Entrevista com Hugo (Switchtense)

Os Switchtense são já uma força maior do metal português. Depois de um EP bastante promissor e alguns problemas de line-up, eis que os Switchtense (re)nascem para o mundo, com muita força, poder e vontade.
Confrontation Of Souls é o longa duração de estreia, vai ver a luz do dia a 2 de Fevereiro do próximo ano pela Rastilho Records e promete vir a ser um dos melhores registos do ano vindouro. O Música de Peso foi falar com Hugo, o vocalista da banda.

Música de Peso - Conta-nos um bocado da história dos Switchtense, como se formaram, o que já lançaram até agora?
Hugo - Antes de mais quero agradecer ao MÚSICA DE PESO pela oportunidade de falarmos sobre a banda, o album e as nossas ambições e objectivos!
Formámo-nos em 2002, e depois de 2 demos, alteramos a formaçao e editámos o nosso EP de estreia em 2006! Depois da ediçao do EP, deu-se a entrada do segundo guitarrista.
Já no final de 2007 e depoios de mais de 50 concertos ao vivo (com bands como Napalm Death, Dew-Scented, Caliban etc..) nova mudança de formação para desta feita entrar novo baterista. É com esta formaçao (Hugo - voz / Karia - Baixo / Neto - guitarra / Pardal - Guitarra / Xinês - Bateria) que em Maio de 2008 entramos em estudio, nos Ultra Sound Studios em Braga, e em conjunto com o Daniel Cardoso e o Pedro Mendes, produzimos o nosso primeiro album CONFRONTATION OF SOULS, a ser editado já no proximo dia 2 de Fevereiro de 2009 pela Rastilho Records. Basicamente e resumidamente este tem sido o nosso caminho.

MP - Em termos de aparições ao vivo, qual/is consideram as mais importantes e mais frutuosas? Há algum momento engraçado que gostasses de partilhar?
H - Sempre que vamos tocar é um momento importante para nós! Isto porque vamos fazer exctamente aquilo que mais gostamos e o que nos dá mais prazer: tocar ao vivo! Em grande parte a "essência" dos SWITCHTENSE são os concertos ao vivo. É ai que conseguimos realmente chegar ao público e contagiar quem estiver presente numa sala; é a nossa missão e objectivo! Até à altura, e nomeadamente durante este ano de 2008, temos tido grandes momentos ao vivo: o Moita Metal Fest, Metal GDL, Festa do Avante ( onde tinhamos cerca de 1500 pessoas a ver o nosso concerto ) , o LSM em Braga, o Berço Fest em Guimarães, o último que demos em Evora, etc...Estes concertos, e por terem sido os mais recentes são sem duvida alguma os que consideramos mais importantes, digamos que marcam um ponto de viragem na nossa existência enquanto banda! Recebemos grandes críticas e muitas manifestações de incentivo por parte de quem pôde testemunhar estes concertos que referi! Nós queremos muito isto, e isso acaba por se transferir para o palco durante os nossos concertos.

MP - Com quem, morto ou vivo, gostariam de partilhar um palco?
H - Já tivemos a sorte de tocar em concertos com bandas que para nós nos dizem alguma coisa: casos de Dew-scented e Hatesphere por exemplo, e com os quais pudemos conviver de perto e trocar impressoes com estas pessoas que têm uma realidade completamente diferente da nossa!
Existe um determinado número de bandas com as quais teríamos todo o prazer e orgulho em partilhar um palco, tanto devido a gostos pessoais como sonoridades parecidas! Hatebreed,
Lamb of God, Testament, Slayer e tantos outras referencias...temos ambição de poder um dia tocar com toda esta gente!

MP - Avançemos para as perguntas sobre o vosso disco de estreia, Confrontation of Souls. O que podem as pessoas esperar dele? Fala-nos um pouco sobre o álbum, o processo de composição, etc.
H - Como tudo nesta área requer trabalho, este disco é antes de tudo o resto o fruto de um trabalho árduo!
Começámos a trabalhar no disco no verãoo de 2007, ainda com o nosso antigo baterista. Entre concertos de promoçãoo do EP que ainda tinhamos para fazer na altura, áamos trabalhando em temas novos tendo já em vista este álbum!
Entretanto ficámos sem baterista, o que não nos impediu de continuar a compor temas e ideias para o disco de estreia!
No meio de todo este processo apareceu o Xines (actual baterista), que era precisamente a pessoa que faltava para dar forma as ideias que iamos desenvolvendo!
Começámos a ensaiar o album e gravámos uma pré-produção detalhada na nossa sala de ensaios. Com este processo de pré-produçao facilitámos o trabalho, tanto o de composiçao como o de execução dos temas que iríamos gravar! Esta foi uma grande mais valia que mais tarde se veio a desenvolver na gravação do álbum nos Ultrasound Studios.
Nesta altura que te estou a responder à entrevista ainda nao acabamos de trabalhar no álbum, pois estamos a ultimar todo o artwork, em conjunto com o Joao Diogo que está a fazer
um trabalho excelente! Esperem para ver e ouvir :D

MP - Fiquei com impressão que o álbum ia sair mais cedo do que 2 de Fevereiro. É verdade? Se sim, a que se deveu o atraso?
H - Sim é verdade, a primeira data anunciada foi 12 janeiro, mas devido a uma situação de logistica, a Rastilho achou por melhor adiar o lançamento para o dia 2 fevereiro.
A nós nada nos afecta pois está tudo a correr dentro dos prazos que, nós enquanto banda, estipulámos!

MP - Trabalhar com o Daniel Cardoso - um autêntico faz tudo no metal nacional - e gravar nos estúdios dele foi uma opção pensada desde início? Porque optaram por gravar lá e não, por exemplo, nos Rec'n'Roll Studios?
H - Trabalhar com o Daniel Cardoso foi sem dúvida um passo importantíssimo para conseguirmos sacar o melhor som no álbum. No início não era uma opção, apenas por questães de disponibilidades. Mas assim que esse problema se resolveu, falámos imediatamente com o Daniel e marcamos 2 semanas no estudio para captarmos os 10 temas de Confrontation of Souls. E em boa hora o fizemos!

MP - Como foi trabalhar com o Daniel?
H - Foram altamente os 15 dias que passámos em braga. O Daniel é um grande profissional e ajudou-nos bastante a sacar todo o power que está registado no album! Não há muitos a
trabalhar como ele em Portugal,arriscando-me a dizer que ele é mesmo o melhor! Estamos de todo agradecidos pela dedicação que ele depositou no disco. Funcionou na perfeição a nossa escolha, que ultrapassa a questão de se gravar apenas um album! Podemos afirmar que fizemos boa amizade com o Daniel e com o Pedro Mendes [que também trabalha no Ultrasound StudioS]!

MP - Acham que em Portugal há bons estúdios para uma banda como a vossa ser gravada ou é uma lacuna que tem que ser preenchida rapidamente?
H - O Ultrasound é um estudio que está a servir para já grande parte das bandas portuguesas! A unica complicaçãoo, para gentes do sul, é mesmo o facto de se localizar em Braga, coisa que se facilmente se supera, olhando ao facto de realmente se conseguir trabalhar numa qualidade muito boa! Penso que o nível está a subir e vão aparecendo cada vez mais pessoas, a trabalhar cada vez melhor!

MP - Vi, algures na net, alguém dizer que os Switchtense são os Pantera e Slayer portugueses. Sentem-se assim? Que sentem quando ouvem críticas assim? H - Ahah! Sem dúvida que são grandes referências para nós e para todos os que gostam de metal. Não nos sentimos como ninguém, sentimo-nos como os SWITCHTENSE. Fazemos a música que mais gostamos, mas claro, receptivos a todas as influências que nos rodeiam... Contudo, e vendo a coisa pelo lado mais simples, penso que as pessoas necessitam de criar referências para a musica que ouvem e, como tal, é normal usarem o nome dessas bandas como sendo uma referência para o estilo de metal que fazemos! No final de contas, acabamos por ficar lisonjeados com a comparação....é sinal que estamos no caminho certo!

MP - Por falar em críticas, que vos parece a expectativa do público para o vosso disco de estreia? Que vos têm dito até agora?
H - Todo o feed-back que temos recibido a esta primeira fase de promoção do album tem sido muito positivo! Desde o momento que colocamos a primeira musica on-line no nosso myspace para escuta que a pagina não tem parado! Os views aumentaram, os plays por dia também, assim como os comentários e mensagens de incentivo e de parabéns pelo trabalho realizado!
Outro factor imporante, é o facto de nos concertos que fomos já dando durante este ano de 2008, em que fomos tocando alguns dos temas que estarão no album, termos recebido críticas altamente positivas! As pessoas não têm ficado indiferentes por onde temos passado e isso aumenta a expectativa em torno do que conseguiremos fazer com este disco de estreia.

MP - O metal em Portugal cresce a olhos vistos. Desde que os Switchtense se formaram até agora, que acham que mudou, para melhor e para pior? E o que achas que é preciso para mudar ainda mais?
H - Acho que mudaram já algumas mentalidades! Cada vez mais temos bandas com mais qualidade e com mais profissionalismo...penso que a "concorrência" a isso obriga! Hoje em dia quem quer fazer uma cena séria tem que gastar mais dinheiro, trabalhar mais, estar mais disponével... Por isso acho que as coisas no metal nacional têm melhorado bastante. Agora, falta aquele "boom" do público, aquele querer apoiar mais o que se faz em Portugal para as coisas andarem mais para a frente ainda... Temos muito boas bandas capazes de ombrear com nomes internacionais.. Falta-nos um pouco de amor-próprio, mas isso já é uma coisa generalizada, a qual temos urgentemente que combater!!

MP - Onde é que vamos poder ver os Switchtense a actuar proximamente? Para quem nunca vos viu ao vivo, resume em cinco palavras um concerto de Switchtense.
H - Já temos alguns concertos marcados para 2009. O primeiro será no Hard Metal Fest em Mangualde no dia 10 janeiro (ao lado de bandas como Dew-Scented, Avulsed, Angriff, Revolution Within etc...).
Depois deste concerto iniciaremos os concertos que farão parte da Tour de promoçao do disco de estreia: para começar teremos o concerto de apresentaçao do álbum no dia 31 Janeiro, no In Live Caffe, na Moita!Passaremos tambem pelo Alfa-Bar, Side-B, etc, etc... O melhor é irem passando em www.myspace.com/switchtenseportugal e ficarem informados acerca de todas as datas que ai virão!
Resumiria nestas palavras um concerto nosso: VONTADE, ENTREGA, CAOS, PODER e DESTRUIÇAO!

MP - Últimas palavras, que gostava que dedicasses aos ouvintes deste programa e a todos os fãs de metal por este nosso país fora :)
H - Apoiem o Metal nacional e façam com que os concertos tenham cada vez mais gente, os discos se vendam cada vez mais para que todos nossos possamos evoluir em varios aspectos! Fiquem atentos a Fevereiro de 2009, pois daremos o nosso primeiro contributo para a cena metaleira portuguesa! Contamos com vocês!

Entrevista de Peso com Rune Folgerø (Atrox)

Rune Folgerø é mais do que uma pessoa do Norte com um nome estranho que habita no Norte da Europa (mais exactamente na Noruega). Rune é também o responsável pelas vozes e samplagens na banda de avant-garde metal Atrox, desde que a antiga vocalista Monika Edvardsen abandonou a banda - logo após a gravação do álbum Orgasm - levando a uma mudança drástica na sonoridade da banda.
Rune Folgerø fala-nos da banda e do último álbum Binocular, do forte espírito musical que se vive na Noruega e apresenta-nos alguns valores futuros.

Música de Peso - According to some sites, Atrox formed in 1988, but people had to wait until 1997 to hear the first LP, Mesmerised. What took you so long to release the album?
Rune Folgerø - Back in 1988 the guys in the band were around 15 years old, and recording albums, and even more – releasing them - would have been quite difficult. Atrox has also faced quite a bit of line-up changes since the beginning, so the young age and stability within the band has been working factors here. - but it must be mentioned that there was, nevertheless some recordings done prior to the first album, like the demos “Mind Shadow” and “Dead Leaves”. The band also needed to get a record deal and that did not happen before 1996, when Atrox signed to Danza Ipnotica for a 7” and Head Not Found for an album.
Another factor is that the band has always used some considerable time making new material , not releasing anything until 100% satisfied.


MP - After 4 LP's, Monika and Pete left the band. Why did that happen exactly?
RF - The main reason for this was that the members of the band had different opinions towards what musical directions Atrox should take and therefore it was hard to create music that all involved parts were satisfied with. You could say that Atrox was moving towards a dead end musically. Even whilst recording "Orgasm" there was a certain doubt about the musical direction Atrox was taking. Not seeing eye to eye (hearing ear to ear) musically was the main reason. Wanting to try new styles – and not wanting to be under the "metal" label where some of the members view. Monika and Pete was also not to found of doing gigs, and the others wanted to play live so we were not agreeing on this point of view either. So some things had to be changed for continuing Atrox, and in the end it turned out to be something positive for the band.

MP - The albums before Binocular were more aggressive, more extreme and now you have a great progressive, groovie and funky sound. Do you think you could make Binocular like five years ago, with the old line-up?
RF - I still feel there's quite a bit of aggression left in the band , and at some levels the intensity and "aggression" is way higher on this new album. But I guess that's a matter of opinion, and what you are hearing in the music. "Binocular" is wastly multilayered, and the fact that the Guitars aren't that dominant anymore, I can understand that this gives the album a "softer" finish.
The extremeness you are describing is due to Monikas extravagant, experimental vocals, there's still a lot of the same references in the compositions instrumentally.
The change from a flamboyant female singer – to the more streamlined vocals of todays line up has also clearly changed the sound. And here- in the Vocal department – things are even more aggressive – more catchy and melodic maybe – but also fitting in with the music, on a totally different level.
5 Years ago – Rune Sørgård wasn't in the band (taking a little break in Sweden) – and most of the material on "Binocular" comes from ideas and compositions he was making while he was there. When he returned to Atrox, and Norway he had his computer full of material he wanted to present for the band – and this new electronic influence was something that changed the whole soundscape drastically. So – the answer would have to be – no! - I don't think that would have been possible. And even more – within the band nowdays – there's a greater variety of musical references- not at all coming only from metal – backgrounds – we merge our heads and instruments together to create the Atroxphere.

MP - Was this the sound that you were looking for? Which bands do you consider to be your greatest influences?
RF - I must say that we are indeed very satisfied with the material on "Binocular", and yes, we did find most of the things we set out to find on this album. We even had a few surprises – discovering more than we initially thought we would. Coming from all sorts of musical backgrounds, it's not easy to mention the influences as a whole for the band. But our music may appeal to listeners of bands like: Arcturus, Ulver, Ved Buens Ende, Manes, Sepultura, Pain, Tim Burton productions, Fields of Nephilim, Paradise Lost, Silverbullit, Aryeon, Stephen King books, Faith No More, Mr Bungle, Peeping Tom, Mesuggah, Killing Joke, Peccatum, Rammstein, Frank Zappa, DHG, Voivod, Cynic, Aghora, 3rd & the Mortal, In the Woods, Fear of God, The Gathering, Madder Mortem, Devil Doll, Anathema, Katatonia, My Dying Bride, Diamanda Galas, Red Harvest and so on.

MP - Rune Sogard was also involved in How The World Came To An End, from Manes. Can you establish a comparison between Manes and the "new" Atrox?
RF - It is quite fair to draw these lines – and make a comparison between the two bands, both bands from Trondheim sharing some musicians – and the involvement of Sørgård – the use of electronics etc. But Manes was more of a musical colloboration, whereas I feel Atrox is a much more rooted band. And musically – of course the instrumentalists leave their signatures. But the album “How The World Came To An End” was mainly written by Manes members Cern, -viNd- (from Atrox) and Torstein.

MP - Why do you think that Northern Europe countries are so prolific in great quality music?
RF - Personally, I find it very difficult placing good music geographically , but I truly believe the winter climate up north does certain things to the human mind. We are known to be more patient and "Slow" compared to the more continental stereotypes. The waiting people – waiting for spring- long winter hibernation. The feeling of seeing/hearing something different and "exotic" is something we all come across when we encounter something from a different culture. But being in the midst of it, living in Norway- it is quite difficult to look upon this matter from the inside.

MP - Are you already thinking about what you're doing next? RF - We always have the next step on the Atrox ladder in mind, and we are well into pre-producing and making material for the next album. But there is still a lot of promotion and presentation of the material we have right now to be done. We are hoping to do a European Tour before 2009- and this is one of our main focuses at the moment.

MP - If you have to choose, which band(s) would you say it's going to be the "next big thing"?
RF - There's so much happening in the music scene – and it's hard to follow it all, but from Norway I believe that "Animal Alpha" will have quite a break soon. AND -There is this new band from Trondheim called "22" that I really think deserves to make it. CHECK THEM OUT! A crazy young bunch of good musicians – progging and funking up most musical references, one of my local favourites.

MP - When will you come to Portugal? (eheh)
RF - We are hoping to go touring as much as we can, to meet the audience and present our stuff... and there is as I mentioned earlier a plan for a European Tour soon. Maybe if someone from Portugal are willing to give us some hints and inside information, it will make it all easier (eheh). Both Season Of Mist - and the band are promoting the stuff – and things are happening.. We are building our network and expanding the Atroxphere- hope to see you out there one day!

Entrevista com Marco Serrato (Orthodox)

Os Orthodox são uma banda do país vizinho. Melhor, os Orthodox são o projecto mais entusiasmante e curioso do país vizinho. Em apenas dois anos, bandas como Sunn O))) e Earth deixaram de ser referências a nível musica e imagético, para passarem a ser companheiros de editora, catálogo e palco. Marco Serrato (baixo e voz), fala-nos da experiência de ter uma banda.

Música de Peso - Orthodox is somehow an unconventional band, with an unique blend of sounds and inspirations. Is there any concept and/or background?
Marco - The real concept would be the way we see life and music. don´t know if it could be called a "concept". I wouldn´t say we´re a conceptual band or anything. Maybe when we started we were very tied to the imaginery present on our first album which is still there, but I don´t know... It´s just about crushing minds and make people feel uncomfortable. true metal. It´s not music for a party, it´s serious and orthodox.

MP - The name of the band Orthodox has any religious meaning?
Marco - With everyone trying to be so nice, heterodox and open minded nowaydays, someone has to make a call about the fact that sometimes things have only one way to be made. Or that you need to make some sacrifice. It´s about to accept how mankind is.

MP - Does Spanish religious folklore and liturgy influence your music and lyrics?
Marco - Yes. Even if we don´t want to... Or even in terms of oposition.

MP -Being on stage represents some kind of ritual for you?
Marco - Our first gigs were more concerned about that fact. We´re more relaxed now about that, but playing on stage it´s a ritual itself, not just for us but for everyone from Gorgoroth to Shakira. It´s about what you want to do with it. But it´s a ritual, like sitting on the table for dinner.

MP - Free-jazz seems to be a strong component of your music - mainly on drums, I think. Do any of you have some kind of musical formation?
MP - The guitar player and I have been studying music for a few years now, but it´s too late for us. Our musical deformation is strongest than our musical formation.
MP - With your first album, Grand Poder, you were strongly compared with bands such as Sunn O))) and Earth (even visually) and then, with Amanecer en Puerta Oscura, influences like Black Sabbath, Melvins and some stoner/doom bands were mencioned. How do you feel with such comparisons?
Marco - We love all that bands so it´s ok for us, but it´s the obvious comparisons. What about Black Flag, Manowar, Yawning Man or Rush? I think it´s there too.

MP - Is it hard for you, as a band, to process all the influences that can be heard in any of your records? Is it conscious, do you really try to blend all those styles?
Marco - No, we just try things we like. Our heads are full of shit, and when we put all the shit together the shitest things come out easily.

MP - How did you get to Southern Lord records? Do you think it was because of all the influences? How is it to be signed with them?
Marco - I think Julian Cope´s review had a lot with that. Of course Greg said he dig "Gran Poder", so it was easy. It´s great for us to be in a label like that surrounded by so many great bands.

MP - You've been in Portugal last year - if i recall correctly. How was the concert, the portuguese crowd? Do you keep any memories of that show? Will you come back?
Marco - We love Portugal. People were very nice to us and the shows were great. We hope we come back soon.

MP - What are Orthodox plans for the near/farer future? Can we expect a new album sometime soon?
Marco - Sure, we're working on the new album right now. It will be recorded very soon.

MP - Until the end of the year, can we find Orthodox playing anywhere?
Marco - We made a few gigs last summer, but, as I told you, we´re working in the new album right now. so I couldn´t say when we play live again...

MP - Final question: favourite myth and mythological character?
Marco - As metal kids we´re Lovecraft guys after all... So, choose anyone... Nyarlathotep for example.

Ne Obliviscaris à conversa com Música de Peso

Ne Obliviscaris é um nome que provavelmente diz pouco aos portugueses amantes de sonoridades mais pesadas. Ainda.
Saídos da cena australiana, tal como os sleepmakeswaves e os Alarum, os Ne Obliviscaris são uma das mais surpreendentes bandas da actualidade. Com uma variedade enorme de influências e uma sonoridade marcadamente Black e Death Metal Progressivos, preparam agora o álbum de estreia que irá suceder à excelente demo The Aurora Veil. Tim Charles (violinista/voz limpa) respondeu a algumas perguntas.

Música de Peso - So you guys formed around 2003. Tell us a little bit about your story as a band [including why you guys are called Ne Obliviscaris]. Did any of you had a band before, does any of you have some kind of musical formation...?
Tim Charles - Ne Obliviscaris is latin and means ‘forget not’. When choosing our bands name we wanted something that had depth and feeling, something that could be interpreted beyond one exact thing, a name that felt powerful and had impact, and a name that has a sense of history. For me personally, the saying, ‘forget not’, is about being aware of life: learning from the bad times, and appreciating the good. To be truly aware of everything that has come before us, in our lives and from a historical perspective, is to acknowledge the world as it is, an action that in of itself gives us a greater chance to improve our own lives and the world in general.
In regards to the story of the band- despite the band forming in 2003 it wasn’t until early 2005 that we had a complete and stable line-up. Once we achieved that stability the songwriting took a new and more developed direction that is the sound people now associate with Ne Obliviscaris. A couple of the guys played in some other local metal bands before NeO, but nothing that serious comparatively.

MP - What took you so long to record this demo?
TC - We were determined to make our mark straight away and we wanted to make sure that we made a positive first impression with people. So with that in mind, we waited until we really felt like we could do a recording we were proud of. Plus, because it wasn’t until early 2005 that we had a stable line-up, this made this timetable a lot more drawn out than initially anticipated. Also, in 2005 I had to have my tonsils out and couldn’t sing for a couple months, and Xenoyr was in an accident and broke his leg; so all these combined resulted in it taking us until late 2006 to finally record our demo.

MP - Where do you get all the influences (and inspiration to write) that can be heard on Aurora Veil? [i can even sense a little bit of eastern music] What do you consider to be your main influence - band or genre?
TC - Ne Obliviscaris is comprised of 6 musicians that are all very open minded musically, which results in all sorts of influences coming in from every direction. Each member brings in their own individual influences and because of that I wouldn’t really say that we have any one main influence. Personally I am inspired by all types of music whether it be metal, rock, jazz, western art music or otherwise. Life in general is an inspiration, our friends, families and all our experiences. If one takes everything in, I feel it allows you to more fully express yourself creatively and to sound out your personal unique voice.

MP - In the recording process, all these influences are combined consciently or is it kinda spontaneous?
TC - Mostly it is something that is spontaneous and innate. NeO’s sound is really the combination of the 6 unique individuals in the band, and we really encourage the breaking down of boundaries in regards to style and genre which means everyone is comfortable putting forward ideas that many bands would consider unsuitable for a metal band. There are things we do stylistically that happen purely by each member contributing their part and it creating a certain overall result, and then their are other times where an idea is put forward and we make a conscious decision whether we want to pursue that direction. But in general, we just try to let things flow naturally and not force our sound in any particular direction.

MP - Do you think you already have your own recognizable sound? Do you think people can identify your band if they'd hear it on the radio?
TC - I think so. My vocal and violin style are very distinctive especially, but the combination of styles I definitely feel is approaching something that is unique and representative of NeO alone. We are just trying to be ourselves, regardless of what anyone else is doing, and hopefully that comes through to the listeners.

MP - After Aurora Veil you'll release your first LP. Do you already have some label in mind to get a contract with?
TC - We’re in discussion with a few record labels at the moment, so hopefully we’ll have something official to announce in the near future!

MP - This LP is still unnamed right? What can people expect from it: it'll be similar to "The Aurora Veil" or will you try to change some things, [like sound more/less black metal, or more/less progressive or whatever]?
TC - There is no official name for the LP yet, although we do have a prospective title in place. Stylistically, the LP will offer a similar approach to ‘The Aurora Veil’. We will be re-recording those 3 songs (with much improved production and performances), as well as another 4 (about 70 minutes all up), and in the same way each of the 3 songs on ‘The Aurora Veil’ are quite distinctive and different, we feel that all 7 of the songs on the album are quite distinct individually. One song has a strong Latin influenced section, another has some jazz influence, another is very extreme and intense… but the over arching qualities that make Ne Obliviscaris what we are, have stayed essentially the same.

MP - What are your favourite bands?
TC - I listen to so much music it’s hard to just name a few, but a short list of some of my favourite bands would be: Opeth, Sigur Ros, Enslaved, ISIS, Immortal, Dream Theater, Explosions in the Sky, Cynic, Dillinger Escape Plan, Devin Townsend, Coldplay, Muse, Radiohead and many more…

MP - I read somewhere in the web that your demo can only be compared to debuts from death-metal bands in the early 90's. How do you feel when someone says this?
TC - Anytime we hear anything that in any way supports Ne Obliviscaris, and the music we are creating, we are so appreciative. As I said before, we are just trying to be ourselves, and the fact that so many people have been connecting with our music and appreciating our approach to metal is fantastic.

MP - How is the metal scene in Australia?
TC - The metal scene and community appreciation of metal is definitely much smaller here in Australia than in Europe. Despite being a big country in land masse, there are only 20 million people in Australia and we are a long way away from most countries, so it does make it hard for bands to get off the ground and make a living from their music. But despite this there are definitely some fantastic bands here such as: Alarum, Be’lakor, Separatist, Astriaal, The Ocularis Infernum, Aphotic Dawn, Ruins, The Amenta, Psycroptic, sleepmakeswaves, Voyager and more.

MP - Do you prefer to play live or just record?
TC - For me, there is nothing better than performing live. The energy that is shared between the band and the audience is something that can not be replicated in any other life situation. It is like a drug, and personally I just can’t get enough of it. Recording presents its own challenges and positive experiences and is also a great part of playing in a band, but the direct interaction with fans and the sharing of that live experience definitely makes performing live my favourite aspect of the band.

MP - If you could pick one band to share the stage with, which one would you pick? And where would you like to play?
TC - Well it’s incredibly hard to pick just one band, but it would definitely be fantastic to play with Opeth as they helped shape my view that you could do almost anything stylistically in metal (especially in regards to the more mellow and progressive elements) and if it was high quality it would find an audience. And like every other metal band hopes, it would be great to play at Wacken Open Air in Germany.

MP - Do you know any portuguese metal acts?
TC - I know Moonspell well, but admittedly, aside from them don’t have a great knowledge of the Portuguese metal scene.

MP - Would you ever consider coming to Portugal to play?
TC - We would love to come do some shows in Portugal! Once the album is released in the first half of 2009 we’ll be looking to tour Europe so if there is enough interest in Portugal hopefully we’ll make it there for some shows.

MP - Is there any band, book and movie you would like to recommend to Música de Peso readers/listeners?
TC - Ikuinen Kaamos are an incredible progressive death metal band from Finland that are criminally under-appreciated. Their new album ‘Epilogue’, which is about to be released, is incredible and they are definitely a band I have a lot of respect for. They are also a band I think a lot of Ne Obliviscaris fans would like.

O Música de Peso foi falar com Timb Harris, violinista e trompetista de uma das mais completas bandas da actualidade: os norte americanos Estradasphere (que estiveram em Portugal pela primeira vez o ano passado).
Timb falou-nos da banda, do que os influencia, dos projectos e de todo o universo que rodeia a banda, musicalmente e não só.

Música de Peso- Most recently some of the Estradasphere members worked with Amanda Palmer (Dresden Dolls). How did the opportunity come out?

Timb Harris - So far it has gone really well. Amanda is a relentlessly creative and driven artist - her attitude is inspiring. Aside from arranging and producing several of her songs, we look forward to do some live performances together in the future. The performing we have done together so far has been tremendously fun - she came to our compound in Seattle and we put on a very theatrical live production of our shared material. It was all captured beautifully on audio and video, which we'll share when the time is right...

MP - How was it like working with her?

TH - Like I said, she is an inspiring creative force. She has great pop sensibility and is a magnetic front-person, while we are more comfortable with more involved compositional structures, arranging, and playing a supporting role. We really filled-out each others' strengths and shortcomings well. She gave us a lot of freedom on what to do with the songs, which we took advantage of - it was only occasionally that she had to reel us in a little!

MP - Besides the shows you gave in Seattle, will there be a record of your work together?

TH _ We are going to sit on the recordings for awhile to determine how and when we will perform together over the next time period. As that becomes more clear, we'll have some new music to tour on...
MP - Estradasphere's music is anything but simple. Where do you get the inspiration to write it?

TH - Well, we all are inspired from different (but overlapping) sources, but the similarities are that we always try to seek out people who are genuine masters of their craft from which to draw inspiration. The great classical composers, the giants of classic jazz, the geniuses of 60's and 70's film music, the fathers of soul and rock n roll, perpetuators of authentic folk musics of the world - any music (or other art form) that stands the test of time is worth paying attention to, as well as people who are currently breaking new ground.

MP - In Palace of Mirrors, the band seems to focus more in some kind of score work. Do you think you will ever be in a scoring production?

TH - Yes, I/we would love to collaborate with filmmakers in the future. Our music tends to be very (imaginally) visually stimulating, so it follows that a foray into that world would be fruitful. You can find Estradasphere's music in one film - a campy sci-fi epic called StarSlyderz that Tim Smolens scored with material from Buck Fever. Check it out if you like wrestling matches between GI Joe and Star Trek and puppet aliens snorting coke off large dildos!

MP - Video games score also appears on Sphere's music. Is there any reason for that?

TH - The majority of Estradasphere's sentiment is that time playing video games is time that could be better spent engaging with music (somehow we have to convince Lee that - he loves that Grand Theft Auto 4 thingy!). But we have licensed our music to video games before, most notable a game called "Gish" that won a bunch of independent video game awards a few years back...

MP - Is there any band or musician that had a special impact on you?

TH - Oh man, I could list them forever. The most special influences on me musically, though, have typically been my teachers and especially my colleagues, which I learn from with every musical and personal interaction.

MP - Many people consider you to be the musical heirs of Mr Bungle. Do you feel that way? Do you feel any kind of responsability/pressure when you hear that?

TH - No, of course we are not. Some of our music, especially early on, has been heavily influenced by them according to the degree that some of the people in Estradasphere were inspired by the music of Mr. Bungle in their youth. Over time, and especially from working so closely with Trey, though, we are more inclined to be inspired by the sources that Mr. Bungle were looking toward, not necessarily Mr. Bungle themselves. An astute listener will easily be able to tell where the silmilarities are and are not between our music and theirs.

MP - Before you signed with The End, you were with Mimicry. Why did you changed?

TH - We love working with Trey and Mimicry, and still do have a relationship with them, but we wanted to try and spread out a little, meet some new people and see the ups and downs of working in a different model. We've learned a lot from both situations and continue to enjoy the support of both organizations.

MP - What are your plans for the near future? Will you tour, will you release a new record anytime soon...?
TH - One of us is having a little one soon, so we are going to play fewer shows, often in smaller combinations of musicians, for the next year or so. We'll see what the future has to offer...
In the meantime, Jason has new record coming out called "The Orange Tulip Conspiracy", Jason and I have a bunch of Secret Chiefs touring to do in the US and Europe, and I have joined a trio with Gyan Riley (guitar) and Scott Amendola (drums), which will be traveling internationally.

MP - Changing subjects a bit, what do you consider to be the best of being on tour?

TH - I really like the metaphorical aspect of it being like traveling through space on a ship - each night you land with your trusted crew and set up your same little camp and do your thing on a very different planet every night. The ambassadors are usually wonderful, the food is different...most planets are special places to visit. I feel very honored to meet people all around the universe who appreciate our music.
MP - Do you have any literary and/or musical recommendations for Musica de Peso blog's readers?

TH - Wow. Um, I love exploring the writings of Borges - the collected short fiction is amazing. Phillip K. Dick has a way with showing us ourselves, of course. Musically, I just hunt for the stuff the stands the test of time - in the short term I've been listening to a lot of the great film music from the 60's; Morricone, Bruno Nicolai, Peter Thomas; on the other hand I've been enjoying the choros and samba of Brazil; and I can NEVER get enough of the string quartets of Bela Bartok, especially 2, 4, and 6. Scelsi's "Quattro pezzi su una nota sola" is in my player at home right now. Man, I could go on forever...but one thing that I think is often overlooked is to pay attention to the music around you, played by the people you interact with. That can be the source of a type of learning that cannot be learned or appreciated through reading or listening to the masters. I have been very lucky to know and play with people who I admire so greatly. Cheers, Timb.

Entrevista a Dan Swanö

Este nome devia dizer algo a toda a gente. Mas se calhar dizem-vos mais os nomes das bandas a que este senhor está ligado, directa ou indirectamente: Diabolical Masquerade, Edge Of Sanity, Pan Thy Monium, Shadowsphere, Opeth, Katatonia, Bloodbath e tantas outras...
O Música de Peso pôs algumas questões e Dan acedeu a respondê-las. De forma directa e clara, levantando o véu a algumas dúvidas. E também deixou alguns conselhos para quem estiver a começar no mundo da música.

Música de Peso - Which was you first contact with metal and death metal?

Dan Swanö - My first contact with metal was thru my brothers. I got into Kiss and Judas Priest really early and followed their evolution. I also liked WASP and Mercyful Fate really early. The Death Metal stuff is something that grew out of the crossover into Thrash into Death/Thrash then to pure Death Metal. Almost like an addiction!! When I heard the 1st Obituary record something snapped in me and since then only the deadliest was good enough!!

MP - You've done and been doing a lot of stuff in music: you had the Ghost project, you played with Katatonia, you have some old-school death metal projects (like Infestdead) and a hard-rock band, Nightingale. Are you looking for some kind of musical fullfilment or you are an hyperactive person who loves music?

DS - I don´t know. I just like to play music. I have always had one helluva problem to focus on one thing for too long. It feels great to possess the ability to jump from scene to scene and do something (hopefully) good in each situation, and not always play the guitar for a bluesband or whatever other horrible situations there might be in the world ;)

MP - Some years ago, you founded Pan-Thy-Monium with your brother, which is everything but traditional death-metal. What did you want to do or obtain with Pan-Thy-Monium?

DS - PTM was founded in 1990 by me and three friends. We did 1 demo 1 EP without the inclusion of my brother. Around the time of the 1st LP we needed an extra spice and his leadguitar and saxophones were just the spice we needed. He sticked around for additional overdubs on the 2 next coming LP´s and cannot be considered a member. Only a Guest in PTM. Our main goal was to piss people off!!!!

MP - You've been credited in about 100000 records that came out of Sweden in the last 15 years. Do you feel like a generous Godfather to swedish death metal?

DS - Not really. I might be one of the backbones in the 2nd wave of slightly more melodic death metal, still performed today. I did a lot of clean singing on brutal records really early on, and that is really in-fashion today!!

MP - Why did you abandon such projects as Edge Of Sanity? People say that you can't do death grunts anymore...Is that true?

DS - I tried to take over EOS to make the project go one step further. But the plan backfired and I was fired out of the band. About the growling: yes and no. I cannot do a livegig to save my life. I have a timespan of about 10 lines of grunts before my voice and breathing is fucked up. I have no desire to train it up again, so I think my growling days on a stage is over, but I can still do some stuff for the studioproject if I wish.

MP - A question about the legendary Sorskogen: why did you and Mikael Akerfeldt never took it forward and recorded a whole album?

DS - It was only a testproject for my new studio. I was lost in Stockholm after a UK trip and called Mike and he drove me home, stayed a few nights and one of those nights we recorded the "Mordet i grotten" track just for fun. Some guys sit and watch football and drink beer. We made history!!! I think Mike will make a fullenght, but I doubt I will be on it.

MP - Most recently you've been working as producer and doing some studio work. Why did you decide to do that instead of keep playing only?

DS - It´s a gutfeeling. I get a much bigger kick out of finishing a perfect mix/mastering than to write a song. I don´t know why, but it is so. So I follow my gutfeeling!

MP - In 2006 you mastered "Hellbound Heart", a record from the portuguese band Shadowsphere. How did that opportunity came along?

DS - I actually mixed and mastered the whole thing. It was really cool. The music was great and I think my work turned out pretty cool too!!! Hi guys!!!

MP - Tell us a little bit about your Unisound project.

DS - It is not really a project. Unisound is my company and I mix and master records for a living. I have a simple homepage at unisound.se (will be a cooler one very soon). If you want your record to sound kick ass...let me work on it!! I am cheaper than most of the other mix/mastering guys in the business.

MP - What are your projects for the present and for the near future? I've heard that a "Moontower II" might see the daylight sometime soon...

DS - Moontower II was stillborn. I never wrote a single riff worthy of release and threw it all away. Sorry. I will focus on my mixingcareer and be the new Chris Lord-Alge.

MP - Do you have any advice for new bands that are starting now?

DS - Try to find your own style. If you wish to sound like At The Gates or In Flames or even Opeth, form a tribute or cover band...it will give you more cred, chicks and knowledge. Then you can form your own band and try to break away from the sound of your favebands. Nobody needs a copy. It´s hard times in the recordbusiness today. Only the strong survive, and to copy another successful band is not strong. It is weak!!

MP - Some recommendations, both musical and literary for our listeners?'

DS - Anything that will make your heart beat faster. Let it by pop, punk....whatever. A good book is Martin Popoffs book about Judas Priest. really important reading!!

MP - Thanks a lot for your time Dan, really.

DS - Thanx to you too!!

Lord K. Philipson fala dos Torture Division

Lord K. Philipson - que também é guitarrista na banda The Project Hate MCMXCIX - fala-nos do seu novo projecto, os Torture Division, e de como apenas querem fazer a música mais brutal à face da terra. Ah, e conhecem os Moonspell.

MP - Torture Division are a new band. Tell us a little bit about the band...
Lord K. Philipson - All necessary information can be found at www.torturedivision.net, but in short; we are a bound to be legendary death metal act from Sweden rounded out by myself on guitar, Jörgen Sandström on vocals and bass and Vomitory's Tobben Gustafsson doing the blasts.

MP - What are your main goals as a band? LKP - To hand out the world's best death metal for free to everyfuckenone.


MP - When will you release your first LP? I've heard that Dan Swano will produce it... LKP - I don't think we want to record an album, we like this demo thing and too many shit bands releases albums these days anyways. Dan Swanö will mix our future demos and should we ever end up doing an album he'd mix it for sure.

MP - How did the oportunity of working with members of The Project Hate came up?

LKP - Since me and Jörgen play with TPH it was not too difficult to approach him with the idea of Torture Division. He's the world's best growler and we are the world's best death metal band, it's a match made in hell.

MP - Do you think that death metal is still an original musical style? Many people say that the scene is again saturated... Do you think you can bring something new to the scene?
LKP - We are not even remotely interested in bringing something new to the scene. We just wanna play brutal music and kick everyone's ass. Which is what we do.

MP- Can you give us some influences of your band?
LKP - Vomitory, Vicious Art and The Project Hate. That's everything we listen to.

MP - Do you know Portugal? Do you know portuguese bands? Will you ever consider coming here?
LKP - Is Moonspell from there? That's all I know if so. We'll come to your country if someone hands us a good deal. Hell, we'll play in your arsecrack should the deal be good enough.

MP - For bands that are starting now, do you have any advices?
LKP - Yeah, give up. You will never be as good as us anyways. And setting for second best is useless.

MP - Are there any bands - lately - that "make your heart beat fast"?
LKP - Nope. They all fucken suck.

MP - What are your projects for the main future?
LKP - To record more demos and get our asses out and play live. Download our stuff at the site and spread it like cancer.

Cheers, fuckos.

Guilhermino Martins fala-nos dos ThanatoSchizo

Guilhermino Martins é o guitarrista dos ThanatoSchizo. Guilhermino Martins é também um dos maiores impulsionadores do metal no Norte de Portugal. Fomos falar com ele sobre os ThanatoSchizo, sobre o seu recente trabalho como produtor e sobre o estado da música neste país.

Música de Peso - De Turbulence até Zoom Code passaram-se 4 anos e uma mudança de editora. Porquê a My Kingdom Music?
Guilhermino Martins - Porque tem bandas de que gostamos (Crowhead, Rain Paint) e porque nos apresentaram uma entusiasta proposta para o lançamento do álbum que não nos deixou dúvidas sobre a quem entregar a edição do mesmo.

MP- Quando Turbulence saiu, não tardou a ser considerado um dos melhores álbuns de metal do ano e houve mesmo quem falasse no melhor álbum português em 10 anos. Por outro lado, houve quem vos acusasse de uma falta de som próprio, procurando antes "colar-se" a algo próximo daquilo que os Opeth fazem - inclusive a nível vocal. Como reagiram/reagem vocês perante críticas tão diferentes?
GM - É um facto. Um mesmo tema de TSO chega a ser comparado a coisas diametralmente opostas, o que, a meu ver, só pode ser bom sinal. A nossa reacção normalmente fica-se por um sorriso, seja pelas críticas mais corrosivas, seja pelas descrições mais efusivas. O prazer que retiramos na criação dos álbuns, do expurgar da música que temos cá dentro é impagável e incorruptível.

MP - Zoom Code está a ser recebido de braços abertos, com críticas muito positivas. Mais importante, parece-me a mim que vocês conseguiram atingir um patamar superior: têm o vosso próprio som, o Eduardo e a Patrícia fazem um "dueto" constante, equilibrado e poderoso ao longo de todo o álbum, tu pareces ter dado mais largas às tuas capacidades como guitarrista...enfim, toda a banda parece ter crescido imenso. Isto foi fruto de muito trabalho ao longo destes quatro anos ou foi algo que pura e simplesmente aconteceu, algo espontâneo, fruto de um crescimento individual?
GM - Obrigado! Tenho ideia de que sempre evoluímos muito entre todos os álbuns. Talvez neste CD esse traço evolutivo se note mais, sim. E acaba por ser fruto do nosso crescimento enquanto músicos e pessoas. Com essa maturidade acaba por vir a tal personalização que o nosso som cada vez mais apresenta. Não há um “plano”, as coisas apenas acontecem na sala de ensaios, nos concertos, no dia-a-dia.

MP - Algo que salta também à vista é a incorporação de muitos mais elementos electrónicos em Zoom Code do que em qualquer outro vosso registo. Porquê esta situação? Estás a passar por aquela fase de "fascinação" pela música electrónica, pelo "programming"?
GM - Esse fascínio pelo aproveitamento das potencialidades do “programming” já vem desde há alguns anos, mas, mais do que apreciar essa vertente, é preciso saber dominá-la. E, honestamente, só agora com este álbum nos sentimos suficientemente à vontade para a utilizarmos de forma tão veemente no nosso som.

MP - Como é que vocês vêem Zoom Code? Sentem-se totalmente satisfeitos com o produto final?
GM - É o nosso melhor álbum e é, provavelmente, o primeiro registo de uma nova fase da banda, cada vez mais livre, única e personalizada.

MP - Houve algumas influências diferentes/novas para este registo?
GM - Melómanos como somos, isso acaba, obviamente, por influenciar a forma como compomos, executamos e gravamos a nossa música. Além disso, sendo uma banda tão aberta a influências normalmente não associadas ao metal, é natural que acabemos por incorporar formas de espírito típicas de outros géneros.

MP - Como surgiram as oportunidades de colaboração com o Zweizz e o Timb Harris?
GM - Sentimos que havia espaço para um interlúdio electrónico para a faixa Last of the Few, apresentámos a ideia ao Zweizz e assim nasceu a The Shift. No caso do Timb, imaginámos que aquela secção do tema L. seria óptima para um solo de violino, enviámos-lhe o tema e ele respondeu prontamente, dizendo que queria gravá-lo!

MP - Guilhermino, ultimamente além de músico, passaste para o outro lado e começaste a trabalhar como produtor. Faz parte dos teus objectivos trabalhar como produtor ou procuras apenas dar a conhecer aquilo que por cá se faz?
GM - Eu sou professor de música. A produção surgiu como uma necessidade, inicialmente para as pré-produções de TSO e, numa segunda fase, para gravar os projectos das bandas que se iam formando por esta zona, algumas delas com alunos ou ex-alunos meus. Neste momento não tenho um objectivo delineado no âmbito da produção. Limito-me a ir gravando os projectos que me abordam e nos quais reconheço alguma validade artística, mas tudo sem grandes metas nesse campo, até porque, mais do que um connaiseur, sou um legítimo curioso…

MP - Sentes-te um dos maiores impulsionadores da cena metal no norte do país?
GM - Não. Sinto é que, genuinamente, gosto de ajudar as bandas mais novas para que não tenham de passar pelo que nós passámos por não terem nascido na região de Lisboa, na tentativa de provarem o seu valor. Aconselho, ajudo no que posso e vamos sempre lançando um/dois grupos desta zona a cada Liperske que organizamos.

MP - Se pudessem escolher, como quem dividiam o palco?
GM - Já tocámos com algumas bandas que admiramos como Katatonia, Samael ou Orphaned Land. Neste momento não sei o que os outros elementos de TOS te responderiam, mas, eu adoraria partilhar o palco com Atrox, Porcupine Tree, Pure Reason Revolution ou Three.

MP - Como vêem a cena metal cá em Portugal?
GM - Cada vez mais viva, forte e artisticamente relevante. Falta é um circuito nacional para concertos. Uma lacuna com décadas no nosso país.

MP - Como está a correr a divulgação ao vivo do ZC? Muitos concertos agendados? Quais são os próximos?
GM - Apresentámos o álbum (e celebrámos o décimo aniversário) no passado dia 17 de Maio em Santa Marta de Penaguião (Liperske IV). Entretanto temos mais quatro datas confirmadas (Zamora, em Espanha a 14 de Junho; Metal Grândola a 28 de Junho; In Live, Moita a 20 de Setembro; Showcase semi-acústico na Fnac do Fórum Almada no dia seguinte). De qualquer forma, temos uma série de gigs em negociação pelo que, a curto prazo,trataremos de os oficializar.

Svein Egil Hatlevik

Svein Egil Hatlevik é norueguês e trabalha como jornalista. Svein Egil Hatlevik é também conhecido por Zweizz e por ser o homem responsável por projectos como Umoral, Fleurety e Zweizz (de resto o seu pseudónimo). Participou também em 666 International, dos noruegueses Dodheimsgard, considerado por muitos como o melhor álbum de black-metal dos últimos quinze anos. Mais recentemente colaborou em Zoom Code dos portugueses ThanatoSchizo, com a faixa electrónica "The Shift".

Apesar de ser um homem bastante ocupado - como fez questão de frisar - aceitou tirar um pouco do seu tempo para responder a umas perguntas do Música de Peso.

Música de Peso - How do you look at 666 International [Dodheimsgard's album, 1999], which is considered by many, as the best black metal album in the last 15 years?
Zweizz - I am very glad that I was able to have my voice heard on that album. I think that 666 International is a very strong album, and I think that Fixit, Alrahn, Bjørn Boge, Czral, Ginge and all the other people who were involved in the making of that album did a very fine job, and in all humility I think I did a fine job myself. It makes me proud to know that I was part of making both 666 International and the Satanic Art ep. DHG har obviously been Fixit's band since about 1997, and he deserves all respect for his effort and vision, and looking back at 666 International I am glad I have made an individual statement that is part of completing his vision.

MP - Why did you leave Dodheimsgard and created your own one man band, as Zweizz. Why did you do that? Did you need your own space to create and improvise?
Z - As I said, DHG is a band very dominated with Fixit's visions about what the music should sound like. After a while I felt that his ideas about what the music should sound like were very different from my ideals – I did not any longer agree with his musical ideals, and I thought it was better I left DHG, because I felt there was no need for me there any longer. This was more or less a mutual desicion that Fixit and I came to. It is indeed a question of me needing a room that is mine. Improvisation is a very important part of Zweizz – all the concerts we have done have been improvised. And DHG is not a band that improvises. So when Fixit wanted me to rehearse with DHG three times a week, I felt I had to make other priorities.

MP - In 1999, DHG toured with Dimmu Borgir. How was that tour? There were many people by that time who were shocked when 5 bald guys came in stage dancing to black metal music with women tops. Were you trying to do something different?
Z - I enjoyed that tour very much, but as many have pointed out, our concerts were not really very successful. But I do think we made a beautiful statement in playing so many bad concerts. We were trying to show people something different, and I do think that we wanted to show people that black metal should be pushing forwards, and not only a retro thing – nevertheless it is important to have a firm link to the black metal tradition, and the DHG riffs are always very black metal. Even Frost thinks that all the riffs on 666 International sound like black metal riffs. But at least, as I see it, we wanted to refresh black metal. That is still an important part of what DHG is doing today.

MP - Changing subject: why did you decide to sing in Umoral [project with Teloch, ex-Nidingr]?
Z - Umoral just happened. Teloch was my flatmate for a year or something, and we just ended up making music together. I remember when I first heard Teloch's band Nidingr, I was very skeptical, but after the first 30 seconds I had a BIG smile on my face. So I was very excited about the possibility of making music with him. So we made some music – everything was very intuitive – and people seem to like it. Now I feel that we have touched some nerve, we have struck gold somewhere between cynicism and irony. I think we have found a very strong ideological founding for what we do, based on the tenets of traditional black metal. At best it can be about seeing the inverted cross in every situation. One example: Last summer I was in Moscow playing the Soviet Ans synthesizer. It works in such a way that images become sound, and I have recorded the sound of an inverted crucifix though the ANS. We will use that recording for Umoral. I think that Umoral is very much about «Do what thou wilt».

MP - Are you familiarised with Creative Commons? What do you think about that?
Z - I use Creative Commons regularly in the newspaper where I work. I like the idea of sharing stuff. Most of the time I don't sell that many records, but I trade with people. Sometimes I just give records away – but not to the extent that I lose money. I don't make my living as a musician, because I think that music should be independent from economy.

MP - Would you ever consider signing with a netlabel?
Z - No. One of the main reasons I make music is to make records. I love records.

MP - What do you think about metal and people in metal nowadays? Is it better now, or do you prefer the way it was 15 years ago?
Z - I think metal today is pretty interesting, but I don't really have the time to listen very intensely to music like I had when i was younger. I hear good albums all the time, but I seldom have the time to sit down and give the album a proper listen. I feel I am missing out on something when things are like this. When I do listen to black metal albums, I prefer listening to Burzum's «Hvis Lyset Tar Oss», old Profanatica, the Emperor demo or some of the other records that were released when I was fanatically into black metal. Because I was really completely fanatical about black metal when I was sixteen. And I think it is very weird with people being obsessed with the black metal being made today. Black metal has become a trade mark. Who wants to be fanatically obsessed with a trade mark?

MP - Are you into bands like Yamatsuka Eye?
Z - I don't know. Never heard them.

MP - What are your projects for the near future?
Z - Now I am making an album with my wonderfully talented friend Joey Hopkins. The music we are making is becoming all I ever wanted to make – but even better. This Zweizz & Joey Hopkins project will be very electronic. And sooner or later we will be making an Umoral album, but I don't knw how much time that will take.

myspace.com/zweizzmusick

Para já, a entrevista segue apenas em inglês, mas no início da semana já a terei traduzida.