will change the situation quite a bit. I like to wander in the forest, and that is one of those things I will do more regularly when getting the time to do so.
DP: How exactly did it happen that you decided to play full-time with 1349 [the current line-up comprising you on drums, Ravn (vocals), Archaon (guitar), Tjalve (guitar) and Seidemann (bass)]? By the way, does the band name have anything to do with the Black Death, the great plague epidemy of that year?
Frost: When it dawned upon me what a force 1349 really was, I decided to join the band. It' s pure Black Metal hell! It suits me perfectly to play in one band that is all about controlled hatred and discipline playing-wise, and one that is all about sheer brutality and violent intensity. The moniker 1349 has everything to do with the Black Death, it symbolizes the arrival of darkness, death and grimness.
DP: When should "Liberation" (the debut album of 1349) be out?
Frost: Sometime this autumn.
DP: Do you currently take part in any other musical projects?
Frost: Apart from the mentioned two? Not really, but I'll record the drums for the next Gehenna album, which will, by the way, be magnificent.
DP: How would you define those ten years in the world of music in only, say, 3 words?
Frost: Ingenious dark creativity.
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----Shortly after we published the interview above, "Volcano" finally got released, so here' s a little update with Frost, focusing on the new record and tour activities of Satyricon... ----
DP: First of all, congratulations on the European release of "Volcano"!
Frost: Oh, thanks a lot!
DP: How have the reactions to the album been so far?
Frost: We' ve got reactions from the Nordic countries only, because that was the first place where "Volcano" was released. We were certain that the reception will be good, but it was even better than we hoped for! We are more than satisfied, and we also feel that this time people are getting the album much faster than was the case with our previous releases, which, I think, is a positive sign.
DP: "Volcano" has an incredibly dark feeling. How did you accomplish that?
Frost: It is a wish and the ability to fullfil it, and the hard work you put into it. We have a composer who has the ability to project his own very dark wishes and thoughts into the music, meaning Satyr, and also the two of us having the spirit and the attitude that is demanded to take it all the way to a finished album. We have been working tremendously hard, and we had all along the passion that is needed to make an album with such a strong feeling.
DP: It seems to me the music is more minimalistic than on, say, "Rebel Extravaganza".
Frost: Yeah, that is true. It was a definite point for us to make the album a lot simpler, the reason for that being that we wanted to pour that dark element over the music. And in order for us to make that come through even more clear than we' ve ever done it before, we had to make the music as simple as possible. Everything was going to serve that main purpose, the uplifting dark atmosphere. If the music has a lot of what you could call unnecessary details, that will steal attention away from the feeling. If you listen to "Volcano" now, you' re not going to concentrate on how the music is performed technically and musically; we wanted the atmosphere to grasp you immediately and to stay that way throughout the entire album, so we stripped it of all effects and all details that didn' t help create the atmosphere, which is the wholeness of "Volcano".
DP: "Fuel For Hatred" is a song many of your older fans will be surprised with...
Frost: Well, perhaps - I don' t know. It actually seems to be a track that even many old-school people like, because it has these old-school rock elements in it. To me it seems that we have succeeded in many aspects with that song. No negative remarks so far, actually.
DP: There is also a video for "Fuel For Hatred".
Frost: Oh, that' s something! We' ve had it in our tourbus for a week or so now and we have watched it several times and it' s simply blowing us away! That video is so monumental, so very much what we wanted, that we feel a very deep level of satisfaction with it. It' s like a constant attack of aggression and intensity, and the scenery makes up for a very strong kind of darkness. It' s everything we could have wished for, and we had the best man in the world to do a video for us - Jonas Akerlund (famous for his work with Metallica, Ozzy Osbourne, Madonna, Prodigy, etc.; he was also the drummer on the first Bathory album) - with his background and his skill... I think it' s an honour for us to have worked with a guy like him. It' s a victory every time that we get to work with the best people, who could have made a lot of money working with something else! I understand that this is something Jonas had a very strong feeling about, he strictly WANTED to do that video and he wanted to make it really GOOD - and he has done it, so many thanks to him for that! Have you seen it? No, of course you haven' t, just a few people have so far, but they are astonished, I can tell you!
DP: So how is it going to be released?
Frost: We will release it on VHS and DVD, but in what sort of package, that' s still a bit uncertain. We have thought about releasing it on DVD with a couple of songs that we recorded for "Volcano", but we didn' t get to fit in on the album... Or perhaps it will be released on a "Fuel For Hatred" single, or EP or something... There are many possibilities, but we will release it in one way or another, that' s for sure.
DP: Do you have a favourite track on the album?
Frost: I think I' ll have to mention two - "Repined Bastard Nation" and "Mental Mercury". These are the two songs that make the strongest impact on me as I am now. I love the entire album, but these ones... What about you? What do you think about the album? Do you have any favourites?
DP: I loved "Black Lava" and "Angstridden", and I also like "Mental Mercury" a lot... But I must say that "Fuel For Hatred" was the one I couldn' t quite come up with.
Frost: Well, it sticks out in a way... It' s a lot shorter and more direct, it has a different kind of dynamics than the other tracks... The idea of it is like being run over by some very large machine.
DP: Maybe I' ll get it at some later point of listening... To change the topic for a moment, the photos in the booklet have been taken in Iceland, right?
Frost: Yes, we were in Iceland in December last year. They are shot in different locations - we rented a car and drove as far as we could before it gets dark. We tried to find places that looked coherent with the idea we had for the pictures. We wanted them to be very strict, and hard, and cold, and dark. I think we have succeeded - they are just like we imagined them to be. We also worked with the make-up and the clothing in order to get that kind of strict, simple line. We had a very competent guy to take the shots - it' s the same one who took the "Rebel Extravagnza" pictures (Marcel Lelienhof), he really understands our way of working.
DP: And what is the idea behind the snake on the cover?
Frost: At first, we had to choose from several alternatives, and pick the best one. Among these we wanted a picture of a snake taken form an angle just above the head - so that one looked exactly the way we wanted to have it. It turned out it's the one we also wanted to use, it had the cover-quality to it. The snake is a very apparent symbol of darkness. Furthermore, it is a being of nature, and a very dark one. It has got an evil touch... It fits the organic sound and the darkness of the album perfectly!
DP: Looking a bit back, what was the studio experience like this time?
Frost: The studio itself (Puk Studios in Denmark, and partly Barracuda in Norway) was the best equipped studio we' ve ever been in - a state-of-the-art mixing console and everything else we needed. The recording process itself was initially what has always been the case, but we were stressed with the element of perfection even more this time. We have gotten much better, but we still strive for more... We had a bit of a problem with the technical side of it, however, because the engineer we were at first working with was an American, and after the September attacks in the States last year he had some sort of a breakdown and didn' t feel capable of working with anything that had negativity and darkness in it. So he basically just let us hang - we had made a lot of takes with him, and he had worked with us in his own way, so finding a new technical engineer wasn' t an easy task. It was like starting all over again... But we found a very skilled and competent person in Critter later. That delayed the whole thing quite a lot, but it' s all been because of the strive for perfection, all along the line. So that' s the basic story behind the recording work this time.
DP: How did it happen that you have a guest appearance by Anja Garbarek (daughter of the world-famous Jazz saxophonist Jan Garbarek) on "Volcano"?
Frost: She was chosen after going through quite a lot of names. Satyr visualized the kind of voice that he wanted on certain themes of the album, and looking for that voice he found it on a solo record by Anja Garbarek - she' s actually quite a known artist here in Norway. He contacted her, and it turned out that she was more than willing to do the task. Finally, getting in the studio, she felt very inspired and motivated. I think it was very interesting and fascinating for her to do that, and very exciting as well - she devoted herself totally to the task at hand. She managed to bring forth some elements of herself that she didn' t know she was capable of, or didn' t know she possessed at all! Originally, what Satyr wanted from her was a contribution of a very naked, bizzare kind of female voice, but she even managed to bring forth a very dominant, dark-sounding voice on the "Black Lava" theme. I think it all sounds very good, very mysterious and has that nice little touch to it that we wanted.
DP: And how about Erik Ljunggren of Zeromancer?
Frost: He was working with us as an engineer. He had to deal with the technical things around producing the album, that' s where he came into the picture.
DP: Now you are on tour with Khold. As far as I know, both you and Satyr like this band very much...
Frost: Ah, that is true! They deserve all the credits you can think of. It' s a band that is very healthy for the scene to have. It sounds very old-school in a Hellhammer-ish or Bathory-ish kind of way, but also has a modern, unique touch to it. I like it a lot, it' s ingenious! It fits to Satyricon very well, too - both bands have some sort of a rock basis, but sound completely different and that is very good.
DP: By the way, what is the live line-up of Satyricon, except you on drums and Satyr as vocalist?
Frost: We have kept the lead guitar player from the "Rebel Extravaganza" tours (Steinar Gundersen). We are very happy with the capacity he has and I think he feels at home with the band. We are most satisfied with having him there. I guess he will remain a permanent member of the Satyricon live line-up. Our bass player (Lars K. Norberg) is from Spiral Architect, a very technical progressive Metal band from Norway. He is the best bass player I have ever witnessed play - at least this kind of music. He' s just terrific, he' s monumental in his way of playing and his steadiness! There' s also the rhythm guitar player (A.O. Grønbech), whom we found through auditions. He used to play in a Black Metal band here in Norway, called Keep Of Kalessin, but I believe it' s now a finished project. He is professional to the bone and fits very well in the band. We also currently have a session synth player. Ivar Peersen from Enslaved was handling the keyboards for us at the summer festivals, but he had to go back to Enslaved and focus on their work. However, he knew someone that he recommended very strongly - he said the guy was an even better keyboard player than himself, playing in Malignant Eternal from Bergen, Norway... We also found that he was good enough, so he is doing the keys for us now. It' s definitely the best live line-up that we' ve ever had!
DP: Has anything crazy happened on the road so far?
Frost: I wouldn' t say so... I can' t think of any particular thing that would strike me as crazy. There has been just one incident - on the Rockefeller gig (in Oslo, Norway) there was this stupid guy who threw a beer at the mixing console and ruined 8 of the channels - it cost 1.2 million Norwegian crowns to repair it afterwards - he spoiled so much at the most important show on this tour! Unfortunately, we haven' t been able to get hold of him - his life would have been shortened quite a bit if that had happened! There has been some beer spilling in the light mixer in Turku, Finland, as well... People just have to stop throwing all these beers around - it seems they don' t realize there' s a lot of technical equipment surrounding them. It's very sad that things like that happen and that there are people who ruin a show like that! But the overall response from our concerts has been totally good and that' s what is important.
DP: You will be having just one concert in Germany... Why?
Frost: Oh, it' s too early to say. We are working right now putting up a tour, but we are having some difficulties - there are too many short notices and so on... I don' t think we will end up doing just one show in Germany, but so far only a club in Hamburg has given a decent offer. It may happen that we will delay the whole thing a bit in order to put up a much better tour, in a better time and with a better organization.
DP: Talking about organization, are you happy with the support of your new label, Capitol, so far?
Frost: Yes, they have done quite a lot to put up the Nordic tour, and also about the availability of the album - that is a result of the very good distribution system that Capitol/ EMI has got, which we can make use of now. We had about 10 concerts in Norway and there have been a lot of people on all of them, and sales in the Nordic countries have been overwhelming as well, so seemingly the co-operation with EMI is carrying fruits. What we can say so far, is that it' s very good both for the label and for us that the contract came about. Besides, they are not interfering with our musical or artistic work - they are rather providing us with a very strong support, which is just what we need.
DP: What comes next on your schedule now?
Frost: After we are finished with the Nordic tour, we' ll start working on the European one. As I said, I' m not sure if it will happen in November and December, or it will be delayed a bit. That is the next thing, and we will also be looking after the video matters. Live activity - that is the key word, I guess.
DP: If there is anything you'd like to add...
Frost: Oh, there are always books to write about those things you have on your mind... but that' s not the time to start such a large subject, so I' d better leave it with the talking there.
And I' m sure these books would be fascinating to read, but until then we' ll spend our time enjoying "Volcano"... A masterpiece as it is.
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Taken from: www.wallsoffire.de
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◆出所：
「The Underground Scene」
【http://theundergroundscene.net/interviews.php?op=view&artid=134】
◆本文：
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An interview with Satyr from "The Underground Scene"
Worcester, MA, USA,
Club "The Palladium" 17 April 2004 AD
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US: How did you guys get together and come up with the name Satyricon?
Satyr: I started the band in 1992. In late 91 I joined an Oslo band with a few talented people with no leadership I guess, and no clear vision. Those guys who didn’t quite have what it took, they just disappeared as time went by, and the ones who were left we took the name Satyricon, decided that we wanted to do black metal, and you know, black, death, thrash, you know, kind of reaching in too many directions I guess, and then Frost joined in November 92 I guess, and it’s been basically me and him as the core of the band ever since.
US: Your album “Volcano” was just released in America this week, how would you compare it with previous albums?
Satyr: Well all Satyricon records are really different from each other, especially in the way that, production wise and stuff like that, and I always try, being a musician is very much about entertaining yourself. You get bored doing the same thing over and over again, but obviously Satyricon has a certain style that is a very dark kind of music and very dynamic, but I think this record is probably overall the darkest album we’ve ever made. It has a mixture of atmospheric, dark life but also directness and aggression, and that is a hard combination to achieve actually, but I think that we managed and that’s why I like the record so much.
US: You released it through System of a Down guitarist Daron Malakian’s EatUrMusic label, how did you hook up with him and what has it been like working with him?
Satyr: We met through a mutual friend Casey Chaos of Amen and he told me that Daron liked Satyricon a lot, and I was going to go see Casey in Los Angeles, and we’re obviously from Oslo, Norway so I went over there and met with the guy and we got along really well and he started talking about, because I was also there to talk with some labels to also get a deal together at the time, because our deal had run out in the states, and then Daron said “you know, Satyricon is the type of shit I would like to do with EatUrMusic, and I love ‘Volcano’” and I said well, why can’t you? And he said because of the people at Columbia records. He’s a sublabel of Columbia and they would never understand this and I said I know, but we’re on Capitol in Europe, and they, you know (laughter), and they do it. So he said “Really? Well I’ll give them a call” and a couple days later he said “well everyone at Columbia is totally into it, fuck, I want to do this.” So I said that’s cool, so we just had the lawyers do all the paperwork and that shit, and we talked about how we wanted to do things and our visions for the band in America and stuff like that. I like Daron a lot, he’s a very strong character and he, I think he’s got strong artistic visions on behalf of Satyricon and he’s just a big fan and that’s cool.
US: “Volcano” actually won a Grammy award in Norway, how cool was that?
Satyr: Actually what was cooler for me is that we won a couple of Alarm Awards, which the Norwegian Indie awards, which is very much like by musicians for musicians, and it’s a more respectful, credible thing, but with the Grammy’s and all that, that’s for the record company, a big commercial value and all that I guess, so that way it’s cool, but I wasn’t even there.
US: You’re out now on your North American tour with Morbid Angel and Suffocation, how has it been so far?
Satyr: It’s been, you know this the fifth show we did tonight, so we’re just getting started, and you know, we’re facing a lot of technical difficulties, like 15 minute change overs, like everything and I’m so fucking stressed out and my drummer Frost being denied a visa waver by US authorities and having this guy (points at Trym) from Zyklon and Emporor stepping in very last minute, but you know he’s a great drummer and we’re just working on getting our shit together. But the reception is really good, like we saw tonight we got a great reception, but I just want to get rid of all the technical shit that is bothering us. I hate that, I really do. It pisses me off.
US: Yeah, that was actually my next question, I heard you guys had some trouble getting into the US, what happened there? Is it really as strict as I’ve heard? I’ve never left the country.
Satyr: It’s really strict and it’s really unfair in the way that, the problem is that the Department of Homeland Securities obviously don’t have that many rules and regulations to stick by. It’s very much up to each individual to look at your application, so there are cases of Norwegian black metallers who have done three or four years of time for burning down a church who go to the United States and tour with a visa and a work permit all the time, and you have my drummer who did a five month sentence for a bar fight and can’t get into the country, so it doesn’t make sense you know? And the problem is that the decisions they make are irreversible, and it’s like they just play God, and the letter, it’s more of a formality when they turn you down, they send you a letter, it said “you are advised not to seek entry into the United States for at least another two years” and we’re like why? Is everything going to be ok in two years? I don’t know.
US: Damn, that really sucks.
Satyr: Yeah, we had lawyers and all kinds of machinery pushing, trying to make this happen, but I just, I don’t know what the problem is because we’re professionals, and we’re here to do our job, to play live and it’s not like he’s a fucking terrorist, he’s a drummer.
US: Well I know it doesn’t mean much but on behalf of America I am sorry you had to go through this.
Satyr: (laughs)
US: Any other tours lined up after this?
Satyr: Joey Jordison of Slipknot wants to take the band out, and I think if that was to happen I think it would be a great thing for Satyricon to come out and play for even more people, and I think their fans would be very receptive for black metal music and we’ll see if that happens. There are many prospects in that vein and we also definitely want to do a full Satyricon headlining tour, so we’ll get to play our full show and everything, but we’ll tour as much as we can in 2004, but it’s also a question of tour support and stuff like that. It’s really expensive to bring all this machinery over from Oslo, Norway, and to travel around in this big country.
US: For a long time Europe dominated the metal scene, but over the past two years there have been a lot of American bands coming up like Shadows Fall and Lamb Of God, what are your thoughts on the new wave of American metal bands?
Satyr: I am not so familiar with it, I mean obviously I know all the bands you mentioned like Shadows Fall, Lamb Of God, Hatebreed and all that stuff, and the fact is that I haven’t listened too much. I guess what’s strange about it is that a lot of the bands that are big in America, they’re not very big in Europe. I saw Metallica three times in December and I know Larkin, the drummer in Godsmack, so I never heard of Godsmack before but I wanted to see Godsmack too because I know their drummer, and I’m telling you, in Scandinavia, no one knows who they are, and I don’t think they’re that big in the rest of Europe either but from what I understand they are like a multi-platinum selling, huge band.
US: Yeah, they’ve gone triple platinum on a couple of their albums. Yeah, I think they are playing like 45 miles west of here tonight, or maybe that was last night.
Satyr: Oh they did?
US: Yeah, I don’t know, I know they just played around here this past week. They’re actually from Boston and they’re really, really big here.
Satyr: And I mean that’s the kind of stuff that we’re not familiar with in Europe, and I just know that there are a lot of big bands here and I know the names, but a lot of the stuff I’ve never even heard, but I guess that’s what we’re seeing with black metal. Black metal has been big in Europe for some time now, and now America is ready for it and that’s sort of where we come into the picture because I think there have been a few entry level black metal that has caused the interest that we’re now seeing, because it’s definitely on the rise, and then for me I feel like the timing is ideal for Satyricon as far as being able to shape the direction of the rising black metal scene in America by being able to bring our stuff here as we are one of the veterans of the genre and spearheading the development of black metal, I think we can help contribute to the rising black metal scene in America.
US: Is there anywhere you are looking forward to seeing on this tour?
Satyr: I am looking forward to playing in New York tomorrow, because we’ve only played in America once, we did a couple weeks, you know? And I remember playing in New York was cool and they were really into it, so I am hoping they will be tomorrow, and obviously there are a lot of people that we work with that are situated in New York that have never seen us play live before, and we definitely want to play in front of all these people and impress them. And Los Angeles too, because I have a lot of friends in Los Angeles and also a lot of people that have never seen us and it’s going to be very cool to be able to show Satyricon live to all these people that haven’t seen us that I know.
US: So from all of your travels all over the world on tour, do you have a favorite city that you’ve been able to see?
Satyr: I don’t know, I mean I understood your question, but I want to say it’s weird how when you travel around it’s just like, like this morning sitting in the bus and looking out the window and I said to the bus driver “where the fuck are we?” And he said “Massachusetts, we just entered the state of Massachusetts, why do you ask?” And I said “because it looks like Norway.” Like the trees and the surroundings of where we were driving at that very moment reminded me of Norway and I looked and thought it could be somewhere in Norway, so you have a lot of experiences like that, and when you go back and we’ve driven through like the mountains of Northern Spain and shit like that, that’s cool just to watch out the window, and every time we go by there I want to just listen to music and just watch the landscape, but as far as favorite cities to play in, Milan, Satyricon has a really strong standing in Italy, especially in Milan, and they are beyond belief passionate about it, it’s like a religion to them, and I love that. Being a band from Oslo and being a big band from Norway, for us to play in our hometown is great, it means a lot to us and we always get a really good reception, so I really love playing Oslo.
US: If you were going to cook me a Norwegian dinner made of your favorite Norwegian food, what would you cook for me?
Satyr: Well I am a lousy cook (laughter) so I guess I couldn’t make you anything, but there’s a few dishes in Norway that are highly unusual shit, like sheep’s brain, so if someone told me how to make it for you I would probably want to give you something exotic like that. I think I would rather instead of making you a meal from Norway I would like to show you some cool places in Norway.
US: What would be your first pick of places I would need to see if I traveled to Norway?
Satyr: I think for just architecture and style, a place called Buskerud (I think that’s what he said) it’s like traveling into another time zone or like just going hundreds of years back in time, or another county called Sogn og Fjordane which is like you don’t believe it, it’s not for real. You go there and you see the mountains and the fjords and the valleys and the first time I was there was maybe six or seven years ago and fuck, it looks like someone came up with an idea and they built a dream landscape, you’re just like “is this for real?” It’s just some place, Norway has a very dramatic landscape in certain counties which are breathtaking.
US: Who would you say some of your influences are?
Satyr: Musically, my influences are my own mind and soul and that’s the best answer I can give, because I don’t listen to other bands when making music. I’m making music based on my experiences as a song writer and trying to make what I like listening to, and I think the reason why Satyricon is a band that is doing well is because we don’t sound like a band that is inspired by other bands, we have our own style.
US: What would your dream tour be?
Satyr: Well can I include bands that don’t play live or bands that don’t exist anymore?
US: Yes, of course.
Satyr: Well then I think my dream tour would be two legendary black metal bands, Dark Throne and Bathory and Celtic Frost from Switzerland and Satyricon, a four band bill. I think that would be my all time dream tour.
US: What do you do to keep busy on the road?
Satyr: Talk with people like you, play shows, that’s just what it’s about. That’s just what it’s all about, you do interviews… playing is not only about the actual, when you are on stage, it’s just getting prepared and the whole thing after, I don’t know, I feel like as far as playing the show it’s everything before, during and after is just so time consuming, and it takes so much out of me energy-wise that the rest of the time I don’t go much site seeing, I just try to save my energy. Sometimes if I come to a place where I know there is something I really, really want to see, but I don’t go looking for stuff, like maybe there is something interesting here. But whenever I go to Paris I always make it to the catacombs, it’s like a subterranean graveyard and it’s insane, and I always want to see that even though I’ve been there several times, and when I go to Milan I like to go to the castle or the torture museum, stuff like that is very interesting, and I like to check out just certain, like the first time we played New York I obviously wanted to go see the World Trade Center and stuff like that, it’s just one of those things you’re supposed to check out, but for me it’s very much about maybe reading a good book or listening to music or just sleeping and trying to save your energy.
US: What keeps you motivated on the days you’re sick and just don’t feel like playing?
Satyr: Those moments where I realize why I am doing it. For example, recording the video for “Fuel For Hatred” with Jonas Akerlund, which is one of the worlds best video directors, having worked with Ozzy Osborne, Metallica, Prodigy and all the things that he’s done, I’m just a big fan of his work and I get to work with him, and it was just 10 times better then I could ever imagine, and I thought it was going to be great and it was just like, and the moments like that where everything is working and you’re just making great stuff together I just say “this is why I am doing this.” And every once in a while, you have moments like that, or you know, we when we play, like the last song we played today is just a black metal classic and the whole middle section of the crowd will sing the guitar melody so loud that it’s like I can’t hear the guitars because they’re singing, and then you’re just like goose bumps and what the fuck, I’m paralyzed, and those are the moments that fuel and just gives you energy, and I guess when you feel like this sucks and why the fuck am I doing this and is it worth it with all this shit that you face all the time, and you just have to focus on the good moments and the moments that make you realize “this is why I am doing this.” This is great.
US: How would you sell your album “Volcano” to someone who has never heard of Satyricon before?
Satyr: I would describe it as a very atmospheric record, very dark, but also as I said earlier in the interview with a lot of directness and aggression and power, and it’s definitely, I think of black metal being a very extreme version of rock music, and I think in “Volcano,” you can definitely tell that black metal is a very extreme version of rock music, because that is the foundation, and we move on from there. So that gives you a little bit of an idea about it, but the best thing is always listening to the music instead of trying to explain it.
US: Any last comments?
Satyr: Since Satyricon is so new to so many people, we made a tailor made website now for the American market, and it is pretty much just Satyricon.no is our official website, but we haven’t had so much background information about the band since most people know us in Europe, but this is more tailor made for the American market, so that is the best source for the best and most correct information for what Satyricon is all about.
US: Thanks to Satyr for taking the time to do the interview and to Jensen at Adrenaline PR for setting it up. Satryicon’s album “Volcano” is in stores now.
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「The Underground Scene」
【http://theundergroundscene.net/interviews.php?op=view&artid=134】
◆本文：
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An interview with Satyr from "The Underground Scene"
Worcester, MA, USA,
Club "The Palladium" 17 April 2004 AD
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US: How did you guys get together and come up with the name Satyricon?
Satyr: I started the band in 1992. In late 91 I joined an Oslo band with a few talented people with no leadership I guess, and no clear vision. Those guys who didn’t quite have what it took, they just disappeared as time went by, and the ones who were left we took the name Satyricon, decided that we wanted to do black metal, and you know, black, death, thrash, you know, kind of reaching in too many directions I guess, and then Frost joined in November 92 I guess, and it’s been basically me and him as the core of the band ever since.
US: Your album “Volcano” was just released in America this week, how would you compare it with previous albums?
Satyr: Well all Satyricon records are really different from each other, especially in the way that, production wise and stuff like that, and I always try, being a musician is very much about entertaining yourself. You get bored doing the same thing over and over again, but obviously Satyricon has a certain style that is a very dark kind of music and very dynamic, but I think this record is probably overall the darkest album we’ve ever made. It has a mixture of atmospheric, dark life but also directness and aggression, and that is a hard combination to achieve actually, but I think that we managed and that’s why I like the record so much.
US: You released it through System of a Down guitarist Daron Malakian’s EatUrMusic label, how did you hook up with him and what has it been like working with him?
Satyr: We met through a mutual friend Casey Chaos of Amen and he told me that Daron liked Satyricon a lot, and I was going to go see Casey in Los Angeles, and we’re obviously from Oslo, Norway so I went over there and met with the guy and we got along really well and he started talking about, because I was also there to talk with some labels to also get a deal together at the time, because our deal had run out in the states, and then Daron said “you know, Satyricon is the type of shit I would like to do with EatUrMusic, and I love ‘Volcano’” and I said well, why can’t you? And he said because of the people at Columbia records. He’s a sublabel of Columbia and they would never understand this and I said I know, but we’re on Capitol in Europe, and they, you know (laughter), and they do it. So he said “Really? Well I’ll give them a call” and a couple days later he said “well everyone at Columbia is totally into it, fuck, I want to do this.” So I said that’s cool, so we just had the lawyers do all the paperwork and that shit, and we talked about how we wanted to do things and our visions for the band in America and stuff like that. I like Daron a lot, he’s a very strong character and he, I think he’s got strong artistic visions on behalf of Satyricon and he’s just a big fan and that’s cool.
US: “Volcano” actually won a Grammy award in Norway, how cool was that?
Satyr: Actually what was cooler for me is that we won a couple of Alarm Awards, which the Norwegian Indie awards, which is very much like by musicians for musicians, and it’s a more respectful, credible thing, but with the Grammy’s and all that, that’s for the record company, a big commercial value and all that I guess, so that way it’s cool, but I wasn’t even there.
US: You’re out now on your North American tour with Morbid Angel and Suffocation, how has it been so far?
Satyr: It’s been, you know this the fifth show we did tonight, so we’re just getting started, and you know, we’re facing a lot of technical difficulties, like 15 minute change overs, like everything and I’m so fucking stressed out and my drummer Frost being denied a visa waver by US authorities and having this guy (points at Trym) from Zyklon and Emporor stepping in very last minute, but you know he’s a great drummer and we’re just working on getting our shit together. But the reception is really good, like we saw tonight we got a great reception, but I just want to get rid of all the technical shit that is bothering us. I hate that, I really do. It pisses me off.
US: Yeah, that was actually my next question, I heard you guys had some trouble getting into the US, what happened there? Is it really as strict as I’ve heard? I’ve never left the country.
Satyr: It’s really strict and it’s really unfair in the way that, the problem is that the Department of Homeland Securities obviously don’t have that many rules and regulations to stick by. It’s very much up to each individual to look at your application, so there are cases of Norwegian black metallers who have done three or four years of time for burning down a church who go to the United States and tour with a visa and a work permit all the time, and you have my drummer who did a five month sentence for a bar fight and can’t get into the country, so it doesn’t make sense you know? And the problem is that the decisions they make are irreversible, and it’s like they just play God, and the letter, it’s more of a formality when they turn you down, they send you a letter, it said “you are advised not to seek entry into the United States for at least another two years” and we’re like why? Is everything going to be ok in two years? I don’t know.
US: Damn, that really sucks.
Satyr: Yeah, we had lawyers and all kinds of machinery pushing, trying to make this happen, but I just, I don’t know what the problem is because we’re professionals, and we’re here to do our job, to play live and it’s not like he’s a fucking terrorist, he’s a drummer.
US: Well I know it doesn’t mean much but on behalf of America I am sorry you had to go through this.
Satyr: (laughs)
US: Any other tours lined up after this?
Satyr: Joey Jordison of Slipknot wants to take the band out, and I think if that was to happen I think it would be a great thing for Satyricon to come out and play for even more people, and I think their fans would be very receptive for black metal music and we’ll see if that happens. There are many prospects in that vein and we also definitely want to do a full Satyricon headlining tour, so we’ll get to play our full show and everything, but we’ll tour as much as we can in 2004, but it’s also a question of tour support and stuff like that. It’s really expensive to bring all this machinery over from Oslo, Norway, and to travel around in this big country.
US: For a long time Europe dominated the metal scene, but over the past two years there have been a lot of American bands coming up like Shadows Fall and Lamb Of God, what are your thoughts on the new wave of American metal bands?
Satyr: I am not so familiar with it, I mean obviously I know all the bands you mentioned like Shadows Fall, Lamb Of God, Hatebreed and all that stuff, and the fact is that I haven’t listened too much. I guess what’s strange about it is that a lot of the bands that are big in America, they’re not very big in Europe. I saw Metallica three times in December and I know Larkin, the drummer in Godsmack, so I never heard of Godsmack before but I wanted to see Godsmack too because I know their drummer, and I’m telling you, in Scandinavia, no one knows who they are, and I don’t think they’re that big in the rest of Europe either but from what I understand they are like a multi-platinum selling, huge band.
US: Yeah, they’ve gone triple platinum on a couple of their albums. Yeah, I think they are playing like 45 miles west of here tonight, or maybe that was last night.
Satyr: Oh they did?
US: Yeah, I don’t know, I know they just played around here this past week. They’re actually from Boston and they’re really, really big here.
Satyr: And I mean that’s the kind of stuff that we’re not familiar with in Europe, and I just know that there are a lot of big bands here and I know the names, but a lot of the stuff I’ve never even heard, but I guess that’s what we’re seeing with black metal. Black metal has been big in Europe for some time now, and now America is ready for it and that’s sort of where we come into the picture because I think there have been a few entry level black metal that has caused the interest that we’re now seeing, because it’s definitely on the rise, and then for me I feel like the timing is ideal for Satyricon as far as being able to shape the direction of the rising black metal scene in America by being able to bring our stuff here as we are one of the veterans of the genre and spearheading the development of black metal, I think we can help contribute to the rising black metal scene in America.
US: Is there anywhere you are looking forward to seeing on this tour?
Satyr: I am looking forward to playing in New York tomorrow, because we’ve only played in America once, we did a couple weeks, you know? And I remember playing in New York was cool and they were really into it, so I am hoping they will be tomorrow, and obviously there are a lot of people that we work with that are situated in New York that have never seen us play live before, and we definitely want to play in front of all these people and impress them. And Los Angeles too, because I have a lot of friends in Los Angeles and also a lot of people that have never seen us and it’s going to be very cool to be able to show Satyricon live to all these people that haven’t seen us that I know.
US: So from all of your travels all over the world on tour, do you have a favorite city that you’ve been able to see?
Satyr: I don’t know, I mean I understood your question, but I want to say it’s weird how when you travel around it’s just like, like this morning sitting in the bus and looking out the window and I said to the bus driver “where the fuck are we?” And he said “Massachusetts, we just entered the state of Massachusetts, why do you ask?” And I said “because it looks like Norway.” Like the trees and the surroundings of where we were driving at that very moment reminded me of Norway and I looked and thought it could be somewhere in Norway, so you have a lot of experiences like that, and when you go back and we’ve driven through like the mountains of Northern Spain and shit like that, that’s cool just to watch out the window, and every time we go by there I want to just listen to music and just watch the landscape, but as far as favorite cities to play in, Milan, Satyricon has a really strong standing in Italy, especially in Milan, and they are beyond belief passionate about it, it’s like a religion to them, and I love that. Being a band from Oslo and being a big band from Norway, for us to play in our hometown is great, it means a lot to us and we always get a really good reception, so I really love playing Oslo.
US: If you were going to cook me a Norwegian dinner made of your favorite Norwegian food, what would you cook for me?
Satyr: Well I am a lousy cook (laughter) so I guess I couldn’t make you anything, but there’s a few dishes in Norway that are highly unusual shit, like sheep’s brain, so if someone told me how to make it for you I would probably want to give you something exotic like that. I think I would rather instead of making you a meal from Norway I would like to show you some cool places in Norway.
US: What would be your first pick of places I would need to see if I traveled to Norway?
Satyr: I think for just architecture and style, a place called Buskerud (I think that’s what he said) it’s like traveling into another time zone or like just going hundreds of years back in time, or another county called Sogn og Fjordane which is like you don’t believe it, it’s not for real. You go there and you see the mountains and the fjords and the valleys and the first time I was there was maybe six or seven years ago and fuck, it looks like someone came up with an idea and they built a dream landscape, you’re just like “is this for real?” It’s just some place, Norway has a very dramatic landscape in certain counties which are breathtaking.
US: Who would you say some of your influences are?
Satyr: Musically, my influences are my own mind and soul and that’s the best answer I can give, because I don’t listen to other bands when making music. I’m making music based on my experiences as a song writer and trying to make what I like listening to, and I think the reason why Satyricon is a band that is doing well is because we don’t sound like a band that is inspired by other bands, we have our own style.
US: What would your dream tour be?
Satyr: Well can I include bands that don’t play live or bands that don’t exist anymore?
US: Yes, of course.
Satyr: Well then I think my dream tour would be two legendary black metal bands, Dark Throne and Bathory and Celtic Frost from Switzerland and Satyricon, a four band bill. I think that would be my all time dream tour.
US: What do you do to keep busy on the road?
Satyr: Talk with people like you, play shows, that’s just what it’s about. That’s just what it’s all about, you do interviews… playing is not only about the actual, when you are on stage, it’s just getting prepared and the whole thing after, I don’t know, I feel like as far as playing the show it’s everything before, during and after is just so time consuming, and it takes so much out of me energy-wise that the rest of the time I don’t go much site seeing, I just try to save my energy. Sometimes if I come to a place where I know there is something I really, really want to see, but I don’t go looking for stuff, like maybe there is something interesting here. But whenever I go to Paris I always make it to the catacombs, it’s like a subterranean graveyard and it’s insane, and I always want to see that even though I’ve been there several times, and when I go to Milan I like to go to the castle or the torture museum, stuff like that is very interesting, and I like to check out just certain, like the first time we played New York I obviously wanted to go see the World Trade Center and stuff like that, it’s just one of those things you’re supposed to check out, but for me it’s very much about maybe reading a good book or listening to music or just sleeping and trying to save your energy.
US: What keeps you motivated on the days you’re sick and just don’t feel like playing?
Satyr: Those moments where I realize why I am doing it. For example, recording the video for “Fuel For Hatred” with Jonas Akerlund, which is one of the worlds best video directors, having worked with Ozzy Osborne, Metallica, Prodigy and all the things that he’s done, I’m just a big fan of his work and I get to work with him, and it was just 10 times better then I could ever imagine, and I thought it was going to be great and it was just like, and the moments like that where everything is working and you’re just making great stuff together I just say “this is why I am doing this.” And every once in a while, you have moments like that, or you know, we when we play, like the last song we played today is just a black metal classic and the whole middle section of the crowd will sing the guitar melody so loud that it’s like I can’t hear the guitars because they’re singing, and then you’re just like goose bumps and what the fuck, I’m paralyzed, and those are the moments that fuel and just gives you energy, and I guess when you feel like this sucks and why the fuck am I doing this and is it worth it with all this shit that you face all the time, and you just have to focus on the good moments and the moments that make you realize “this is why I am doing this.” This is great.
US: How would you sell your album “Volcano” to someone who has never heard of Satyricon before?
Satyr: I would describe it as a very atmospheric record, very dark, but also as I said earlier in the interview with a lot of directness and aggression and power, and it’s definitely, I think of black metal being a very extreme version of rock music, and I think in “Volcano,” you can definitely tell that black metal is a very extreme version of rock music, because that is the foundation, and we move on from there. So that gives you a little bit of an idea about it, but the best thing is always listening to the music instead of trying to explain it.
US: Any last comments?
Satyr: Since Satyricon is so new to so many people, we made a tailor made website now for the American market, and it is pretty much just Satyricon.no is our official website, but we haven’t had so much background information about the band since most people know us in Europe, but this is more tailor made for the American market, so that is the best source for the best and most correct information for what Satyricon is all about.
US: Thanks to Satyr for taking the time to do the interview and to Jensen at Adrenaline PR for setting it up. Satryicon’s album “Volcano” is in stores now.
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◆出所：
「Crave Magazine」
【http://www.portlandmusicians.com/crave/2004/06/satyricon_interview.shtml】
◆本文：
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Interview with Satyr of Satyricon
By Marc Halverson & Robin Steeley
Norway' s black metal band Satyricon has been unleashing their brand of music for more then a decade. Through the years, they have had a major influence on the changing world of dark metal. Since 2003 the bands album "Volcano" has won a number of major awards and has gone on to be one of the most successful black metal albums ever. It is currently at #2 on the Norwegian charts and is the best selling black metal album of all time in Norway' s burgeoning music scene. It is currently available in the US under Daron Malakian' s (System of a Down) new Columbia Records imprint label, eatURmusic and is currently rapidly climbing the US metal charts.
Before Satyricon' s recent show in Portland, Oregon, we got a moment to speak with Satyr who is lead vocalist, songwriter, and producer of the legendary band.
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Crave: The band was founded in 1992, How did the beginning come about?
Satyr: Well I guess the most interesting thing is how the band started and we came together just as a group of people who wanted to play extreme metal music that met up in the end of 91' , and me and one of the guitar players at the time decided that we wanted to play in a Black Metal direction and thus we became Satyricon. We did a couple of demos, and then started releasing records.
Crave: So how did you come up with the name Satyricon?
Satyr: It' s a combination of two words, Satyr that means demon of nature, and icon, which is god of nature in Greek mythology.
Crave: I read that you guys have five studio albums, can you tell me what the difference is between say Volcano and your first album? What would you say the differences are maybe as far as maturity or growth and direction?
Satyr: Oh about ten years! Back then the song writing material was so different, we were just reaching in more directions than it is now and it' s a little bit more focused and cult somehow. I think that it' s a lot more mature and solid, but there' s also something really cool about the earlier records of youthfulness, eagerness and innocence that you can hear in the bands sound, so I like what they are. I am obviously happier with our new stuff, especially Volcano.
Crave: So describe how it is touring with Morbid Angel and Suffocation?
Satyr: It' s a good tour. We are lucky enough to be out there with one of my favorite bands, Morbid Angel and I think we' re here at the right time as well. I think what we' re seeing in especially some of the bigger territories is that Black Metal is shown its own horizon in America and we' re here at the right time and we' re also planning to stay and come back. Possibly do a headlining tour the last three weeks of July and then do some bigger support tours in the fall. So we' ve had some really good shows this tour in Chicago, and New York Massachusetts and Seattle yesterday, it was my kind of show.
Crave: Describe a day off, what do you like to do when you' re not on tour?
Satyr: Days off are just basically travel days at this point so watching movies and stuff like that. I don' t know, nothing exciting really.
Crave: What albums do you listen to? What do you think of the music scene right now?
Satyr: I think that there are some interesting new prospects in Black Metal like Discipline from Norway. It' s a really exciting band that' s probably gonna be like one of the big Black Metal bands in the future I think. I listen to everything from hard rock and Black Metal, Death Metal, thrash metal, all the way too contemporary rock and even some electronica.
Crave: What do you think of Pantera? What do you think happened to them?
Satyr: Well I' m friends with Phillip Anselmo and he' s a very charismatic person that I have the utmost respect for and he' s a very good musician. I think he needed to like move on, that was his thing. I also really like Rex, he' s very nice, and as I said, I' m good friends with Phillip, but on a more like social level I didn' t know the brothers really but I think they' re really good musicians. Vinnie Paul is a great drummer and Dime is an awesome guitar player and together they' re really tight so....
Crave: What passions interest you, like outside of music? What do you like to do?
Satyr: I like being in nature. I always have. There are a lot of interesting things to see in Norwegian nature aside from predators. I mean it's very inspiring, so I like being in nature I' m more interested in like daily life. I also like racing, soccer, stuff like that.
Crave: What happened to Premonitions Of War?
Satyr: I think their band broke up, but I think they' re gonna hook up for the rest of the tour probably in San Francisco tomorrow.
Crave: What are some of the major influences in music?
Satyr: I really like Slayer, and one record that is very mind-blowing which has a lot of the same kind of emotions that I' m looking for when I listen to black metal music is Massive Attack. It' s very different.
Crave: Do you have a wife or girlfriend back home? Is it hard to be on tour and away from your friends and family?
Satyr: I' m usually traveling a lot and you know my family and friends back home, they' re also used to me being away a lot. That' s just part of what my life is about.
Crave: If you were headlining who would be your ultimate choice of bands to tour with?
Satyr: The ultimate choice would be some of the best bands of all time, it would probably be maybe Satyricon, Celtic Frost, Dark Throne, and Bathory together.
Crave: So you and Frost are the main founders of Satyricon?
Satyr: Yeah the core of the band. But he couldn't be here so It' s Trym from Emperor that filled in for him on this tour.
Crave: I had never even seen you guys live. I was totally impressed. Double kick drums were really sick. I grew up on Pantera, Biohazard, Hatebreed, and Sepultura so it' s new music to me but I really like it.
Satyr: Well imagine someone like Phillip being such a big fan of Satyricon, ya know, and you liking his music.
Crave: Phil Anselmo' s a big fan? Didn' t you tour with Pantera at one time?
Satyr: Oh yeah we did in like the year 2000. It was a good tour.
Crave: That' s pretty sweet. I do wish you guys well, good luck with the rest of Satyricon. Thanks so much for your time.
Transcription of the tape by Karen Eide.
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#N/A
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「Crave Magazine」
【http://www.portlandmusicians.com/crave/2004/06/satyricon_interview.shtml】
◆本文：
−−−ヘッダ開始−−−
Interview with Satyr of Satyricon
By Marc Halverson & Robin Steeley
Norway' s black metal band Satyricon has been unleashing their brand of music for more then a decade. Through the years, they have had a major influence on the changing world of dark metal. Since 2003 the bands album "Volcano" has won a number of major awards and has gone on to be one of the most successful black metal albums ever. It is currently at #2 on the Norwegian charts and is the best selling black metal album of all time in Norway' s burgeoning music scene. It is currently available in the US under Daron Malakian' s (System of a Down) new Columbia Records imprint label, eatURmusic and is currently rapidly climbing the US metal charts.
Before Satyricon' s recent show in Portland, Oregon, we got a moment to speak with Satyr who is lead vocalist, songwriter, and producer of the legendary band.
−−−ヘッダ終了−−−
−−−本文開始−−−
Crave: The band was founded in 1992, How did the beginning come about?
Satyr: Well I guess the most interesting thing is how the band started and we came together just as a group of people who wanted to play extreme metal music that met up in the end of 91' , and me and one of the guitar players at the time decided that we wanted to play in a Black Metal direction and thus we became Satyricon. We did a couple of demos, and then started releasing records.
Crave: So how did you come up with the name Satyricon?
Satyr: It' s a combination of two words, Satyr that means demon of nature, and icon, which is god of nature in Greek mythology.
Crave: I read that you guys have five studio albums, can you tell me what the difference is between say Volcano and your first album? What would you say the differences are maybe as far as maturity or growth and direction?
Satyr: Oh about ten years! Back then the song writing material was so different, we were just reaching in more directions than it is now and it' s a little bit more focused and cult somehow. I think that it' s a lot more mature and solid, but there' s also something really cool about the earlier records of youthfulness, eagerness and innocence that you can hear in the bands sound, so I like what they are. I am obviously happier with our new stuff, especially Volcano.
Crave: So describe how it is touring with Morbid Angel and Suffocation?
Satyr: It' s a good tour. We are lucky enough to be out there with one of my favorite bands, Morbid Angel and I think we' re here at the right time as well. I think what we' re seeing in especially some of the bigger territories is that Black Metal is shown its own horizon in America and we' re here at the right time and we' re also planning to stay and come back. Possibly do a headlining tour the last three weeks of July and then do some bigger support tours in the fall. So we' ve had some really good shows this tour in Chicago, and New York Massachusetts and Seattle yesterday, it was my kind of show.
Crave: Describe a day off, what do you like to do when you' re not on tour?
Satyr: Days off are just basically travel days at this point so watching movies and stuff like that. I don' t know, nothing exciting really.
Crave: What albums do you listen to? What do you think of the music scene right now?
Satyr: I think that there are some interesting new prospects in Black Metal like Discipline from Norway. It' s a really exciting band that' s probably gonna be like one of the big Black Metal bands in the future I think. I listen to everything from hard rock and Black Metal, Death Metal, thrash metal, all the way too contemporary rock and even some electronica.
Crave: What do you think of Pantera? What do you think happened to them?
Satyr: Well I' m friends with Phillip Anselmo and he' s a very charismatic person that I have the utmost respect for and he' s a very good musician. I think he needed to like move on, that was his thing. I also really like Rex, he' s very nice, and as I said, I' m good friends with Phillip, but on a more like social level I didn' t know the brothers really but I think they' re really good musicians. Vinnie Paul is a great drummer and Dime is an awesome guitar player and together they' re really tight so....
Crave: What passions interest you, like outside of music? What do you like to do?
Satyr: I like being in nature. I always have. There are a lot of interesting things to see in Norwegian nature aside from predators. I mean it's very inspiring, so I like being in nature I' m more interested in like daily life. I also like racing, soccer, stuff like that.
Crave: What happened to Premonitions Of War?
Satyr: I think their band broke up, but I think they' re gonna hook up for the rest of the tour probably in San Francisco tomorrow.
Crave: What are some of the major influences in music?
Satyr: I really like Slayer, and one record that is very mind-blowing which has a lot of the same kind of emotions that I' m looking for when I listen to black metal music is Massive Attack. It' s very different.
Crave: Do you have a wife or girlfriend back home? Is it hard to be on tour and away from your friends and family?
Satyr: I' m usually traveling a lot and you know my family and friends back home, they' re also used to me being away a lot. That' s just part of what my life is about.
Crave: If you were headlining who would be your ultimate choice of bands to tour with?
Satyr: The ultimate choice would be some of the best bands of all time, it would probably be maybe Satyricon, Celtic Frost, Dark Throne, and Bathory together.
Crave: So you and Frost are the main founders of Satyricon?
Satyr: Yeah the core of the band. But he couldn't be here so It' s Trym from Emperor that filled in for him on this tour.
Crave: I had never even seen you guys live. I was totally impressed. Double kick drums were really sick. I grew up on Pantera, Biohazard, Hatebreed, and Sepultura so it' s new music to me but I really like it.
Satyr: Well imagine someone like Phillip being such a big fan of Satyricon, ya know, and you liking his music.
Crave: Phil Anselmo' s a big fan? Didn' t you tour with Pantera at one time?
Satyr: Oh yeah we did in like the year 2000. It was a good tour.
Crave: That' s pretty sweet. I do wish you guys well, good luck with the rest of Satyricon. Thanks so much for your time.
Transcription of the tape by Karen Eide.
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◆出所：
「AllThingsMetal.net」
【http://www.allthingsmetal.net/bands/interviews/satyriconi.html】
◆本文：
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Band: Satyricon
Interviewer: MetalChris
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Interview:
MetalChris: First off Frost, it is an honor to be interviewing you. I have been listening to your music for years and I want to congratulate you on the success of the latest CD, "Volcano". It is nice to see you guys finally getting the push, in the States, that you deserve. It must feel good to have a label that believes in your music and is doing their best to reach as many people, as possible.You have put out some of the most respected and influential albums in Black Metal history. Do you ever think to yourself, "Shit, how are we going to top "Nemesis Divina""? (laughs)
Frost: That kind of pressure which you refer to is absolutely there, and I guess Satyr as the creative brain feels that to a larger extent than me. It' s a necessity to go beyond one' s previous works. But up till now we have managed (in my opinion we did for instance top "Nemesis Divina" BIG TIME with "Rebel Extravaganza" and then even more so with "Volcano"), and we will do that again. Pressure can indeed be a good thing, pushing you further, as long as the destructive aspect of it doesn' t overshadow the constructive.
MetalChris: I must say the new CD is excellent! "Volcano" flows nicely and has many different textures. From "BLACK METAL ROCK N ROLL", "FUEL FOR HATRED". "REPINED BASTARD NATION", "TURE NORWEGIAN BLACK METAL", "MENTAL MERCURY". to the awe inspiring Darkthroneish epic closer "BLACK LAVA." This CD has a lot going on and is a CD you can listen to again and again. It never gets boring! "BLACK LAVA" is my favorite song on the CD. Can you pick out a favorite or favorites, any song in particular, when you were playing it back in the studio and said to yourself "Fuck yea, that is fucking brilliant!"?
Frost: My favourite songs are "Mental Mercury" and "Repined Bastard Nation", and it was those two songs that gave me the greatest kick while recording as well. They are both extremely intense and powerful songs, filled to the brim with darkness and some kind of splendour that is somehow difficult to describe, but which I feel is particularly present on the Volcano album.
MetalChris: I was disappointed that the tour you did recently, with Morbid Angel, didn' t come to St. Louis. How did the tour go? Any wild stories from the road and do you enjoy touring in the States?
Frost: Fuck. You can' t imagine how much I wanted to go on that tour. Still I am very happy that Trym could go in my place, so that the tour became a reality at all. The tour was a huge success, if you look away from the more practical situation the band had to deal with. Wild stories? Nah, I' ve heard a few, but feel no need to broadcast them.
MetalChris: I am excited, as hell, that you are going to be doing a headlining tour in the States and are playing St. Louis (yes). What is the set list going to be like? Are you going to concentrate mostly on newer material, or play material from all eras, of the bands career?
Frost: The material is picked from the entire career. Obviously there will be a focus on the Volcano material, but every album is represented.
MetalChris: What is the story on you not being able to get into the States to tour? Joey, from Slipknot, is going to handle the drumming on the tour, correct? Good choice! I saw Slipknot, at Ozzfest, and they tore it up. A great live band. How did you hook up with Joey?
Frost: I have a criminal record and am therefore denied a work visa in the U.S. The case which it all stems from is ten years old, but you know how strict things are these days. We have tried REALLY hard to get me in, but we didn' t succeed in the first round. Perhaps we' ll make it later. Anyway, Joey is going to do a good job. His attitude is very good, and so are his skills. I' m really happy he can do the tour, and I guess he is too. Joey has been a friend of Satyr for quite a while and is a dedicated fan of Satyricon, so asking him to do the job I am hindered from doing was an obvious thing.
MetalChris: We get a lot of great Death Metal shows, in St. Louis, but we need more Black Metal. Other than Immortal, Dimmu Borgir, and occasionally Mayhem, most Norwegian bands don' t want to tour. Any idea why that is and how cool would a tour be of Satyricon and Darkthrone?
Frost: I guess you can' t just go over to the U.S. and tour. It' s fucking expensive, and you need some financial support if you are to do any stateside touring activity at all. That weeds out most of the smaller bands, I suppose. Then Black Metal hasn' t really been a big thing in the U.S. up till now, which have further contributed to make U.S. tours an economic jeopardy. The situation seems to change, luckily. Black Metal is gaining ground, and the resulting effect will probably be that more Norwegian bands come over to tour. However, hoping to see Darkthrone on tour is futile wishthinking, I' m afraid.
MetalChris: Speaking of Darkthrone, the song "BLACK LAVA" mentions Black Metal 1990-1995 in the lyrics. On the last Darkthrone CD, on the song "RUST", they mention early Black Metal. In retrospect, how do you look back on those early days now? Did you know Dead and Euronymous? I know many people are fascinated by Norwegian Black Metal 1990-1995, so to speak. You have the unique insight of being there, all I know is what I read from the book "The Bloody Rise of the Satanic Metal Underground". What can you tell us about those hallowed days of old, when the churches were on fire in Norway, and christianity was exposed for what it was (a complete fraud)?
Frost: Black Metal as a whole, as a phenomenon, was something extreme and exciting in the early nineties. Every new (Norwegian) BM album was a milestone; I remember looking forward to the releases with a kind of excitement and enthusiasm I can hardly feel now. And the BM movement itself. it had such a dark and weird atmosphere. It is my opinion today that my understanding of what was going on was very shallow at the time, but I did nonetheless feel that special atmosphere and was marked by it, which I am glad that I had the opportunity to. Whether Christianity was suffering any serious injuries as a result of the church fires, now that' s a different question. Rather to the contrary, I suppose. But the burning churches for sure provided some strong symbols and images.
MetalChris: One Last thing about the early days. You guys were all so young when you were creating this music we all worship now. Which is, of course, "True Norwegian Black Metal". Did you have any idea, at the time, that the music you were creating would forever change the underground Heavy Metal scene as we knew it and create a whole new sub-genre of extreme metal? Or were you just tearing it up and rolling with the punches and getting in trouble? (laughs)
Frost: We were ambitious as hell from the start, but we had no idea it would get this far. And it' s going further still! What we knew in the early days was that we had the will and potential to be a spearhead in the Black Metal genre, but we couldn' t conceive of the possibility that Black Metal itself would expand to such an extent that it has now.
MetalChris: What do you think about the Black Metal scene in Norway now? I like your other band 1349. Carpathian Forest is still great and the new Mayhem is excellent. Do you think Norwegian Black Metal is on the upswing again? Are there any new up and coming Black metal bands that you like?
Frost: The Norwegian BM scene is still strong as hell! Don' t be fooled by all the worthless releases that are categorized as Black Metal but which are either not Black Metal at all or completely lacking quality. I' d say there are as many, or more, good bands now as there were 10-12 years back. It' s only the RATE of good bands/ albums that is smaller, since BM (or "BM") releases are being spewed out on the market with continuously increasing frequency. Yes, the bands you mentioned are great ones; Satyricon is better than ever, the forthcoming Aura Noir album is a jewel, Gorgoroth stands strong (the next album will be great!), Disiplin gets better and better and there are more obscure acts like Orcustus and Furze that breeds Darkness of the very finest quality. The forthcoming Gehenna album is fantastic (and pure BM this time), and you can expect top notch releases by for instance D・heimsgard and Keep of Kalessin in the foreseeable future. And there' s more.
MetalChris: The metal scene, in the States, seems to be on the upswing with many great new bands coming out. Who are some of your favorite bands in the States? Are you influenced, at all, by any of the newer bands?
Frost: I haven' t had the opportunity to hear any of the later American releases. I personally like Possessed, Slayer (three first albums), Dark Angel, Death (demos + first album), Von, Necrophagia and Necrovore to mention a few. Thornspawn is band that may have gotten somewhere, I remember that an old demo of that band was quite promising.
MetalChris: The video, for "FUEL FOR HATRED", is great! Do you enjoy making videos or is it a pain in the ass? Any cool, sleazy stories from the video shoot?
Frost: Making the video was really exhausting, but also very inspiring and rewarding. Not to mention the highly satisfying outcome! I am extremely content with that video and how well it is done. We all are! Hmmm.you want sleazy stories again? Perhaps we' ll write a biographic book one day. It would be wrong to reveal the juicy details now.
MetalChris: You have had a long and successful career in this business. We have 3 great Black Metal bands in the St. Louis area (Harkonin, Aminion, and Emaciation) who all cite Satyricon as a major influence (and are jealous I am doing this interview right now) - (laughs) What advice would you give to up and coming bands? What has been the key to the longevity of Satyricon, when so many other great Norwegian Black Metal Bands have come and gone?
Frost: We are into this because we have a deep passion for it. That has got to be the key element. We are highly conscious about what we are doing, that' s another important thing. We don' t let coincidence or external forces lead us as far as Satyricon goes; when we do something it is a result of our own will, whether we speak of the music itself, cover lay-out, visual presentation, lyrics or any other band related issue. We have total control. We have clear visions, and we have the will to fulfil them, to improve and develop as needed, to get in connection with the right people that can help us reaching our goals. And we NEVER copy anyone - ourselves included. Stagnation is death.
MetalChris: Ok, Frost thanks for taking time out of your busy schedule, to do this interview with us here at AllThingsMetal.net. I will see Satyricon unleash hell, December 11th, at Pops in Sauget, IL. You heard it right here, folks! December 11th, at Pops. Finally, Satyricon, LIVE spreading the evil in our own backyard. Okay, Frost, please feel free to close the interview out any way you want...
Frost: Hail to all those that support Satyricon in the U.S.! Never accept the mediocre; if you want Black Metal go for the REAL Darkness. Time' s out for quasi "BM", weed out the worthless shit NOW while Black Metal is planting it' s roots.
MetalChris: Enclosing, I want to thank "Lord Kirby Ray", of the mighty Emaciation, for his input on this interview and thank you Jennifer, of AllThingsMetal.net, for letting me interview one of my favorite bands of all time - Satyricon! I also want to send hails out to the guys in Harkonin, Aminion and Emaciation for keeping black metal alive and well in the great city of St. Louis. The Underground will rise indeed!
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「AllThingsMetal.net」
【http://www.allthingsmetal.net/bands/interviews/satyriconi.html】
◆本文：
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Band: Satyricon
Interviewer: MetalChris
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Interview:
MetalChris: First off Frost, it is an honor to be interviewing you. I have been listening to your music for years and I want to congratulate you on the success of the latest CD, "Volcano". It is nice to see you guys finally getting the push, in the States, that you deserve. It must feel good to have a label that believes in your music and is doing their best to reach as many people, as possible.You have put out some of the most respected and influential albums in Black Metal history. Do you ever think to yourself, "Shit, how are we going to top "Nemesis Divina""? (laughs)
Frost: That kind of pressure which you refer to is absolutely there, and I guess Satyr as the creative brain feels that to a larger extent than me. It' s a necessity to go beyond one' s previous works. But up till now we have managed (in my opinion we did for instance top "Nemesis Divina" BIG TIME with "Rebel Extravaganza" and then even more so with "Volcano"), and we will do that again. Pressure can indeed be a good thing, pushing you further, as long as the destructive aspect of it doesn' t overshadow the constructive.
MetalChris: I must say the new CD is excellent! "Volcano" flows nicely and has many different textures. From "BLACK METAL ROCK N ROLL", "FUEL FOR HATRED". "REPINED BASTARD NATION", "TURE NORWEGIAN BLACK METAL", "MENTAL MERCURY". to the awe inspiring Darkthroneish epic closer "BLACK LAVA." This CD has a lot going on and is a CD you can listen to again and again. It never gets boring! "BLACK LAVA" is my favorite song on the CD. Can you pick out a favorite or favorites, any song in particular, when you were playing it back in the studio and said to yourself "Fuck yea, that is fucking brilliant!"?
Frost: My favourite songs are "Mental Mercury" and "Repined Bastard Nation", and it was those two songs that gave me the greatest kick while recording as well. They are both extremely intense and powerful songs, filled to the brim with darkness and some kind of splendour that is somehow difficult to describe, but which I feel is particularly present on the Volcano album.
MetalChris: I was disappointed that the tour you did recently, with Morbid Angel, didn' t come to St. Louis. How did the tour go? Any wild stories from the road and do you enjoy touring in the States?
Frost: Fuck. You can' t imagine how much I wanted to go on that tour. Still I am very happy that Trym could go in my place, so that the tour became a reality at all. The tour was a huge success, if you look away from the more practical situation the band had to deal with. Wild stories? Nah, I' ve heard a few, but feel no need to broadcast them.
MetalChris: I am excited, as hell, that you are going to be doing a headlining tour in the States and are playing St. Louis (yes). What is the set list going to be like? Are you going to concentrate mostly on newer material, or play material from all eras, of the bands career?
Frost: The material is picked from the entire career. Obviously there will be a focus on the Volcano material, but every album is represented.
MetalChris: What is the story on you not being able to get into the States to tour? Joey, from Slipknot, is going to handle the drumming on the tour, correct? Good choice! I saw Slipknot, at Ozzfest, and they tore it up. A great live band. How did you hook up with Joey?
Frost: I have a criminal record and am therefore denied a work visa in the U.S. The case which it all stems from is ten years old, but you know how strict things are these days. We have tried REALLY hard to get me in, but we didn' t succeed in the first round. Perhaps we' ll make it later. Anyway, Joey is going to do a good job. His attitude is very good, and so are his skills. I' m really happy he can do the tour, and I guess he is too. Joey has been a friend of Satyr for quite a while and is a dedicated fan of Satyricon, so asking him to do the job I am hindered from doing was an obvious thing.
MetalChris: We get a lot of great Death Metal shows, in St. Louis, but we need more Black Metal. Other than Immortal, Dimmu Borgir, and occasionally Mayhem, most Norwegian bands don' t want to tour. Any idea why that is and how cool would a tour be of Satyricon and Darkthrone?
Frost: I guess you can' t just go over to the U.S. and tour. It' s fucking expensive, and you need some financial support if you are to do any stateside touring activity at all. That weeds out most of the smaller bands, I suppose. Then Black Metal hasn' t really been a big thing in the U.S. up till now, which have further contributed to make U.S. tours an economic jeopardy. The situation seems to change, luckily. Black Metal is gaining ground, and the resulting effect will probably be that more Norwegian bands come over to tour. However, hoping to see Darkthrone on tour is futile wishthinking, I' m afraid.
MetalChris: Speaking of Darkthrone, the song "BLACK LAVA" mentions Black Metal 1990-1995 in the lyrics. On the last Darkthrone CD, on the song "RUST", they mention early Black Metal. In retrospect, how do you look back on those early days now? Did you know Dead and Euronymous? I know many people are fascinated by Norwegian Black Metal 1990-1995, so to speak. You have the unique insight of being there, all I know is what I read from the book "The Bloody Rise of the Satanic Metal Underground". What can you tell us about those hallowed days of old, when the churches were on fire in Norway, and christianity was exposed for what it was (a complete fraud)?
Frost: Black Metal as a whole, as a phenomenon, was something extreme and exciting in the early nineties. Every new (Norwegian) BM album was a milestone; I remember looking forward to the releases with a kind of excitement and enthusiasm I can hardly feel now. And the BM movement itself. it had such a dark and weird atmosphere. It is my opinion today that my understanding of what was going on was very shallow at the time, but I did nonetheless feel that special atmosphere and was marked by it, which I am glad that I had the opportunity to. Whether Christianity was suffering any serious injuries as a result of the church fires, now that' s a different question. Rather to the contrary, I suppose. But the burning churches for sure provided some strong symbols and images.
MetalChris: One Last thing about the early days. You guys were all so young when you were creating this music we all worship now. Which is, of course, "True Norwegian Black Metal". Did you have any idea, at the time, that the music you were creating would forever change the underground Heavy Metal scene as we knew it and create a whole new sub-genre of extreme metal? Or were you just tearing it up and rolling with the punches and getting in trouble? (laughs)
Frost: We were ambitious as hell from the start, but we had no idea it would get this far. And it' s going further still! What we knew in the early days was that we had the will and potential to be a spearhead in the Black Metal genre, but we couldn' t conceive of the possibility that Black Metal itself would expand to such an extent that it has now.
MetalChris: What do you think about the Black Metal scene in Norway now? I like your other band 1349. Carpathian Forest is still great and the new Mayhem is excellent. Do you think Norwegian Black Metal is on the upswing again? Are there any new up and coming Black metal bands that you like?
Frost: The Norwegian BM scene is still strong as hell! Don' t be fooled by all the worthless releases that are categorized as Black Metal but which are either not Black Metal at all or completely lacking quality. I' d say there are as many, or more, good bands now as there were 10-12 years back. It' s only the RATE of good bands/ albums that is smaller, since BM (or "BM") releases are being spewed out on the market with continuously increasing frequency. Yes, the bands you mentioned are great ones; Satyricon is better than ever, the forthcoming Aura Noir album is a jewel, Gorgoroth stands strong (the next album will be great!), Disiplin gets better and better and there are more obscure acts like Orcustus and Furze that breeds Darkness of the very finest quality. The forthcoming Gehenna album is fantastic (and pure BM this time), and you can expect top notch releases by for instance D・heimsgard and Keep of Kalessin in the foreseeable future. And there' s more.
MetalChris: The metal scene, in the States, seems to be on the upswing with many great new bands coming out. Who are some of your favorite bands in the States? Are you influenced, at all, by any of the newer bands?
Frost: I haven' t had the opportunity to hear any of the later American releases. I personally like Possessed, Slayer (three first albums), Dark Angel, Death (demos + first album), Von, Necrophagia and Necrovore to mention a few. Thornspawn is band that may have gotten somewhere, I remember that an old demo of that band was quite promising.
MetalChris: The video, for "FUEL FOR HATRED", is great! Do you enjoy making videos or is it a pain in the ass? Any cool, sleazy stories from the video shoot?
Frost: Making the video was really exhausting, but also very inspiring and rewarding. Not to mention the highly satisfying outcome! I am extremely content with that video and how well it is done. We all are! Hmmm.you want sleazy stories again? Perhaps we' ll write a biographic book one day. It would be wrong to reveal the juicy details now.
MetalChris: You have had a long and successful career in this business. We have 3 great Black Metal bands in the St. Louis area (Harkonin, Aminion, and Emaciation) who all cite Satyricon as a major influence (and are jealous I am doing this interview right now) - (laughs) What advice would you give to up and coming bands? What has been the key to the longevity of Satyricon, when so many other great Norwegian Black Metal Bands have come and gone?
Frost: We are into this because we have a deep passion for it. That has got to be the key element. We are highly conscious about what we are doing, that' s another important thing. We don' t let coincidence or external forces lead us as far as Satyricon goes; when we do something it is a result of our own will, whether we speak of the music itself, cover lay-out, visual presentation, lyrics or any other band related issue. We have total control. We have clear visions, and we have the will to fulfil them, to improve and develop as needed, to get in connection with the right people that can help us reaching our goals. And we NEVER copy anyone - ourselves included. Stagnation is death.
MetalChris: Ok, Frost thanks for taking time out of your busy schedule, to do this interview with us here at AllThingsMetal.net. I will see Satyricon unleash hell, December 11th, at Pops in Sauget, IL. You heard it right here, folks! December 11th, at Pops. Finally, Satyricon, LIVE spreading the evil in our own backyard. Okay, Frost, please feel free to close the interview out any way you want...
Frost: Hail to all those that support Satyricon in the U.S.! Never accept the mediocre; if you want Black Metal go for the REAL Darkness. Time' s out for quasi "BM", weed out the worthless shit NOW while Black Metal is planting it' s roots.
MetalChris: Enclosing, I want to thank "Lord Kirby Ray", of the mighty Emaciation, for his input on this interview and thank you Jennifer, of AllThingsMetal.net, for letting me interview one of my favorite bands of all time - Satyricon! I also want to send hails out to the guys in Harkonin, Aminion and Emaciation for keeping black metal alive and well in the great city of St. Louis. The Underground will rise indeed!
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◆出所
「Terrorizer」issue # 29
【http://members.tripod.com/~black_metal/satyricon/ndint.html】
◆本文
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"Satyricon - Dark Carnival"
One of the élite scene leaders in Norwegian Black Metal, Satyricon are the sound of the world turned upside down. Well, the medieval world, anyway. Satpal Kalsi is awoken by a highly opinionated Satyr and hears all about the trio' s third album "Nemesis Divina" and why Satyricon eschew politics for the wonders and emotions of place. With two highly acclaimed Black Metal albums and a split CD with Enslaved behind them, Norwegian trio Satyricon are on the verge of unleashing their next opus monumentus, "Nemesis Divina". Following on from last year' s "The Shadowthrone" and their debut "Dark Medieval Times", it' s undoubtedly a major release from one of the major bands in the Norwegian scene. Of course, sometimes, it' s actually very hard to know what being "a major band in the Norwegian scene" really means, simply because all these groups seem to put out so many other projects and albums. The fact that founding member Satyr also pieced together the Wongraven side-project and that a former member, Carl Michael, left for first Ulver and then Ved Buens Ende, probably doesn' t help matters, but the truth remains that Satyricon are definitely part of the muchmentioned élite. So élite, in fact, that Satyr decided to call me up at the witching hour of midnight Norwegian time to do this interview. Groggy with sleep, I talked to him about keeping ahead of the field as well as about his label Moonfog, through whose good offices the CD is released.
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Firstly, I should say I' m one of those people that always looks at the political side of things and had to get a few things off my chest - while giving the guy the benefit of my doubt. After all, we all know how dodgy some of these bands can get. His answer would decide the tone of my interview. We all know Black Metal is bassically a religious thing, championing the war against Christ and Christianity, but is Satyricon' s music about racial issues as well?
"Music is music," Satyr begins in a pleasant, laid-back tone. "It should be neither racial or religious. People are stupid. That simple - no matter how banal it sounds. People are stupid. Who are they to accuse us? They know nothing about the Viking heritage. Like the people from Germany - what do they know? Nothing. Stupid Germans. We really try to ignore that because it' s so much bullshit."
However, listening to Satyr talk about Norway, I did wonder about nationalism, if it can be called that. Are Satyricon nationalist?
"Politics is stupid, and all this stuff with immigration, it's not my concern. I'm a musician and like to be creative. I don' t want to think about things like that. So I wouldn' t say that. "
So the pride Satyr feels in Norway is not really to do with a crude xenophobia but is cultivated by a deep suspicion of the modern age. An age that marches forward at breackneck speed, in the process discarding society' s sense of Place and belonging.
"Sure. That' s why we are getting towards Armageddon, I believe. Things are going too fast and people forget about culture and heritage. They' re only obsessed by technology and getting one step ahead all the time. Of course, that can be helpful, but in the end it will fall back on ourselves. "
Anyone who has got a copy of "The Shadowthrone" will not fail to see the constant reference to landscapes - or more importantly Norwegian landscapes in state of primeval energy - fuelled by twilight's glimmer and the fading rays of Sol. Satyricon are all about such a landscape and such a sence of place.
"We do have a Viking heritage. I myself feel a very strong relationship to that. We do have a very interesting history and culture which we could have learned a lot from. Due to Christianity we can' t because it rules the country. Christianity is against the laws of Nature. That' s why nothing works here. We're not a political band, but you' ve got to have one goal at a time, because it would not be realistic to get rid of Christianity. I won' t live that long anyway. At least I' ve contributed to the War. Since we' re in a leading position with three or four other bands, we do have a lot of influence, but we don' t take violent action."
Their video, for the song "Mother North" (of the "Nemesis Divina" CD) is their visual; testament to Norway.
"First of all, this mediaval thing we' re brought into the music, into Black Metal - no one did that before, so we' re quite proud of that. Secondly, we try to use elements both in the melody and the lyrics that have a relationship to the country we come from and our culture. Well, there are hundreds of bands that do that today, but when we started with the thing [their second demo from 1995, "The Forest Is My Throne", is released as a split CD with Enslaved] no one did it. We started a trend, but whether it' s positive or negative, I don' t know. But at least we were at the forefront. I'd like to say we' re extremely satisfied with the video. It turned out to be very good. It was shot on location in the forests, it was quite interesting to work in a way that tried to expres the music visually. We used elements like everything from landscape shots to a scene with this pretty girl, naked, with a very Norwegian, Nordic look symbolising the beauty of Norwegian nature. There' s fire breathing to the most grotesque scenes with blood and axes. We just tried to visualise the atmosphere of the song."
And how does the sound on the new CD "Nemesis Divina" differ from previous releases?
"Much harder, rougher, with more bass and more agressive mix."
Satyr feels that the atmospheric nature of today' s Black Metal has had its day. "Nemesis Divina" is released on Moonfog, a label which was germinated from Satyr' s values.
"Well, it was me who started Moonfog in the beginning of 1993 with the cooperation of Tatra Productions which is a veteran élite label here in Norway. I felt we needed an élite label in Norway and now I set up a profile for the label and handled the design for the ads and all that; and together with another guy who works on the distribution and financial side. Tatra Productions take care of all that because I'm an artist not a businessman, so I don' t have the time to take care of all that. We have our eyes on all three bands. They are major bands, no? I would say they are among the best Black metal bands around. But Moonfog is not strictly a Black Metal label; we could release hard Trance today, Techno tomorrow, next day a Black Metal album [as will be happening with the new Dark Throne effort]. I don' t have any limits as long as it appeals to me."
Though embarking on a substantial European tour with Dissection and Gorgoroth, and with eyes set towards short stints in Japan and Australia, old Blighty is definitely a no no.
"It's hopeless in England. You either have to be an English band or a foreign band signed to an English label, because Englishmen are so conservative. Take, for example us and Immortal which sell a lot of albums in Europe, but in England we sell nothing. People here in Norway hate England... take Darkthrone: when they were signed to Peaceville they had interviews in "Metal Hammer" and everyone was so interested. When they signed to Moonfog no one wanted interviews."
Well, perhaps the English underground can prove him wrong. But fear not lads, England is not a total loss.
"Though we' re not very interested, we' ll try and watch a game with Liverpool from the Premier League."
Finally, I asked Satyr for a final statement for our fellow readers.
"Fuck your conservatism!" he says quite simply.
−−−本文終了−−−
「Terrorizer」issue # 29
【http://members.tripod.com/~black_metal/satyricon/ndint.html】
◆本文
−−−ヘッダ−−−
"Satyricon - Dark Carnival"
One of the élite scene leaders in Norwegian Black Metal, Satyricon are the sound of the world turned upside down. Well, the medieval world, anyway. Satpal Kalsi is awoken by a highly opinionated Satyr and hears all about the trio' s third album "Nemesis Divina" and why Satyricon eschew politics for the wonders and emotions of place. With two highly acclaimed Black Metal albums and a split CD with Enslaved behind them, Norwegian trio Satyricon are on the verge of unleashing their next opus monumentus, "Nemesis Divina". Following on from last year' s "The Shadowthrone" and their debut "Dark Medieval Times", it' s undoubtedly a major release from one of the major bands in the Norwegian scene. Of course, sometimes, it' s actually very hard to know what being "a major band in the Norwegian scene" really means, simply because all these groups seem to put out so many other projects and albums. The fact that founding member Satyr also pieced together the Wongraven side-project and that a former member, Carl Michael, left for first Ulver and then Ved Buens Ende, probably doesn' t help matters, but the truth remains that Satyricon are definitely part of the muchmentioned élite. So élite, in fact, that Satyr decided to call me up at the witching hour of midnight Norwegian time to do this interview. Groggy with sleep, I talked to him about keeping ahead of the field as well as about his label Moonfog, through whose good offices the CD is released.
−−−本文開始−−−
Firstly, I should say I' m one of those people that always looks at the political side of things and had to get a few things off my chest - while giving the guy the benefit of my doubt. After all, we all know how dodgy some of these bands can get. His answer would decide the tone of my interview. We all know Black Metal is bassically a religious thing, championing the war against Christ and Christianity, but is Satyricon' s music about racial issues as well?
"Music is music," Satyr begins in a pleasant, laid-back tone. "It should be neither racial or religious. People are stupid. That simple - no matter how banal it sounds. People are stupid. Who are they to accuse us? They know nothing about the Viking heritage. Like the people from Germany - what do they know? Nothing. Stupid Germans. We really try to ignore that because it' s so much bullshit."
However, listening to Satyr talk about Norway, I did wonder about nationalism, if it can be called that. Are Satyricon nationalist?
"Politics is stupid, and all this stuff with immigration, it's not my concern. I'm a musician and like to be creative. I don' t want to think about things like that. So I wouldn' t say that. "
So the pride Satyr feels in Norway is not really to do with a crude xenophobia but is cultivated by a deep suspicion of the modern age. An age that marches forward at breackneck speed, in the process discarding society' s sense of Place and belonging.
"Sure. That' s why we are getting towards Armageddon, I believe. Things are going too fast and people forget about culture and heritage. They' re only obsessed by technology and getting one step ahead all the time. Of course, that can be helpful, but in the end it will fall back on ourselves. "
Anyone who has got a copy of "The Shadowthrone" will not fail to see the constant reference to landscapes - or more importantly Norwegian landscapes in state of primeval energy - fuelled by twilight's glimmer and the fading rays of Sol. Satyricon are all about such a landscape and such a sence of place.
"We do have a Viking heritage. I myself feel a very strong relationship to that. We do have a very interesting history and culture which we could have learned a lot from. Due to Christianity we can' t because it rules the country. Christianity is against the laws of Nature. That' s why nothing works here. We're not a political band, but you' ve got to have one goal at a time, because it would not be realistic to get rid of Christianity. I won' t live that long anyway. At least I' ve contributed to the War. Since we' re in a leading position with three or four other bands, we do have a lot of influence, but we don' t take violent action."
Their video, for the song "Mother North" (of the "Nemesis Divina" CD) is their visual; testament to Norway.
"First of all, this mediaval thing we' re brought into the music, into Black Metal - no one did that before, so we' re quite proud of that. Secondly, we try to use elements both in the melody and the lyrics that have a relationship to the country we come from and our culture. Well, there are hundreds of bands that do that today, but when we started with the thing [their second demo from 1995, "The Forest Is My Throne", is released as a split CD with Enslaved] no one did it. We started a trend, but whether it' s positive or negative, I don' t know. But at least we were at the forefront. I'd like to say we' re extremely satisfied with the video. It turned out to be very good. It was shot on location in the forests, it was quite interesting to work in a way that tried to expres the music visually. We used elements like everything from landscape shots to a scene with this pretty girl, naked, with a very Norwegian, Nordic look symbolising the beauty of Norwegian nature. There' s fire breathing to the most grotesque scenes with blood and axes. We just tried to visualise the atmosphere of the song."
And how does the sound on the new CD "Nemesis Divina" differ from previous releases?
"Much harder, rougher, with more bass and more agressive mix."
Satyr feels that the atmospheric nature of today' s Black Metal has had its day. "Nemesis Divina" is released on Moonfog, a label which was germinated from Satyr' s values.
"Well, it was me who started Moonfog in the beginning of 1993 with the cooperation of Tatra Productions which is a veteran élite label here in Norway. I felt we needed an élite label in Norway and now I set up a profile for the label and handled the design for the ads and all that; and together with another guy who works on the distribution and financial side. Tatra Productions take care of all that because I'm an artist not a businessman, so I don' t have the time to take care of all that. We have our eyes on all three bands. They are major bands, no? I would say they are among the best Black metal bands around. But Moonfog is not strictly a Black Metal label; we could release hard Trance today, Techno tomorrow, next day a Black Metal album [as will be happening with the new Dark Throne effort]. I don' t have any limits as long as it appeals to me."
Though embarking on a substantial European tour with Dissection and Gorgoroth, and with eyes set towards short stints in Japan and Australia, old Blighty is definitely a no no.
"It's hopeless in England. You either have to be an English band or a foreign band signed to an English label, because Englishmen are so conservative. Take, for example us and Immortal which sell a lot of albums in Europe, but in England we sell nothing. People here in Norway hate England... take Darkthrone: when they were signed to Peaceville they had interviews in "Metal Hammer" and everyone was so interested. When they signed to Moonfog no one wanted interviews."
Well, perhaps the English underground can prove him wrong. But fear not lads, England is not a total loss.
"Though we' re not very interested, we' ll try and watch a game with Liverpool from the Premier League."
Finally, I asked Satyr for a final statement for our fellow readers.
"Fuck your conservatism!" he says quite simply.
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◆出所：
「metal underground. com」
【http://www.metalunderground.com/interviews/details.cfm?newsid=8240】
◆本文：
−−−ヘッダ開始−−−
I went to see Satyricon Saturday night in Worcester and had the pleasure of personally interviewing Satyr. First of all, I would like to thank James ( the tour manager for Satyricon) who was absolutely cool and arranged the interview in a very short notice.
I really wish Satyricon played a longer set ( it lasted for only 25- 30 min) but they did play Mother North- a total classic in the genre. It was a very good show and I thoroughly enjoyed myself. I was pleasantly surprised to find many enthusiastic fans in the crowd- something that I haven' t seen here in New England, especially when it comes to a black metal show. Overall, the band received a very warm reception. Check out some cool pics here.
I was quite elated while doing the interview. Satyricon are an icon in Black metal and I was really honored to chat with Satyr. And so it begins...
−−−ヘッダ終了−−−
−−−本文開始−−−
Gothique: First I wanna ask you what have you been doing for the last 2 years since the release of 'Volcano'? Anything new you' ve got going on?
Satyr: After we released the album in Europe, we toured [Europe] quite extensively and now we' re just focused on getting a new setup in the States for the band and that's what we' ve done with signing with EatUrMusic/ Columbia and 2004 is just dedicated to touring America to try not only to just promote 'Volcano' but trying to establish the band.
Gothique: You just released it here [US], right?
Satyr: Yeah, and, you know, I write a little bit of material in between all the things that I do but I guess the most valuable thing for me is just do the tour or write music. To combine the two of them doesn' t work. We do have some material for a new album that we' re gonna record next year. But we gotta finish what we just started here in America and then just focus on the album. But to me, 'Volcano' is my new album because it just came out in the States.
Gothique: Well, I' m actually from Europe so I' m familiar with it.
Satyr: Yeah(smiles).
Gothique: When you' re writing new material, where do you get your inspiration from? Do you walk around in the woods in the winter, sit by the lake? (laughs)
Satyr: No. I think my inspiration comes from my own mind and soul, you know. For me that' s just the way of doing it. I could never, like, sit there and think- oh, I wanna do something in style, in the vein of this and that band, you know. I don' t think Satyricon would' ve been a successful band if that was my way of thinking. We are black metal pioneers , we' re not copycats and there might be some vibes in other people' s music that I wanna create similar to that, but that' s it, you know. Everyhting you experience in your life makes you who you are . I think all the things that I' ve seen and experienced in my life, all sort of things, is making me do the music that I do.
Gothique: What about the black metal scene- do you think that the style is actually decaying or is it stll progressing?
Satyr: Well, that' s pretty much up to the band, if it's progressing or not. I think it is [progressing]. I think that, for example, the last record we did, 'Rebel Extravaganza' (' 99), contributed a lot to progressing of black metal. And that was also part of the reason why I made that record the way it is and I guess what I' m saying is the band takes responsibility. I think it' s almost like in a football team you have good players or spearhead, that will show good example, kinda lead the rest. But there' s very few black metal bands that have awareness about that, you know. They are like- I' ve got my own band, I don' t care about the rest. That' s not the way Satyricon think. We make music for ourselves but we' re also very well aware of the fact that we are and have been for a long time one of the most important bands in the scene and what we do, no matter if we want it or not, has kinda shaped the direction of black metal because it' s gonna influence a lot of people and bands.
So, I know Darkthrone think like that. Darkthrone' s thing is very much like they do what they wanna do but they' re also conscious about wanting to keep the traditional old- school Black metal alive, you know. And the more bands who think like that, the better the chances are of this style having constantly progressing and developing. And, I think that the strong bands will always survive and in Europe it [Black metal] has lasted for a long time and I guess it' s a brand new thing now [in US] but it' s on the rise.
Gothique: So do you think that the audience is different here in the US, because I myself as an European find huge differences between the American and European crowd.
Satyr: It' s very different. You know, I haven' t even played places like California and Texas and stuff like that, so there' s a lot of stuff for me to experience.
Gothique: Yeah, I would say that the European audience is much more enlightened when it comes to black metal, while in America nu metal is quite big and black metal is a fairly unknown style except for Cradle of Filth and Dimmu Borgir. Speaking of which, I' ve been reading in various forums lately that those bands are not considered "true" anymore. Do you think they really sold out, like, by signing to Sony (Cradle Of Filth)?
Satyr: No, I don' t think they did. Because I think that any band should always, as far as the business side of things, record deals and stuff like that, aim for artistic freedom. And artistic freedom comes with money. The more money you have to spend on you recording, your videos, gives you more artistic freedom and the ability to do what you like to do. And you have a lot of people saying- yeah, this should be underground and at the same time they send e-mails to my label Moonfog saying where can we get your stuff, we can' t find your stuff. And another thing that comes with big labels is distribution, availability of records, which is crucial, obviously. But I think that it' s also cool to have labels like my own label [Moonfog], I mean you hardly make any money off of it, it' s just the thing where we' re doing something that is not gonna make us rich but it' s going to make us important artisticly and creatively and there' s a lot of stuff that you can get rich from that hasn' t anyhting to do with money. But, you know, in major labels there' s all those things like bureaucracy that I don' t like.
Gothique: So you produce Satyricon through your own label, Moonfog?
Satyr: No, 'Volcano', the CD in Europe is out through Capitol and Virgin Records and the vinyl is out through my own label, Moonfog. And 'Volcano' in the States that just came out was released through EetUrMusic which is the new label of Daron Malakian from System Of A Down.
Gothique: And one last question- what is you personal musical influence? What did you listed to when you were 15- 16?
Satyr: I guess all the same things I listen to today. Like, 15-16, that' s when I started getting heavily into the music that I do today. I started listening to music at a very early age. According to my mother, I was listening to classical music when I was 3 years old, I don' t even remember that but she told me that I knew how to put on the music and just listen to it. When I was 7-8, my two older cousins turned me into bands like Deep Purple and Black Sabbath, and all that stuff. And thrash metal, something I discovered on my own, just, like, heavier things. And then late 80' s, that' s when I was 15-16, then I was listening to Black and Death metal, mainly Black. You know, Darkthrone, Morbid Angel, and more classic bands like Slayer, Celtic Frost, Bathory, Venom, stuff like that. And at that time I was starting my own band.
Gothique: Thank you very much for you time. Good luck with the tour and I' m sorry for what happened with Frost.
Satyr: Yeah, me too (laughs)
Gothique: Far Vel, tusen takk.
−−−本文終了−−−
−−−フッタ開始−−−
Get more band news and info on: Satyricon
−−−フッタ終了−−−
「metal underground. com」
【http://www.metalunderground.com/interviews/details.cfm?newsid=8240】
◆本文：
−−−ヘッダ開始−−−
I went to see Satyricon Saturday night in Worcester and had the pleasure of personally interviewing Satyr. First of all, I would like to thank James ( the tour manager for Satyricon) who was absolutely cool and arranged the interview in a very short notice.
I really wish Satyricon played a longer set ( it lasted for only 25- 30 min) but they did play Mother North- a total classic in the genre. It was a very good show and I thoroughly enjoyed myself. I was pleasantly surprised to find many enthusiastic fans in the crowd- something that I haven' t seen here in New England, especially when it comes to a black metal show. Overall, the band received a very warm reception. Check out some cool pics here.
I was quite elated while doing the interview. Satyricon are an icon in Black metal and I was really honored to chat with Satyr. And so it begins...
−−−ヘッダ終了−−−
−−−本文開始−−−
Gothique: First I wanna ask you what have you been doing for the last 2 years since the release of 'Volcano'? Anything new you' ve got going on?
Satyr: After we released the album in Europe, we toured [Europe] quite extensively and now we' re just focused on getting a new setup in the States for the band and that's what we' ve done with signing with EatUrMusic/ Columbia and 2004 is just dedicated to touring America to try not only to just promote 'Volcano' but trying to establish the band.
Gothique: You just released it here [US], right?
Satyr: Yeah, and, you know, I write a little bit of material in between all the things that I do but I guess the most valuable thing for me is just do the tour or write music. To combine the two of them doesn' t work. We do have some material for a new album that we' re gonna record next year. But we gotta finish what we just started here in America and then just focus on the album. But to me, 'Volcano' is my new album because it just came out in the States.
Gothique: Well, I' m actually from Europe so I' m familiar with it.
Satyr: Yeah(smiles).
Gothique: When you' re writing new material, where do you get your inspiration from? Do you walk around in the woods in the winter, sit by the lake? (laughs)
Satyr: No. I think my inspiration comes from my own mind and soul, you know. For me that' s just the way of doing it. I could never, like, sit there and think- oh, I wanna do something in style, in the vein of this and that band, you know. I don' t think Satyricon would' ve been a successful band if that was my way of thinking. We are black metal pioneers , we' re not copycats and there might be some vibes in other people' s music that I wanna create similar to that, but that' s it, you know. Everyhting you experience in your life makes you who you are . I think all the things that I' ve seen and experienced in my life, all sort of things, is making me do the music that I do.
Gothique: What about the black metal scene- do you think that the style is actually decaying or is it stll progressing?
Satyr: Well, that' s pretty much up to the band, if it's progressing or not. I think it is [progressing]. I think that, for example, the last record we did, 'Rebel Extravaganza' (' 99), contributed a lot to progressing of black metal. And that was also part of the reason why I made that record the way it is and I guess what I' m saying is the band takes responsibility. I think it' s almost like in a football team you have good players or spearhead, that will show good example, kinda lead the rest. But there' s very few black metal bands that have awareness about that, you know. They are like- I' ve got my own band, I don' t care about the rest. That' s not the way Satyricon think. We make music for ourselves but we' re also very well aware of the fact that we are and have been for a long time one of the most important bands in the scene and what we do, no matter if we want it or not, has kinda shaped the direction of black metal because it' s gonna influence a lot of people and bands.
So, I know Darkthrone think like that. Darkthrone' s thing is very much like they do what they wanna do but they' re also conscious about wanting to keep the traditional old- school Black metal alive, you know. And the more bands who think like that, the better the chances are of this style having constantly progressing and developing. And, I think that the strong bands will always survive and in Europe it [Black metal] has lasted for a long time and I guess it' s a brand new thing now [in US] but it' s on the rise.
Gothique: So do you think that the audience is different here in the US, because I myself as an European find huge differences between the American and European crowd.
Satyr: It' s very different. You know, I haven' t even played places like California and Texas and stuff like that, so there' s a lot of stuff for me to experience.
Gothique: Yeah, I would say that the European audience is much more enlightened when it comes to black metal, while in America nu metal is quite big and black metal is a fairly unknown style except for Cradle of Filth and Dimmu Borgir. Speaking of which, I' ve been reading in various forums lately that those bands are not considered "true" anymore. Do you think they really sold out, like, by signing to Sony (Cradle Of Filth)?
Satyr: No, I don' t think they did. Because I think that any band should always, as far as the business side of things, record deals and stuff like that, aim for artistic freedom. And artistic freedom comes with money. The more money you have to spend on you recording, your videos, gives you more artistic freedom and the ability to do what you like to do. And you have a lot of people saying- yeah, this should be underground and at the same time they send e-mails to my label Moonfog saying where can we get your stuff, we can' t find your stuff. And another thing that comes with big labels is distribution, availability of records, which is crucial, obviously. But I think that it' s also cool to have labels like my own label [Moonfog], I mean you hardly make any money off of it, it' s just the thing where we' re doing something that is not gonna make us rich but it' s going to make us important artisticly and creatively and there' s a lot of stuff that you can get rich from that hasn' t anyhting to do with money. But, you know, in major labels there' s all those things like bureaucracy that I don' t like.
Gothique: So you produce Satyricon through your own label, Moonfog?
Satyr: No, 'Volcano', the CD in Europe is out through Capitol and Virgin Records and the vinyl is out through my own label, Moonfog. And 'Volcano' in the States that just came out was released through EetUrMusic which is the new label of Daron Malakian from System Of A Down.
Gothique: And one last question- what is you personal musical influence? What did you listed to when you were 15- 16?
Satyr: I guess all the same things I listen to today. Like, 15-16, that' s when I started getting heavily into the music that I do today. I started listening to music at a very early age. According to my mother, I was listening to classical music when I was 3 years old, I don' t even remember that but she told me that I knew how to put on the music and just listen to it. When I was 7-8, my two older cousins turned me into bands like Deep Purple and Black Sabbath, and all that stuff. And thrash metal, something I discovered on my own, just, like, heavier things. And then late 80' s, that' s when I was 15-16, then I was listening to Black and Death metal, mainly Black. You know, Darkthrone, Morbid Angel, and more classic bands like Slayer, Celtic Frost, Bathory, Venom, stuff like that. And at that time I was starting my own band.
Gothique: Thank you very much for you time. Good luck with the tour and I' m sorry for what happened with Frost.
Satyr: Yeah, me too (laughs)
Gothique: Far Vel, tusen takk.
−−−本文終了−−−
−−−フッタ開始−−−
Get more band news and info on: Satyricon
−−−フッタ終了−−−
◆出所：
「（媒体名）」
【http://www.statikmajik.com/gd/interviews/satyricon_frost.php】
◆本文：
−−−ヘッダ開始−−−
Interview
Frost from Satyricon
Interview by: Josh Thorne
To say that Satyricon has had a strong influence on the global black metal scene would be an understatement.
Almost always named as an inspiration by newer, up and coming black metal bands, Satyricon' s dark lyrical and musical compositions have been considered innovative,
but in a way that holds true to their standard of what the genre is all about.
Like their peers in Darkthrone, Satyricon' s lineup has consisted of two core members, Satyr and Frost, throughout their entire career and for good reason.
This is the lineup that brought us Nemesis Divina, The Shadowthrone, and most recently, Volcano.
One of these core members, Frost, was kind enough to take time from Satyricon' s busy touring and promotion schedule, ]
as well as the touring and promotional schedule of his other band 1349, to speak with Global Domination.
By reading this, it' s easy to see that Frost takes his music very seriously and his love for the scene and for its founding fathers is always evident.
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−−−本文開始−−−
Global Domination: First off, congrats on Volcano finally being released here in the States.
This is a very different album for Satyricon, in the sense that the music seems a bit more "rock" orientated than that of, say, Nemesis Divina or The Shadowthrone.
Was this your goal when writing the album to begin with?
Frost: Yes, we wanted Volcano to have more of a rock and roll foundation than a heavy metal foundation.
It felt right, for several reasons: We wanted to make the album musically simple, direct and hard-hitting.
In order to get a full focus on the atmospheres and energies of the songs,
we needed to strip away all unnecessary details and make everything as simple as possible,
and hence the rock approach suited us much better than the heavy metal approach which has become way more common in these days' Black Metal.
We think it sounds better, and the majority of the B.M. albums we ourselves like are rock based.
You know, early Bathory, Venom and Celtic Frost albums were developed from rock and roll rather than heavy metal;
and the same goes for Darkthrone, to mention a band from the 2nd wave.
The founders and developers of the genre built on rock and roll,
and we think their stuff kicks way more ass than the vast majority of the later generations of bands in the BM genre.
There is every reason to bring back the feeling of the old gods – we like it ourselves,
and the younger listeners may very well be reintroduced to the more original Black Metal sound.
GD: Has the stateside response for Volcano been what you had hoped for?
Frost: The response seems to be very good!
I hope the band can follow up with more touring activity in the States as soon as possible.
As you know, we have a problem to solve when it comes to getting a drummer for US touring.
But we' ll find a solution, and get back some time during the autumn. We have to;
the Morbid Angel support tour was a great success!
GD: How does it feel to have Sony Music distributing the record?
I mean you went from a decent underground distro service to one of the biggest labels in the country seemingly overnight!
That has to be somewhat insane.
Frost: That was a long and hard process that finally bore fruit.
Without Satyr' s ability to negotiate and get the right contacts, and his will to expand,
nothing like this would have come about.
It' s also evidence of the potential that several key people see in Satyricon –
especially Daron; he truly believes in this band.
So do we, and it feels right that Satyricon is getting as much support as possible.
The financial/ promotional apparatus provided by a major label like Sony is something we can really benefit from.
GD: How did the deal with Daron Molakian' s Eaturmusic imprint come about?
Considering his other band, System of A Down, it' s kind of hard to picture him being into black metal.
Frost: But he is. He' s a die-hard fan of Satyricon, and he is a die-hard fan of the genre as a whole.
He has been into it for a long time as well; his record collection is impressive.
Satyr met Daron for the first time on a trip to the US, and they bonded really well.
Daron had an imprint label, he was a fan of Satyricon, he enjoyed Volcano very much,
and he saw what strength and possibilities lie in this band…and we needed a record deal in the US.
That' s the short version of how the cooperation came about.
GD: Would you care to explain why the American government deprived us, the American black metal fans,
of your presence on the last Satyricon tour?
Frost: I have a criminal record, that' s why. It doesn' t help that the actual case is ten years old.
And I guess the American government isn' t too concerned with the country’s Black Metal fans.
GD: At Wacken, Satyricon performed what many consider one of the best sets of the group' s career.
What did it feel like to be able to not only perform in front of thousands of metal fans,
but to also perform several Darkthrone classics with Nocturno Culto?
Frost: It was thrilling. And a great honor. Actually I have some difficulties remembering large parts of the show;
I believe I exploded some time during the Darkthrone séance.
GD: For a brief period, Norwegian black metal band Gorgoroth had stated you would be playing for them as well
but that never happened. What was the reason for this?
Frost: My other band 1349 will be hitting the road with Gorgoroth here in Europe in a couple of weeks!
It' s a great combination of bands. Two bands on the same bill shouldn' t have the same drummer though.
So Dirge Rep is currently handling the drums for Gorgoroth.
Anyway, I' ve had quite a lot to do with 1349 lately, and Satyricon will start rehearsing new material soon.
So there isn' t much time for being involved in other bands/ projects right now.
GD: Speaking of that, would you mind giving us a little info on 1349, for those who haven' t heard the band yet?
Frost: We released our second album “Beyond the Apocalypse” in May (or was it early June?);
an album with which I myself am profoundly satisfied. Intense, dark, extreme –
and filled with absolutely TOP NOTCH killer guitar riffs.
It' s like a fine mix of 80' s Black/ Thrash Metal and contemporary warp speed Black Metal that somehow blends perfectly.
It may sound like an ad for the album, but this is exactly how it is, and I find no better way to describe it.
My involvement started when I heard material for the debut album Liberation
(I had earlier done a session job on a demo mCD, which ended up sounding like crap),
which was simply stunning. It sounded like MY kind of music, so I thought that joining forces would be highly constructive.
GD: Ever seen necro porn?
Frost: If you mean necrophilia, then no (I don' t count “Necromantik” and fake snuff movies).
If you mean porn that is just extremely filthy and dirty, then yes. Hmmm… and so what?
GD: Are there any bands out there that you' re digging at the moment?
Frost: To take newer and/ or less known bands, I must mention FURZE
(‘Trident Autocrat’ is an EXCELLENT album, but quite old by now), NATTEFROST, DISIPLIN and ORCUSTUS.
AURA NOIR is a band that should be counted among the stars now; what I' ve heard of their new album is crushing mostly everything.
GD: The majority of Satyricon' s music is extremely atmospheric.
Are there any particular places in Norway that inspire the music you write as far asatmosphere goes?
Frost: No, that would be taking it too far, but there are lots of places that are inspiring,
or that provide excellent settings for writing music or lyrics. There are very few DIRECT inspirations in Satyricon' s music.
GD: Volcano has only been out in the States for a brief time, but it' s been out everywhere else for about 1-2 years.
Have you already begun writing the follow-up?
If so, how do those songs sound as opposed to the material contained on Volcano?
Frost: There is still work to do with Volcano in the US, but Satyr has written and recorded quite a lot of material
(guitar themes, mostly) for the next album. There are no finished songs yet, however.
So it’s too early to speak of any clear musical direction as of yet.
GD: What do you think the secret to Satyricon' s longevity is?
Frost: Our passion for the music that we do, our ability to constantly improve as musicians and artists,
our clear consciousness and elitist visions, and finally our ability to create and make music of supreme quality.
We never accept the mediocre, and will never be boring or repetitive.
GD: The Hole In The Sky festival.
Satyr mentioned something about you being able to experience the Bathory tribute as a spectator.
So Frost, as a spectator, would you mind sharing your thoughts on this tribute?
In fact, just go ahead and share your thoughts on Bathory itself, while you' re at it!
Frost: Without Bathory, there would be no Norwegian scene, as we know it today.
Bathory were by far the biggest musical source of inspiration for the revitalizing wave of Norwegian BM bands in the early 90' s,
and I personally think they were the best band of the 80' s.
The Bathory tribute sounded so Bathory in every way that it was almost scary.
I wouldn' t have missed that event for the world. I felt really exhausted when the show was over.
I knew I had witnessed something so unique it will always remain as a strong memory.
GD: Finally, do you see the future becoming even better for this band...and maybe one day,
do you see yourself being able to come to this great land and allow us to see Satyricon the way it should be seen?
Frost: Yes. And yes again. It' s a matter of time…and that goes for both your questions.
GD: Any last words for the Global Domination readers?
Frost: The beast is awakened in America.
Those of you who have entered the dark world of Black Metal should be proud to be part of the initial stage of Black Metal' s rise in your vast country.
Seek the core, the unique, the outstanding – shun the worthless and the mediocre. So may the scene grow strong and vital.
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Interview
Frost from Satyricon
Interview by: Josh Thorne
To say that Satyricon has had a strong influence on the global black metal scene would be an understatement.
Almost always named as an inspiration by newer, up and coming black metal bands, Satyricon' s dark lyrical and musical compositions have been considered innovative,
but in a way that holds true to their standard of what the genre is all about.
Like their peers in Darkthrone, Satyricon' s lineup has consisted of two core members, Satyr and Frost, throughout their entire career and for good reason.
This is the lineup that brought us Nemesis Divina, The Shadowthrone, and most recently, Volcano.
One of these core members, Frost, was kind enough to take time from Satyricon' s busy touring and promotion schedule, ]
as well as the touring and promotional schedule of his other band 1349, to speak with Global Domination.
By reading this, it' s easy to see that Frost takes his music very seriously and his love for the scene and for its founding fathers is always evident.
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Global Domination: First off, congrats on Volcano finally being released here in the States.
This is a very different album for Satyricon, in the sense that the music seems a bit more "rock" orientated than that of, say, Nemesis Divina or The Shadowthrone.
Was this your goal when writing the album to begin with?
Frost: Yes, we wanted Volcano to have more of a rock and roll foundation than a heavy metal foundation.
It felt right, for several reasons: We wanted to make the album musically simple, direct and hard-hitting.
In order to get a full focus on the atmospheres and energies of the songs,
we needed to strip away all unnecessary details and make everything as simple as possible,
and hence the rock approach suited us much better than the heavy metal approach which has become way more common in these days' Black Metal.
We think it sounds better, and the majority of the B.M. albums we ourselves like are rock based.
You know, early Bathory, Venom and Celtic Frost albums were developed from rock and roll rather than heavy metal;
and the same goes for Darkthrone, to mention a band from the 2nd wave.
The founders and developers of the genre built on rock and roll,
and we think their stuff kicks way more ass than the vast majority of the later generations of bands in the BM genre.
There is every reason to bring back the feeling of the old gods – we like it ourselves,
and the younger listeners may very well be reintroduced to the more original Black Metal sound.
GD: Has the stateside response for Volcano been what you had hoped for?
Frost: The response seems to be very good!
I hope the band can follow up with more touring activity in the States as soon as possible.
As you know, we have a problem to solve when it comes to getting a drummer for US touring.
But we' ll find a solution, and get back some time during the autumn. We have to;
the Morbid Angel support tour was a great success!
GD: How does it feel to have Sony Music distributing the record?
I mean you went from a decent underground distro service to one of the biggest labels in the country seemingly overnight!
That has to be somewhat insane.
Frost: That was a long and hard process that finally bore fruit.
Without Satyr' s ability to negotiate and get the right contacts, and his will to expand,
nothing like this would have come about.
It' s also evidence of the potential that several key people see in Satyricon –
especially Daron; he truly believes in this band.
So do we, and it feels right that Satyricon is getting as much support as possible.
The financial/ promotional apparatus provided by a major label like Sony is something we can really benefit from.
GD: How did the deal with Daron Molakian' s Eaturmusic imprint come about?
Considering his other band, System of A Down, it' s kind of hard to picture him being into black metal.
Frost: But he is. He' s a die-hard fan of Satyricon, and he is a die-hard fan of the genre as a whole.
He has been into it for a long time as well; his record collection is impressive.
Satyr met Daron for the first time on a trip to the US, and they bonded really well.
Daron had an imprint label, he was a fan of Satyricon, he enjoyed Volcano very much,
and he saw what strength and possibilities lie in this band…and we needed a record deal in the US.
That' s the short version of how the cooperation came about.
GD: Would you care to explain why the American government deprived us, the American black metal fans,
of your presence on the last Satyricon tour?
Frost: I have a criminal record, that' s why. It doesn' t help that the actual case is ten years old.
And I guess the American government isn' t too concerned with the country’s Black Metal fans.
GD: At Wacken, Satyricon performed what many consider one of the best sets of the group' s career.
What did it feel like to be able to not only perform in front of thousands of metal fans,
but to also perform several Darkthrone classics with Nocturno Culto?
Frost: It was thrilling. And a great honor. Actually I have some difficulties remembering large parts of the show;
I believe I exploded some time during the Darkthrone séance.
GD: For a brief period, Norwegian black metal band Gorgoroth had stated you would be playing for them as well
but that never happened. What was the reason for this?
Frost: My other band 1349 will be hitting the road with Gorgoroth here in Europe in a couple of weeks!
It' s a great combination of bands. Two bands on the same bill shouldn' t have the same drummer though.
So Dirge Rep is currently handling the drums for Gorgoroth.
Anyway, I' ve had quite a lot to do with 1349 lately, and Satyricon will start rehearsing new material soon.
So there isn' t much time for being involved in other bands/ projects right now.
GD: Speaking of that, would you mind giving us a little info on 1349, for those who haven' t heard the band yet?
Frost: We released our second album “Beyond the Apocalypse” in May (or was it early June?);
an album with which I myself am profoundly satisfied. Intense, dark, extreme –
and filled with absolutely TOP NOTCH killer guitar riffs.
It' s like a fine mix of 80' s Black/ Thrash Metal and contemporary warp speed Black Metal that somehow blends perfectly.
It may sound like an ad for the album, but this is exactly how it is, and I find no better way to describe it.
My involvement started when I heard material for the debut album Liberation
(I had earlier done a session job on a demo mCD, which ended up sounding like crap),
which was simply stunning. It sounded like MY kind of music, so I thought that joining forces would be highly constructive.
GD: Ever seen necro porn?
Frost: If you mean necrophilia, then no (I don' t count “Necromantik” and fake snuff movies).
If you mean porn that is just extremely filthy and dirty, then yes. Hmmm… and so what?
GD: Are there any bands out there that you' re digging at the moment?
Frost: To take newer and/ or less known bands, I must mention FURZE
(‘Trident Autocrat’ is an EXCELLENT album, but quite old by now), NATTEFROST, DISIPLIN and ORCUSTUS.
AURA NOIR is a band that should be counted among the stars now; what I' ve heard of their new album is crushing mostly everything.
GD: The majority of Satyricon' s music is extremely atmospheric.
Are there any particular places in Norway that inspire the music you write as far asatmosphere goes?
Frost: No, that would be taking it too far, but there are lots of places that are inspiring,
or that provide excellent settings for writing music or lyrics. There are very few DIRECT inspirations in Satyricon' s music.
GD: Volcano has only been out in the States for a brief time, but it' s been out everywhere else for about 1-2 years.
Have you already begun writing the follow-up?
If so, how do those songs sound as opposed to the material contained on Volcano?
Frost: There is still work to do with Volcano in the US, but Satyr has written and recorded quite a lot of material
(guitar themes, mostly) for the next album. There are no finished songs yet, however.
So it’s too early to speak of any clear musical direction as of yet.
GD: What do you think the secret to Satyricon' s longevity is?
Frost: Our passion for the music that we do, our ability to constantly improve as musicians and artists,
our clear consciousness and elitist visions, and finally our ability to create and make music of supreme quality.
We never accept the mediocre, and will never be boring or repetitive.
GD: The Hole In The Sky festival.
Satyr mentioned something about you being able to experience the Bathory tribute as a spectator.
So Frost, as a spectator, would you mind sharing your thoughts on this tribute?
In fact, just go ahead and share your thoughts on Bathory itself, while you' re at it!
Frost: Without Bathory, there would be no Norwegian scene, as we know it today.
Bathory were by far the biggest musical source of inspiration for the revitalizing wave of Norwegian BM bands in the early 90' s,
and I personally think they were the best band of the 80' s.
The Bathory tribute sounded so Bathory in every way that it was almost scary.
I wouldn' t have missed that event for the world. I felt really exhausted when the show was over.
I knew I had witnessed something so unique it will always remain as a strong memory.
GD: Finally, do you see the future becoming even better for this band...and maybe one day,
do you see yourself being able to come to this great land and allow us to see Satyricon the way it should be seen?
Frost: Yes. And yes again. It' s a matter of time…and that goes for both your questions.
GD: Any last words for the Global Domination readers?
Frost: The beast is awakened in America.
Those of you who have entered the dark world of Black Metal should be proud to be part of the initial stage of Black Metal' s rise in your vast country.
Seek the core, the unique, the outstanding – shun the worthless and the mediocre. So may the scene grow strong and vital.
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Q: Your musical superiority is something which i believe to be the essence of Satyricon, and since the beginning Satyricon has pushed boundaries and set paths for others to follow, so i often wonder if you have had any formal musical training? Such as university courses or the like? Also, what inspires you to write such songs that have a story within the guitar lines itself? Is it a matter of trial and error to see what fits an initial idea? Or something much more emotional? Sam
Satyr: We don' t really have any formal training. I took classical guitar lessons for a while when was 14-15 and actually drum lessons for a good year when I was 8-9 years old! As far as inspiration goes it' s sometimes the mood you are in that will come through in the part you make, but it could also be the desire to evoke a certain feeling within the part you are actually making.
Q: I saw the Roadkill Extravaganza video and thought it was incredible. it was bloody great, and it was really interesting seeing a bit of the life behind one of my favourite bands. my question: Just in general, what do you guys think of all the crazy shit that was going on in the Norwegian scene almost ten years ago? (the murders, church burnings, etc. in general: the massive amounts of crime driven by Black Metal and black metal artists.) Thanks. SATYRICON FUCKING RULES!
Satyr: It is a thing of the past that we do not think of anymore unless it' s brought up. It was certainly mad conditions back then.
Q: Since the beginning, Satyricon has produced music that stays one step ahead of the pack. Now that you' ve been around for a decade, what do you feel is your greatest achievement?
Satyr: Having our first album Dark Medieval Times released was an achievement. Being the first Black Metal band in the world to do a full tour with a million selling band (Pantera) was another one. We were also the first Black Metal band to get signed by a major label (Capitol records in Scandinavia).
Q: Hello and congratulation with your anniversary.
I have som questions to Satyr:
1. What did you want to achieve with Satyricon 10 years ago, and do you feel that you have succeed in realizing your goals?
2. Have your comprehension of the band changed over the lifeline of Satyricon?
3. What was the main criteria that the songs on teen horns needed to fill, in order to be choosen over the other songs on the albums?
4. What has been the most satisfying thing about your career as a musician in Satyricon?
Thank you for your time. Magne Bjerkan
Satyr: That was four questions you fuck, not one, but since all of them were really good, I' ll answer them all.
1. I have always been very ambitious in whatever I' ve felt strongly for. When I was a kid I didn' t want to be fire fighter or a policeman?I wanted to be a Heavy Metal star! Preferably a drummer as I was massively impressed by huge drum kits and thunderous rhythms. It didn' t quite end up like that, but being the front figure of at least in my opinion an extremely important Black Metal band is not so bad either. And yes, I feel we' ve been successful, but you always want more.
2. Yes of course it has. Because we change, our music change and our surroundings change.
3. The criteria was two songs from each full length (although we chose to use a re-recording of one of the Dark Medieval Times songs, because it was better), that had to say something about the feel of every album and Satyricon and that time.
4. Many. I learnt a lot on the Pantera tour, both as a musician and organization wise. We had some spectacular shows in Milan (8000 people), Paris (6.500) and some good times as private persons. The atmosphere that was in the band around Nemesis Divina was also really special, it was a great time in my life.
Q: This is more of a question about your band in general, do you guys get a lot of criticism from the black metal scene and other black metal bands since you guys seem to be so far beyond just black metal (you add so many wonderful elements into the music) and never followed the typical generic style of black metal? And if so, how do you respond to it? Thanks for your time, you guys are without a doubt one of the finest bands in extreme metal. -Philip-
Satyr: Well, thanks. We don' t receive criticism like that from journalists or other artists, but sometimes from so called "fans". A lot of kids fail to understand the core of Black Metal: Extremity. Change in itself is not extreme. There has to be certain key elements like darkness and aggression. BUT, if you keep on exposing darkness and aggression in the same form every time it becomes predictable and conventional. And to me very boring. Like Cronos from Venom once said to me; there has be a danger element to it. This is so true. There' s nothing extreme or dangerous about something predictable. You have to add new elements to it all the way. Just like Black Sabbath, Bathory and Celtic Frost did.
Q: What has kept Satyricon together for all these years, and has there ever been a time where you could not stand each other, and wanted to split up the band? Kjetil Berntsen
Satyr: The love for music and loyalty to the cause. It has been times where it has all felt meaningless when you work extremely hard and do your very best, and all you end up doing is fighting windmills. We' ve also done many things we' ve spent an awful lot of time on and ended up losing money on it. That' s not very encouraging. As long as the passion is still there we will keep on doing this.
Q: Hi, Satyricon' s music is amazing and "Rebel Extravaganza" is one of my 3 favorite albums of all the time (with "Transylvanian Hunger" and "Reign in Blood").
But also I think what makes the band so attractive is the visual aspect. Better and more clever than all metal and industrial acts. Perfect combination of modern advertising work and old-school (the satyricon logo). I read few years ago Satyr was an art director in an advertising agency. Is it still the case ? How much are you involved in typography, photography, photoshop, illustrator, webdesign, etc. for Satyricon ?
Satyr: Thank you for appreciating the combination of modern aesthetics and raw old-school feeling. I' m not an art director in an advertising agency and I never have been. I' m extremely involved in every visual aspect of Satyricon and I' ve always been.
Q: Hi, Please don' t be offended, but I really don' t get the point of this cd (Ten Horns, etc.). Why are you putting songs on there that your big fans (including myself off course) already have?
Anyway, keep up the good! I can' t think of any black metal band (or any metal genre really) that comes even close to the high level of musical creativity and quality in which you create. Can' t wait to hear ?Volcano?
Martin from Denmark
Satyr: I' m not offended. I' m just thinking, here we go again, let' s educate. I would have been a very rich man if I could make a buck for every time I have educated someone about the mechanisms of the music industry. First of all, it is not called Ten Horns etc. It' s called Ten Horns ? Ten Diadems. The return of the fucking Antichrist, not etcetera! Referring to it as Ten Horns is ok though:-) it is a release that was meant to be a documentation of our history. Two songs representing every full-length album, three of them remastered, meaning with a better sound now. In addition the exclusive ?Serpent?s Rise? featuring Anja Garbarek and A SONG FROM THE NEW ALBUM. How often is it that bands take songs from their UPCOMING album and feature it on a compilation cd? I have A LOT of cd' s and no one like that. If one of my favourite bands included a song from their upcoming album on a compilation I would buy it without any hesitation whatsoever. A lot of our true fans have already done that because their anxious to hear what Volcano is going to sound like. Celebrating ten years of Satyricon by releaseing a CD with only exclusive songs wouldn' t be a documentation of our history, would it? I' m not so sure everyone has all of our albums either.
We don' t have a bunch of unreleased songs lying around. It' s not the way we work. We focus on recording ONLY great songs. A lot of bands record 25-50 half-hearted songs and pick 10 for the album, which the producer and the A&R consider to be the best ones. Then later on there might be a live album with two exclusive bonus tracks. Great huh? You get two songs not considered good enough for an album. Awesome. And it' s ?free? too. If we record extra songs, it' s not for b-sides; it' s for a meaningful purpose, because we don' t make half-hearted songs. Ten Horns ? Ten Diadems also comes in a very nice box with a digipack inside, a 20-page booklet with previously unpublished photos and a 4-page info booklet on Volcano. The price is that of a regular CD. I?d say that?s a real treat. Not a pointless one like you claim. It also makes me wonder how you claim to be a real fan and at the same time state that a release celebrating 10 years of one of the most influential bands in the genre is pointless. Hope you enjoy Volcano then!
Q: Hi, 1.Which of yours all album do you both find most important for progress of the band? Greetings Kuba Morawiec
Satyr: All of them have been a vital part of our progress. As musicians for both of us. And of course as song/ lyric writer and producer for me.
Q: Hail Satyr, We' ve seen a "re-done" version of the song "The Dark Castle in the Deep Forest" (Night of Divine Power). It was wonderfully re-recorded mixing the feeling of Satyricon' s newer material, yet keeping the same feeling as the original (in my opinion, however). I was wondering if there were any other songs you would ever think of re-recording, and if the changes in your music was a gradual sort of evolution, or a pre-planned sort of thing? Anti-mosh
Satyr: It is always very dangerous to re-record something as there will always be a special feeling connected to the first one which can' t be recreated. When we did that particular song I was confident that it would be better. When I looked back on that song, it irritated me how some of those riff ?got lost? in the guitar sound. There are some songs that are very tempting to re-record but no plans as of yet.
Back to top
Q: Satyr (hail!): My question concerns the actual process of songwriting. I am interested in knowing something about the relation between pure technical ability and inner visions. To which extent is your way of writing songs dependent on current technical limits. It is obvious that you, Satyr, has a gift for music and that you have developed your skills tremendously over the years. But do you think that your early material would have sounded different, if you have had your present technical level when you wrote it? Would ?Dark medieval Times? have sounded different, if Satyr anno 2002 had written it? Has your way of figuring out melodies, riffs and songs changed while breaking new ground and developing as a (fucking excellent) guitar player.
Satyr: Great question! Sometimes the lack of technical ability can be a hindrance, because you cannot fulfil what you hear in your head on the fretboard. That happens to almost everyone who plays an instrument who is a songwriter. Luckily very seldom though! I' ve seen many cases of guitar players who are masturbating, not playing. They don' t know how make some badass riffs, they just play. That' s the difference between a labourer and an artist. I' m sure the old stuff would have sounded different if Satyr anno 2002 would have written it as opposed to back then. Not because I' m better at playing now, but because I' m a better producer and a wiser person. I guess my taste has changed throughout the years and of course my songwriting technique has developed.
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Q: Your musical superiority is something which i believe to be the essence of Satyricon, and since the beginning Satyricon has pushed boundaries and set paths for others to follow, so i often wonder if you have had any formal musical training? Such as university courses or the like? Also, what inspires you to write such songs that have a story within the guitar lines itself? Is it a matter of trial and error to see what fits an initial idea? Or something much more emotional? Sam
Satyr: We don' t really have any formal training. I took classical guitar lessons for a while when was 14-15 and actually drum lessons for a good year when I was 8-9 years old! As far as inspiration goes it' s sometimes the mood you are in that will come through in the part you make, but it could also be the desire to evoke a certain feeling within the part you are actually making.
Q: I saw the Roadkill Extravaganza video and thought it was incredible. it was bloody great, and it was really interesting seeing a bit of the life behind one of my favourite bands. my question: Just in general, what do you guys think of all the crazy shit that was going on in the Norwegian scene almost ten years ago? (the murders, church burnings, etc. in general: the massive amounts of crime driven by Black Metal and black metal artists.) Thanks. SATYRICON FUCKING RULES!
Satyr: It is a thing of the past that we do not think of anymore unless it' s brought up. It was certainly mad conditions back then.
Q: Since the beginning, Satyricon has produced music that stays one step ahead of the pack. Now that you' ve been around for a decade, what do you feel is your greatest achievement?
Satyr: Having our first album Dark Medieval Times released was an achievement. Being the first Black Metal band in the world to do a full tour with a million selling band (Pantera) was another one. We were also the first Black Metal band to get signed by a major label (Capitol records in Scandinavia).
Q: Hello and congratulation with your anniversary.
I have som questions to Satyr:
1. What did you want to achieve with Satyricon 10 years ago, and do you feel that you have succeed in realizing your goals?
2. Have your comprehension of the band changed over the lifeline of Satyricon?
3. What was the main criteria that the songs on teen horns needed to fill, in order to be choosen over the other songs on the albums?
4. What has been the most satisfying thing about your career as a musician in Satyricon?
Thank you for your time. Magne Bjerkan
Satyr: That was four questions you fuck, not one, but since all of them were really good, I' ll answer them all.
1. I have always been very ambitious in whatever I' ve felt strongly for. When I was a kid I didn' t want to be fire fighter or a policeman?I wanted to be a Heavy Metal star! Preferably a drummer as I was massively impressed by huge drum kits and thunderous rhythms. It didn' t quite end up like that, but being the front figure of at least in my opinion an extremely important Black Metal band is not so bad either. And yes, I feel we' ve been successful, but you always want more.
2. Yes of course it has. Because we change, our music change and our surroundings change.
3. The criteria was two songs from each full length (although we chose to use a re-recording of one of the Dark Medieval Times songs, because it was better), that had to say something about the feel of every album and Satyricon and that time.
4. Many. I learnt a lot on the Pantera tour, both as a musician and organization wise. We had some spectacular shows in Milan (8000 people), Paris (6.500) and some good times as private persons. The atmosphere that was in the band around Nemesis Divina was also really special, it was a great time in my life.
Q: This is more of a question about your band in general, do you guys get a lot of criticism from the black metal scene and other black metal bands since you guys seem to be so far beyond just black metal (you add so many wonderful elements into the music) and never followed the typical generic style of black metal? And if so, how do you respond to it? Thanks for your time, you guys are without a doubt one of the finest bands in extreme metal. -Philip-
Satyr: Well, thanks. We don' t receive criticism like that from journalists or other artists, but sometimes from so called "fans". A lot of kids fail to understand the core of Black Metal: Extremity. Change in itself is not extreme. There has to be certain key elements like darkness and aggression. BUT, if you keep on exposing darkness and aggression in the same form every time it becomes predictable and conventional. And to me very boring. Like Cronos from Venom once said to me; there has be a danger element to it. This is so true. There' s nothing extreme or dangerous about something predictable. You have to add new elements to it all the way. Just like Black Sabbath, Bathory and Celtic Frost did.
Q: What has kept Satyricon together for all these years, and has there ever been a time where you could not stand each other, and wanted to split up the band? Kjetil Berntsen
Satyr: The love for music and loyalty to the cause. It has been times where it has all felt meaningless when you work extremely hard and do your very best, and all you end up doing is fighting windmills. We' ve also done many things we' ve spent an awful lot of time on and ended up losing money on it. That' s not very encouraging. As long as the passion is still there we will keep on doing this.
Q: Hi, Satyricon' s music is amazing and "Rebel Extravaganza" is one of my 3 favorite albums of all the time (with "Transylvanian Hunger" and "Reign in Blood").
But also I think what makes the band so attractive is the visual aspect. Better and more clever than all metal and industrial acts. Perfect combination of modern advertising work and old-school (the satyricon logo). I read few years ago Satyr was an art director in an advertising agency. Is it still the case ? How much are you involved in typography, photography, photoshop, illustrator, webdesign, etc. for Satyricon ?
Satyr: Thank you for appreciating the combination of modern aesthetics and raw old-school feeling. I' m not an art director in an advertising agency and I never have been. I' m extremely involved in every visual aspect of Satyricon and I' ve always been.
Q: Hi, Please don' t be offended, but I really don' t get the point of this cd (Ten Horns, etc.). Why are you putting songs on there that your big fans (including myself off course) already have?
Anyway, keep up the good! I can' t think of any black metal band (or any metal genre really) that comes even close to the high level of musical creativity and quality in which you create. Can' t wait to hear ?Volcano?
Martin from Denmark
Satyr: I' m not offended. I' m just thinking, here we go again, let' s educate. I would have been a very rich man if I could make a buck for every time I have educated someone about the mechanisms of the music industry. First of all, it is not called Ten Horns etc. It' s called Ten Horns ? Ten Diadems. The return of the fucking Antichrist, not etcetera! Referring to it as Ten Horns is ok though:-) it is a release that was meant to be a documentation of our history. Two songs representing every full-length album, three of them remastered, meaning with a better sound now. In addition the exclusive ?Serpent?s Rise? featuring Anja Garbarek and A SONG FROM THE NEW ALBUM. How often is it that bands take songs from their UPCOMING album and feature it on a compilation cd? I have A LOT of cd' s and no one like that. If one of my favourite bands included a song from their upcoming album on a compilation I would buy it without any hesitation whatsoever. A lot of our true fans have already done that because their anxious to hear what Volcano is going to sound like. Celebrating ten years of Satyricon by releaseing a CD with only exclusive songs wouldn' t be a documentation of our history, would it? I' m not so sure everyone has all of our albums either.
We don' t have a bunch of unreleased songs lying around. It' s not the way we work. We focus on recording ONLY great songs. A lot of bands record 25-50 half-hearted songs and pick 10 for the album, which the producer and the A&R consider to be the best ones. Then later on there might be a live album with two exclusive bonus tracks. Great huh? You get two songs not considered good enough for an album. Awesome. And it' s ?free? too. If we record extra songs, it' s not for b-sides; it' s for a meaningful purpose, because we don' t make half-hearted songs. Ten Horns ? Ten Diadems also comes in a very nice box with a digipack inside, a 20-page booklet with previously unpublished photos and a 4-page info booklet on Volcano. The price is that of a regular CD. I?d say that?s a real treat. Not a pointless one like you claim. It also makes me wonder how you claim to be a real fan and at the same time state that a release celebrating 10 years of one of the most influential bands in the genre is pointless. Hope you enjoy Volcano then!
Q: Hi, 1.Which of yours all album do you both find most important for progress of the band? Greetings Kuba Morawiec
Satyr: All of them have been a vital part of our progress. As musicians for both of us. And of course as song/ lyric writer and producer for me.
Q: Hail Satyr, We' ve seen a "re-done" version of the song "The Dark Castle in the Deep Forest" (Night of Divine Power). It was wonderfully re-recorded mixing the feeling of Satyricon' s newer material, yet keeping the same feeling as the original (in my opinion, however). I was wondering if there were any other songs you would ever think of re-recording, and if the changes in your music was a gradual sort of evolution, or a pre-planned sort of thing? Anti-mosh
Satyr: It is always very dangerous to re-record something as there will always be a special feeling connected to the first one which can' t be recreated. When we did that particular song I was confident that it would be better. When I looked back on that song, it irritated me how some of those riff ?got lost? in the guitar sound. There are some songs that are very tempting to re-record but no plans as of yet.
Back to top
Q: Satyr (hail!): My question concerns the actual process of songwriting. I am interested in knowing something about the relation between pure technical ability and inner visions. To which extent is your way of writing songs dependent on current technical limits. It is obvious that you, Satyr, has a gift for music and that you have developed your skills tremendously over the years. But do you think that your early material would have sounded different, if you have had your present technical level when you wrote it? Would ?Dark medieval Times? have sounded different, if Satyr anno 2002 had written it? Has your way of figuring out melodies, riffs and songs changed while breaking new ground and developing as a (fucking excellent) guitar player.
Satyr: Great question! Sometimes the lack of technical ability can be a hindrance, because you cannot fulfil what you hear in your head on the fretboard. That happens to almost everyone who plays an instrument who is a songwriter. Luckily very seldom though! I' ve seen many cases of guitar players who are masturbating, not playing. They don' t know how make some badass riffs, they just play. That' s the difference between a labourer and an artist. I' m sure the old stuff would have sounded different if Satyr anno 2002 would have written it as opposed to back then. Not because I' m better at playing now, but because I' m a better producer and a wiser person. I guess my taste has changed throughout the years and of course my songwriting technique has developed.
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此れもファンインタヴュー＠Frost。
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【http://www.blackmetal.co.uk/FAQ/cat=3.html】
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Q: Hail MIGHTY SATYRICON, First of all , i am kneeling in front of your MAJESTY for creating such supreme piecies of art for ten years.Keep practising aggression and protecting the wealth of the Elite.My question is: Please , describe the whole feeling that flows through the ''bones'' of your forthcoming album ''VOLCANO'' and what is the music direction you have followed at that time? With infinite respect Sakis Chatzitakis.
Frost: I perceive ?Volcano? as a very dark, eerie and powerful album. Something I find to be really strange about ?Volcano? is that all the songs are sounding very different, yet there is one distinct feeling that is present in all of them. Musical direction? Black Metal, created and performed with the unmistakable quality and authority of Satyricon.
Q: Hail!, I would like to ask about your inspirations, stimulators and In general, about things that push you to generate the sound you do.
Frost: To point out and categorize sources of inspiration is a rather hopeless task, as there is no limits to what such sources might be. You know, everything that affects the mind could be a potential source of inspiration. What truly drives us to create the music we do, is our will to make the music of our own hearts. So there is a passion for music, and more specifically a passion for Black Metal, that is the fundamental motive power. For each album we may also have specific motives concerning a feeling of wholeness that we want the collection of songs to have, but there is always this one criteria that must always be met: That we ourselves is moved by our music and find pleasure listening to it.
Q: HAIL, During your "career"as black metal servants what was the worst expirience that you had?
Frost: Dynamo Open Air ?97
Q: After ten years as the top innovators of the black metal scene do you still feel the need to criticize christianity? Ryan
Frost: Hate can be a perfect driving force when creating dark and aggressive music. Christianity represents almost everything we hate, and is unfortunately a very present factor in our surroundings. However I don?t think we should speak of any need to do anything at all, we are simply unleashing some demons of hatred, and we find it to be most appropriate. Anyway; Satyricon is much more about creating Darkness than opposing ?Light?.
Q: A short one: how do you feel about the fact that more and more extreme metal drummers are using triggered drums live and on albums? Keep the blastin_ bastard beating! Jonas Holm _ Denmark
Frost: There is nothing wrong about trigging the drums in itself, rather to the contrary. It is a method that may help the drummer to achieve a desired result. For instance it is almost impossible to make the drums sound loud and clear all the time when performing complex music with distorted guitars and a vide variety of tempoes live. That is, unless you trig the drums. I myself have just started to use triggers on the kickdrums when playing live, and it surely makes my playing sound more steady and powerful. The trigged sounds I have chosen sound quite ?natural? and aren' t too clicky. Now; in live situations the acoustic sound of every unit of the whole drumkit is also picked up by microphones, so the bassdrum-sound is a mix of acoustic sound and trigged signals. From what I' ve heard, that mix sounds really punchy and good. A lot of drummers choose a horrible clicky sound when trigging, and that for sure doesn' t sound good at all. I believe that is what is giving trigging such a bad name. Some people will always complain about trigging being ?unnatural? or whatever, but ?natural? truly is a word derived of logical meaning in this business. Clever use of effects is definitely a key factor in Black Metal ? think of the distorted guitarsound, for instance.
Q: This question is for FROST. I have been told be some people that contractual agreements with major labels can seriously inhibit any creative outlet. Is the fact that SATYRICON is tied to a major label going to keep you from participating in other musical projects? Thanks. Mike
Frost: We don' t have clauses like that in our contract. I' ve heard about other musicians being bound to one particular band by label contracts, but every band that sign a contract must take action to ensure that they know what commitments they are making.
Q: I' m a great Satyricon fan. I just want to know how does it feel like when you accomplish such goals as you two did. And also I would like to know If you two have changed a lot in those 10 years? And do you often remember the good old days, when you first grabed your instruments and started making some noise? Greetings! Can' t wait to see your answers.
Frost: To play in a band as powerful and mighty as Satyricon is joy in itself. I am very content with what we have achieved, but it is pity that I can not devote more time to Satyricon (or at least to playing the drums). I feel we have gotten far, but there is, at least for my part, still a long way to go before I can feel perfect satisfaction regarding our accomplishments. You ask if we have changed a lot in our 10 years of existence?I will only speak on behalf of myself. I have definitely matured and grown in knowledge and skill, and I have become a more responsible and conscious individual. My main motive being a musician hasn' t changed much, though. I still feel like doing what I wanted to do 10 years ago, I have only gotten better. And do I remember the good old days? Yes, sir! It was an exciting time, but it was a pain in the ass being such a lousy musician while still wanting not to limit yourself too much musically. And then there were all those horrible hangovers when rehearsing?.
Q: Bands such as yourself have really paved the way and set new standards in Black Metal. How did you decide which songs to use on your Ten Horns - Ten Diadems collection? Was it difficult at all trying to decide which songs "defined" your sound, so to speak? Paul Morris
Frost: We picked songs that had the spirit of it' s era (it' s album), steered away from songs that were little compilation-friendly ? excessively long songs, experimental works etc. ? and did of course include songs that we know have made a particular impact on the hordes.
Q: Satyricon has been one of the strongest bands in norwegian scene, but it seems that Satyricon' s music surpasses every mold and even every trendy fashion in today' s Metal. Where is Satyricon' s music going? Is your music going in a certain direction or is just part of a maturation process? Do you feel playing Black Metal this days? if you do, what do you think about today' s Black Metal scene?, Are these changes on the sound part of the True Black Metal?
Thank you, and greetings!!!
Frost: Although this question was directed to Satyr, I may just as well answer it. First of all: Satyricon is going where we want it to go. Every album we make reflects what we feel like doing at the time of creation ? which may not remain static for the duration of the process. I can not say what our next album (following ?Volcano?) will sound like; no decisions is made in that respect. Other factors, such as our experience, technical abilities and financial situation, play a role for the outcome of an album. What does not, is the expectations that the audience, the record companies, the media etc. have. Therefore trends have no impact on our music whatsoever.
My passion for Black Metal is as strong today as it is was ten years ago, and I know Satyr feels the same. The Dark ESSENCE of Black Metal is timeless and can not be changed by swarms of bands labelling themselves ?Black Metal? and basing their music on false or wrong (light!) concepts, trends, wish for money and recognition, or what not. In todays scene very few bands are able to capture anything dark and substantial in their music, but they truly exist and contribute to making the scene vital and strong. True Black Metal you say?why ?True?? I would prefer that bands playing Black Metal were called by their right name, and that those not playing Black Metal wouldn?t be categorized as such. THAT for sure would make a change for the better!
Q: With the years the music of Satyricon envolved into a higher form of art, and the artwork did too. With the Rebel Extravaganza album you shook the black metal world not only on musically front but also on artistic ways with such artwork. I' ve seen the cover from the Ten Diadems album and I must say that I' m very pleased about it. Knowing that you guys do like to create a piece of art, I can expect nothing else but fine dark/ cold artistic design. My questions are: "Is the artwork for the Ten Diadems album of the same quality compared with the Rebel Extravaganza album or IntermezzoII mini-album, or do you save up the good stuff (and money) for your forth-coming record Volcano?. And who is the designer for the Ten Diadems album, Union, Hal Bodin or someone else?"
Thanx, Ton Oortgiesen - Holland
Frost: The artwork/ layout for ?Ten Horns, Ten Diadems? is state-of-the-art! We never do things half-heartedly?The designer for the album was Hal Bodin, as you suggested.
Q: 1. How do you feel about the legacy and lasting influence Satyricon has had on the "metal community?"
2. Which Satyricon release, in your opinions, was most influential in the direction of modern extreme music?
Frost: 1. Satyricon is REAL stuff, and in that respect a good influence. Actually we are taking some responsibility in order to shape the scene in the right way; on our later two albums we have taken conscious steps to counteract the unfortunate influence many of the ?leading bands? in the genre has had on the Black Metal scene. This has by no means been any prime motivation for us, but we have taken our position and potential influential powers seriously. But I have to say that I observe a very unfortunate effect our earlier albums have had on some bands; they have obviously been inspired by our music, but they have kinda sucked out the harmonic, melodic and majestic in the two or three first albums and left out the Darkness and the edge, resulting in worthless music that isn' t really Black Metal at all. You know, it isn?t our fault, but it?s quite sad, really.
2. So far: ?Rebel Extravaganza?.
Q: Hailz, this question is to Frost. In the Roadkill Extravaganza video, you told that your(?) drumkit was used on the recordings (and gigs) for various Black Metal monuments in Norway. How did that work? Was it being sold all the time or just hired by all these BM-drummers? And how was it managed pratically if hired? Who is the owner then anyway of this drumkit (and who was the original owner?).
Curiously yours, Norgaath!
Frost: I bought the drumkit from Hellhammer in 1994, as he had gotten himself a new one. At that time I had myself been using it on Dark Medieval Times and on several rehearsals, and lots of other bands had been using the kit on album recordings. It was the official Norwegian Black Metal drumkit until I bought it, I believe?It was probably the best drumkit anoyone in the early Black Metal scene had at their disposal, so that was the reason it was hired by so many bands. Norway is a small country. Thinking it ower, I left out a lot of important bands/ albums when mentioning (on the video) on which recordings the drumkit was used.
Q: Hail Satyricon, I have a couple of questions to ask you. First, with the black metal scene ever changing and evolving, what do you think of the scene now and how do you feel you fit in and Secondly, since Emperor disbanded and many others how long do you think that you can make music in Satyricon. Thanks you guys rule, Ansar Miles , Columbus, OH USA
Frost: Concerning the first part of your question, see above. Satyricon actually don' t need to fit in anywhere, we will make room for ourselves. I think Satyricon will be active for many years to come, but one can not predict such things. What is certain, is that we will exist for as long as we are passionate about doing Satyricon-albums, and when we have nothing new and outstanding to offer, or feel we are starting to stagnate, the passion will die. We will have a honorable death?. Notice anyway how Satyricon is getting closer and closer to the core of Darkness, whereas most other bands are moving in the opposite direction.
Q: Hails to SATYR & FROST" from the coldest lair somewhere in Russia !! It' s nice to have an opportunity to ask you a question online! Here' s the one: It' s really exciting to watch you changing your style and the image. According to what you say in interviews I found out that you don' t care for medieval and occult themes any more. Though in the beginning and in the middle of 1990s you were very fond of it! Remember "Dark Medieval Times" with ancient tales, "The Shadowthrone" with viking songs, "The Forest Is My Throne" with it' s pagan tone and of course "Nemesis Divina" with the mix of sorrow, hate and inner belief ! Since 1997 something has changed. You' ve become so experimenal band!
Still I wonder what factors or something in your life forced you to give upyour past music, which you played before "Megiddo" and to change your style so radically?? Do you remember the time you felt it' s time to change something in your music and to play Experimental Urban Black Metal? How was it? I' m sorry if this question is boring or if you had a chance to answer it thousands of times. Still it' s very interesting for me! If possible, I' d like to get the answer on my complicated question both from SATYR and FROST!
Frost: Progress has ALWAYS been a key element in Satyricon, and every album of ours shows a significant development comparing it to it' s predecessor. We will NOT repeat ourselves! The truly creative will always develop, improve and progress, that lies in the nature of being so. The change that occured after ?Nemesis Divina? was no more radical than the change that took place between ?The Shadowthrone? and ?Nemesis Divina?, for instance??Experimental Urban Black Metal? must be a word-construct of your own. I don' t think being experimental suddenly became a more significant quality of Satyricon in 1997, we have ALWAYS been innovative and incorporated more or less controversial elements in our music, but have always kept the essence of Darkness and Satyricon in our music. Hmmm?we have never said that we don' t care for medieval or occult themes anymore, we simply aren' t basing our music or lyrics upon it anylonger! We have done that, and couldn?t take it anylonger, so we needed to walk along a different path. Anyway, Satyricon is first and foremost about DARKNESS and EXTREMITY, and that is still the key elements in our work. Actually to a greater extent now than before.
Q: This question goes out to Frost: Is there gonna be any 251BPM convulsions in the future (ha,ha)? By the way: good move to never trigger the drums; & show those mexican batterists that even the stiff northmen have got the groove.
best wishes & kisses joakim Apollon
Frost: See answer above! There are no extreme blast beats on ?Volcano?, but it might be used in the future. Speed and hysteria just wouldn' t fit a gloomy and naked album like ?Volcano?.
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【http://www.blackmetal.co.uk/FAQ/cat=3.html】
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Q: Hail MIGHTY SATYRICON, First of all , i am kneeling in front of your MAJESTY for creating such supreme piecies of art for ten years.Keep practising aggression and protecting the wealth of the Elite.My question is: Please , describe the whole feeling that flows through the ''bones'' of your forthcoming album ''VOLCANO'' and what is the music direction you have followed at that time? With infinite respect Sakis Chatzitakis.
Frost: I perceive ?Volcano? as a very dark, eerie and powerful album. Something I find to be really strange about ?Volcano? is that all the songs are sounding very different, yet there is one distinct feeling that is present in all of them. Musical direction? Black Metal, created and performed with the unmistakable quality and authority of Satyricon.
Q: Hail!, I would like to ask about your inspirations, stimulators and In general, about things that push you to generate the sound you do.
Frost: To point out and categorize sources of inspiration is a rather hopeless task, as there is no limits to what such sources might be. You know, everything that affects the mind could be a potential source of inspiration. What truly drives us to create the music we do, is our will to make the music of our own hearts. So there is a passion for music, and more specifically a passion for Black Metal, that is the fundamental motive power. For each album we may also have specific motives concerning a feeling of wholeness that we want the collection of songs to have, but there is always this one criteria that must always be met: That we ourselves is moved by our music and find pleasure listening to it.
Q: HAIL, During your "career"as black metal servants what was the worst expirience that you had?
Frost: Dynamo Open Air ?97
Q: After ten years as the top innovators of the black metal scene do you still feel the need to criticize christianity? Ryan
Frost: Hate can be a perfect driving force when creating dark and aggressive music. Christianity represents almost everything we hate, and is unfortunately a very present factor in our surroundings. However I don?t think we should speak of any need to do anything at all, we are simply unleashing some demons of hatred, and we find it to be most appropriate. Anyway; Satyricon is much more about creating Darkness than opposing ?Light?.
Q: A short one: how do you feel about the fact that more and more extreme metal drummers are using triggered drums live and on albums? Keep the blastin_ bastard beating! Jonas Holm _ Denmark
Frost: There is nothing wrong about trigging the drums in itself, rather to the contrary. It is a method that may help the drummer to achieve a desired result. For instance it is almost impossible to make the drums sound loud and clear all the time when performing complex music with distorted guitars and a vide variety of tempoes live. That is, unless you trig the drums. I myself have just started to use triggers on the kickdrums when playing live, and it surely makes my playing sound more steady and powerful. The trigged sounds I have chosen sound quite ?natural? and aren' t too clicky. Now; in live situations the acoustic sound of every unit of the whole drumkit is also picked up by microphones, so the bassdrum-sound is a mix of acoustic sound and trigged signals. From what I' ve heard, that mix sounds really punchy and good. A lot of drummers choose a horrible clicky sound when trigging, and that for sure doesn' t sound good at all. I believe that is what is giving trigging such a bad name. Some people will always complain about trigging being ?unnatural? or whatever, but ?natural? truly is a word derived of logical meaning in this business. Clever use of effects is definitely a key factor in Black Metal ? think of the distorted guitarsound, for instance.
Q: This question is for FROST. I have been told be some people that contractual agreements with major labels can seriously inhibit any creative outlet. Is the fact that SATYRICON is tied to a major label going to keep you from participating in other musical projects? Thanks. Mike
Frost: We don' t have clauses like that in our contract. I' ve heard about other musicians being bound to one particular band by label contracts, but every band that sign a contract must take action to ensure that they know what commitments they are making.
Q: I' m a great Satyricon fan. I just want to know how does it feel like when you accomplish such goals as you two did. And also I would like to know If you two have changed a lot in those 10 years? And do you often remember the good old days, when you first grabed your instruments and started making some noise? Greetings! Can' t wait to see your answers.
Frost: To play in a band as powerful and mighty as Satyricon is joy in itself. I am very content with what we have achieved, but it is pity that I can not devote more time to Satyricon (or at least to playing the drums). I feel we have gotten far, but there is, at least for my part, still a long way to go before I can feel perfect satisfaction regarding our accomplishments. You ask if we have changed a lot in our 10 years of existence?I will only speak on behalf of myself. I have definitely matured and grown in knowledge and skill, and I have become a more responsible and conscious individual. My main motive being a musician hasn' t changed much, though. I still feel like doing what I wanted to do 10 years ago, I have only gotten better. And do I remember the good old days? Yes, sir! It was an exciting time, but it was a pain in the ass being such a lousy musician while still wanting not to limit yourself too much musically. And then there were all those horrible hangovers when rehearsing?.
Q: Bands such as yourself have really paved the way and set new standards in Black Metal. How did you decide which songs to use on your Ten Horns - Ten Diadems collection? Was it difficult at all trying to decide which songs "defined" your sound, so to speak? Paul Morris
Frost: We picked songs that had the spirit of it' s era (it' s album), steered away from songs that were little compilation-friendly ? excessively long songs, experimental works etc. ? and did of course include songs that we know have made a particular impact on the hordes.
Q: Satyricon has been one of the strongest bands in norwegian scene, but it seems that Satyricon' s music surpasses every mold and even every trendy fashion in today' s Metal. Where is Satyricon' s music going? Is your music going in a certain direction or is just part of a maturation process? Do you feel playing Black Metal this days? if you do, what do you think about today' s Black Metal scene?, Are these changes on the sound part of the True Black Metal?
Thank you, and greetings!!!
Frost: Although this question was directed to Satyr, I may just as well answer it. First of all: Satyricon is going where we want it to go. Every album we make reflects what we feel like doing at the time of creation ? which may not remain static for the duration of the process. I can not say what our next album (following ?Volcano?) will sound like; no decisions is made in that respect. Other factors, such as our experience, technical abilities and financial situation, play a role for the outcome of an album. What does not, is the expectations that the audience, the record companies, the media etc. have. Therefore trends have no impact on our music whatsoever.
My passion for Black Metal is as strong today as it is was ten years ago, and I know Satyr feels the same. The Dark ESSENCE of Black Metal is timeless and can not be changed by swarms of bands labelling themselves ?Black Metal? and basing their music on false or wrong (light!) concepts, trends, wish for money and recognition, or what not. In todays scene very few bands are able to capture anything dark and substantial in their music, but they truly exist and contribute to making the scene vital and strong. True Black Metal you say?why ?True?? I would prefer that bands playing Black Metal were called by their right name, and that those not playing Black Metal wouldn?t be categorized as such. THAT for sure would make a change for the better!
Q: With the years the music of Satyricon envolved into a higher form of art, and the artwork did too. With the Rebel Extravaganza album you shook the black metal world not only on musically front but also on artistic ways with such artwork. I' ve seen the cover from the Ten Diadems album and I must say that I' m very pleased about it. Knowing that you guys do like to create a piece of art, I can expect nothing else but fine dark/ cold artistic design. My questions are: "Is the artwork for the Ten Diadems album of the same quality compared with the Rebel Extravaganza album or IntermezzoII mini-album, or do you save up the good stuff (and money) for your forth-coming record Volcano?. And who is the designer for the Ten Diadems album, Union, Hal Bodin or someone else?"
Thanx, Ton Oortgiesen - Holland
Frost: The artwork/ layout for ?Ten Horns, Ten Diadems? is state-of-the-art! We never do things half-heartedly?The designer for the album was Hal Bodin, as you suggested.
Q: 1. How do you feel about the legacy and lasting influence Satyricon has had on the "metal community?"
2. Which Satyricon release, in your opinions, was most influential in the direction of modern extreme music?
Frost: 1. Satyricon is REAL stuff, and in that respect a good influence. Actually we are taking some responsibility in order to shape the scene in the right way; on our later two albums we have taken conscious steps to counteract the unfortunate influence many of the ?leading bands? in the genre has had on the Black Metal scene. This has by no means been any prime motivation for us, but we have taken our position and potential influential powers seriously. But I have to say that I observe a very unfortunate effect our earlier albums have had on some bands; they have obviously been inspired by our music, but they have kinda sucked out the harmonic, melodic and majestic in the two or three first albums and left out the Darkness and the edge, resulting in worthless music that isn' t really Black Metal at all. You know, it isn?t our fault, but it?s quite sad, really.
2. So far: ?Rebel Extravaganza?.
Q: Hailz, this question is to Frost. In the Roadkill Extravaganza video, you told that your(?) drumkit was used on the recordings (and gigs) for various Black Metal monuments in Norway. How did that work? Was it being sold all the time or just hired by all these BM-drummers? And how was it managed pratically if hired? Who is the owner then anyway of this drumkit (and who was the original owner?).
Curiously yours, Norgaath!
Frost: I bought the drumkit from Hellhammer in 1994, as he had gotten himself a new one. At that time I had myself been using it on Dark Medieval Times and on several rehearsals, and lots of other bands had been using the kit on album recordings. It was the official Norwegian Black Metal drumkit until I bought it, I believe?It was probably the best drumkit anoyone in the early Black Metal scene had at their disposal, so that was the reason it was hired by so many bands. Norway is a small country. Thinking it ower, I left out a lot of important bands/ albums when mentioning (on the video) on which recordings the drumkit was used.
Q: Hail Satyricon, I have a couple of questions to ask you. First, with the black metal scene ever changing and evolving, what do you think of the scene now and how do you feel you fit in and Secondly, since Emperor disbanded and many others how long do you think that you can make music in Satyricon. Thanks you guys rule, Ansar Miles , Columbus, OH USA
Frost: Concerning the first part of your question, see above. Satyricon actually don' t need to fit in anywhere, we will make room for ourselves. I think Satyricon will be active for many years to come, but one can not predict such things. What is certain, is that we will exist for as long as we are passionate about doing Satyricon-albums, and when we have nothing new and outstanding to offer, or feel we are starting to stagnate, the passion will die. We will have a honorable death?. Notice anyway how Satyricon is getting closer and closer to the core of Darkness, whereas most other bands are moving in the opposite direction.
Q: Hails to SATYR & FROST" from the coldest lair somewhere in Russia !! It' s nice to have an opportunity to ask you a question online! Here' s the one: It' s really exciting to watch you changing your style and the image. According to what you say in interviews I found out that you don' t care for medieval and occult themes any more. Though in the beginning and in the middle of 1990s you were very fond of it! Remember "Dark Medieval Times" with ancient tales, "The Shadowthrone" with viking songs, "The Forest Is My Throne" with it' s pagan tone and of course "Nemesis Divina" with the mix of sorrow, hate and inner belief ! Since 1997 something has changed. You' ve become so experimenal band!
Still I wonder what factors or something in your life forced you to give upyour past music, which you played before "Megiddo" and to change your style so radically?? Do you remember the time you felt it' s time to change something in your music and to play Experimental Urban Black Metal? How was it? I' m sorry if this question is boring or if you had a chance to answer it thousands of times. Still it' s very interesting for me! If possible, I' d like to get the answer on my complicated question both from SATYR and FROST!
Frost: Progress has ALWAYS been a key element in Satyricon, and every album of ours shows a significant development comparing it to it' s predecessor. We will NOT repeat ourselves! The truly creative will always develop, improve and progress, that lies in the nature of being so. The change that occured after ?Nemesis Divina? was no more radical than the change that took place between ?The Shadowthrone? and ?Nemesis Divina?, for instance??Experimental Urban Black Metal? must be a word-construct of your own. I don' t think being experimental suddenly became a more significant quality of Satyricon in 1997, we have ALWAYS been innovative and incorporated more or less controversial elements in our music, but have always kept the essence of Darkness and Satyricon in our music. Hmmm?we have never said that we don' t care for medieval or occult themes anymore, we simply aren' t basing our music or lyrics upon it anylonger! We have done that, and couldn?t take it anylonger, so we needed to walk along a different path. Anyway, Satyricon is first and foremost about DARKNESS and EXTREMITY, and that is still the key elements in our work. Actually to a greater extent now than before.
Q: This question goes out to Frost: Is there gonna be any 251BPM convulsions in the future (ha,ha)? By the way: good move to never trigger the drums; & show those mexican batterists that even the stiff northmen have got the groove.
best wishes & kisses joakim Apollon
Frost: See answer above! There are no extreme blast beats on ?Volcano?, but it might be used in the future. Speed and hysteria just wouldn' t fit a gloomy and naked album like ?Volcano?.
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