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TAKEN FROM IMHOTEP ZINE # 6 , 2000
This is divided into two parts. Part I is a translated version
of Metal Shuffle's interviews with Nocturno Culto & Fenriz, released in 1999. Editor Geir Larzen was so nice to grant
me kind permission to use this. You may ask why I use this instead of interviewing Darkthrone myself, and I would certainly
understand such a question. But fact is that in order to release this very issue I had to make some shortcuts, this first
part being one. And frankly, I don't see the point of Nocturno and Fenriz repeating themselves, as the answers they gave to
Larzen are basically those kinda answers I would've asked for myself.
The second part is a small interview done with
Nocturno Culto in May 2000, two weeks before printing, and is mainly focusing on "Ravishing Grimness".
Thank you very
much, Geir Larzen, for using your interview! The translated version is hardly changed from the Norwegian.
To the Norwegian
readers: Dette intervjuet er stort sett direkte oversatt fra orginalintervjuet, så til dere som synes det blir kjedelig å
lese så beklager jeg det. Men, denne første delen er skrevet til ære for de engelsk-lesende som hyller Darkthrone!
PART
I
The Nocturno Culto story
- "Yes, we've been paid homage to, and that feels very good. You
become a bit honoured when you see the significance our music has been to others.
Concerning the tribute album, I feel
the bands are all great. The idea came about when someone told us that this was the 10th year of Darkthrone as a band. However,
the first suggestion was a Best Of-anthology, but this gave us a bad taste in our mouths of course. So, the thought was put
on ice until these eight bands were asked to make version of our material.
Personally speaking I think every band
does a magnificent work. I know that especially one version has been criticised, and that's the Immortal version. They have
broken down several barriers, and did an exceptionally slow version which I ensnare to a highest degree. Their drummer must've
had to practice a lot not to play fast.
It's not so sure that every band has worked as much on the demo-level as we've
done, thus they're not as used to necro sound. But I find atmospheres in everything, be it a clinic studio-production or a
basement-recording. Of course, when there is any atmosphere at all. But don't let us focus only on Immortal. I think that
the positive matter for every contribution to the album is that each band has managed to give their version an own identity.
To me, who has been a part of the original ideas, this album is both fascinating and interesting. On one side we have Thorns,
who have repacked rather much. On the other we find Emperor, and their version of "Cromlech" is probably the one who is closest
to the original. On the latter I have to say that they've done a tremendous work, and have figured insanely many details."
Earlier
Nocturno Culto used to live in Oslo, the capital of Norway. However, he has moved away and lives in more silent surrounding,
away from the city and all the noise. But, how did Darkthrone end up as grim as they were and still are?
- "When we
begun we were extremely isolated. We didn't have any particular contact with other bands, and we lived in many ways in our
own universe. Our albums reflect periods in one's life. We've never done anything consciously. Every release has been like
that due to our thinking at the moment. And this, together with the fact that Darkthrone has stood rather alone, have made
Darkthrone's expression very special.
I myself have a peculiar relationship to "Transylvanian Hunger", just because
my live was so cool at the time. Even today, those few times I play the album, I can't keep the emotions away.
Each
album sounds different from the others, and I think that is an acknowledged quality of Darkthrone. Each album is incredible
independent. I don't really know what young individuals feel for us. Something makes me think that most of the younger buyers
doesn't like Darkthrone at all it's too far out for them, a bit too extreme."
In Geir Larzen's opinion is "Under A
Funeral Moon" Darkthrone's most innovative and special album. Even if the decade at the time of the interview wasn't ended,
he thought that the mentioned work (which displays a primitive and evil feeling without any counterparts) wins the award for
'the grimmest album of the '90s'.
This isn't news to Nocturno Culto, as he says:
- "Yes, so I've heard from
other sources as well. "Under A Funeral Moon" marks an era in our history which I personally think lasted way too short. We
were finally a trio. We had for a longer period of time tried to get rid of Dag Nilsen (bass), and when he got off the picture
I think everybody felt a certain satisfaction. Traditionally Darkthrone isn't the band where we share our feelings, but it's
very clear that there became an unique atmosphere and attitude when we did "Under A Funeral Moon".
Things went a bit
downwards when Ivar (Zephyrous) ended his contribution to Darkthrone. To a small degree I can understand why this happened,
but I don't feel like talking about this. I state that I'd like to have gone further as a trio. Darkthrone is my 'child of
heart'. I think of it every single day, and I don't think I'll ever manage to put it all away."
Personally I'd say
"A Blaze In The Northern Sky" is grimmer, especially thinking of the whole package. Mr. Larzen describes it as 'a fist in
the face of everything that could be imagined of utterly sad, technical, flat and sterile death metal. So, he asked Nocturno
what it was that led Darkthrone to reinstall, or at least revitalise 'black metal'?
- "A lot of bands judged us down
and south at that time, as they thought we weren't 'that great'. Well, to each his own
Fenriz
had his Isengard, while me and Ivar lived in a black metal related world I don't think we ever will experience the intensity
of again, and we felt uncomfortable and less satisfaction by the death metal at the time. "Soulside Journey" was all natural
for us to make in those days. The way the musical dogmas were back in 1990 death metal became what was as close as Darkthrone
could be according to our ideas. Darkthrone came with our own 'thing' and it was a rather free and easy gesture to act against
this stile. In addition death metal had their peak at the end of the '80s.
Things changed quickly, and I and Ivar
felt we had to discuss with Fenriz a rebuilding of Darkthrone. After that we begun to work with "Goatlord". In the end we
threw away the material, and our next project was "A Blaze". Originally it was supposed to be a mini-album. However, none
of us really liked singles and mini-albums, so eventually we decided to give the material more time, and work till we got
a solid album in our hands.
I have later on spoken with a lot of people who experienced "A Blaze " as a great shock.
Both musically and conceptually it became a bit of a trend to highlighten its significance on the standard (of black metal
Roy). Other bands at the time were probably a bit dissatisfied about the fact that we got credit for just that, but you can't
argue against the obvious fact that the album was the first to be 100% modern black metal; both thinking sound and pictures.
Not even Mayhem was black metal at the time. Sure it was grim and sure it was metal, but"
Darkthrone ain't the band
you read about in every other 'zine Nocturno Culto says that they have always been living in their own world, and that they
still don't care much about the selling of an album, nor if the music reaches the audience. He continues:
- "Mostly
we've been pleased when we've got a few copies of the albums ourselves. I despise attention, and I am especially misanthropic
minded. Saying this I tend to believe that our reluctance towards publicity is for the best to Darkthrone. The more we said
we 'pied' on the audience, the more people reacted."
Larzen claims that if you don't deny rumours that develops, automatically
certain myths will begin to spin. No doubt about that. Darkthrone has been a band surrounded by mysticism and secrets. Could
we claim to this be a conscious 'sales-trick' from the band? Nocturno Culto denies this in full.
- "Again, to receive
our own copies of the album and to create something of our own meant way more than selling and reviews" he says. "Only half
a year after "Soulside Journey" was released it suddenly struck us and everybody else - that it was possible to make money
out of this. Incredible, and almost unbelievable. Imagine to get money from a record company in order to enter a studio! The
thought that we could make even the slightest amount of money from our passion had never passed our ways."
During the
peak of Darkthrone's 'career', they were said to be the most evil ones. Geir asks how much of this 'devil-thing' still means
to Nocturno Culto?
- "As the years pass by you become more rational in your head. But, then as now, it was the hate
towards Christianity and all the factors in our society which mirrored the Christian morals that made us continue. Naturally,
the music and the grim feeling have always had top priority.
Concerning lyrics those have always been an important
aspect of Darkthrone. Fenriz is a genuine composer. To sing his lyrics together with the music one has been a part in composing
oneself has been truly amazing.
As said, you become more rational, but the abhorrence towards Christianity has never
been stronger. The more you learn (about it), the more you hate it."
'Norwegian Aryan black metal' became a rather
discussed slogan in connection with "Transylvanian Hunger". And the lyrics from Varg Vikernes, were this meant to be a clear
provocation? Nocturno Culto denies this and says:
- "It became more of a fact, even though Peaceville got major problems
with the distribution of the album. The Germans were quite sensitive towards about this topic. In my opinion it seems like
most people wanted to misinterpret us, and this got really 'big' in 1994. It was Norwegian Aryan black metal we offered, but
from my point of view it was never meant to be political. The fact that Vikernes wrote some lyrics didn't decide the matter
the way I saw it.
We lived in a turbulent time, and all the hysteria surrounding Norwegian black metal ended up in
two negative aspects. First off it became impossible to be left alone, and secondly there was a mass-production of such bands.
Black metal became over-exposed, and this was the beginning of the commercialism which nowadays is a fact. Prior to this black
metal was something truly different. The musical 'nerve' from the earlier years is today completely lost. The first artists
were way more vital, while I have major difficulties in tracing this 'nerve' in bands we see today.
One shall not
categorical claim all new music to be bad, but there's a problem to find something which really hits your heart"
Geir
Larzen mentions the Christian newspaper Vårt Land, and Nocturno confirms that not even they let him be
- "The paper
phone to an acquaintance of me, and got the connection. I haven't still figured how they traced us. They offered to meet me
at home, far out in the forest, and that was OK with me. If this meant that much to them, and if there was something they
wanted to know, I could go for it this one time.
But the interview became a series of misunderstandings. We spoke
a bit of Nazism, and this was at once interpreted in a politic manner. It occurred to me as strange that they didn't quote
me on the word, but more or less twisted everything I said. Amongst others it said that I didn't really like the burning of
old churches, and that's not correct."
Darkthrone was signed to Peacville, but eventually ended on Moonfog. Larzen
asked Nocturno if the separation was mutual?
- "More or less. Peaceville wanted all the time that we should tour, but
we said very early what we meant about this. We would prefer to be back home in our rehearsal-room, which was where we got
the real atmosphere, instead of go through several bad sound-checks with the wrong acoustics and people who didn't know the
sound.
We told Peaceville that this wouldn't mean anything for the selling, but they said the opposite. The second
time I visited the label the boss had to give us right, as we were the label's best selling band.
The thing with Moonfog
came along after the contact between Fenriz and Satyr, and it was Fenriz who asked me if it was OK to sign them."
Geir
tells us that the rest of this talk with Nocturno Culto should be a 'secret', but later Geir was told to let the conversation
be known.
- " I don't want to say anything negative about Moonfog, but deep within I think the label has been a bit
regressive to Darkthrone. I say this despite the fact that we have a high priority on Moonfog, but there are other strong
alternatives. Today I am in negotiations with Peaceville/Music For Nations, and it seems like we will sign an unbelievable
strong contract with them. Compared to Moonfog Music For Nations have more 'strength', they have more money, they releases
way more music and their distribution is extremely good. Let me put it like this; we make more money on Peaceville today than
we do on Moonfog. Surprising!
We have got a lot of money from Peaceville. After some discussion we have entered a suggestion
to a contract. They don't have any bad feelings towards us, the label has grown bigger as they have Music For Nations to back
them up, and they offer to release the new Darkthrone album as 'The Millenium Release'. In general, this is an offer you can't
refuse.
This of course means that Darkthrone is alive and there's a new album in process. There's a lot going on these
days, and I must admit I got back my inspiration. "Darkthrone Holy Darkthrone" was a good release for this inspiration, and
with the offer from Peaceville it became even better. And, I have much music inside of me, music I need to deliver. This seems
like the major opportunity. The plan is to enter the studio in June or July, and there's one track being ready now.
I
can also say that the album will be a bit different from "Total Death". Another aspect is that we've booked time in Creative
Studio again. Both "A Blaze In The Northern Sky" and "Under A Funeral Moon" was recorded there. I think this will give us
a needed lift.
I also try to persuade Fenriz to sing a bit on the new album. Thinking of the new contract I feel some
adjustments in the sound could be attractive. The reason I ask him to participate with his voice is simply that I'm a great
fan of his style. To Fenriz himself it is a problem that he's never pleased with what he sings. He's extremely displeased
with his vocals, but when I spoke with him earlier this day he promised to give it a thought. When we're not a full-band so
to speak, I don't see any problems with two parallel vocals."
Readers, have in mind that this was done the first half
of 1999.
"Panzerfaust" was very different from the earlier albums, Geir says. Nocturno says that this album is, just
like the others, very independent. He continues:
- "This is maybe the album which is most different thinking of the
whole back-catalogue. And it is probably the least popular Darkthrone-album. To many it is like this; either you like "Panzerfaust"
but not "Total Death", or the other way around.
The whole atmosphere on this album is unique, and "Panzerfaust" is
also the album where we really show our feeling for Celtic Frost. I've always been a major fan of them.
The way I've
understood there are various opinions about the vocals. However, I read something cool in a 'zine: 'The vocal is a like a
statement of war', and that's a compliment to me. The vocal-track was recorded at Fenriz' place, and this happened one inspiring
evening under the influence of a solid dose of alcohol. As a tradition everybody leaves the room when I do the vocals, and
Fenriz goes for a walk in the forest. I remember I scream like I've never done before. And it was damned serious. An anger
like this I have never felt before when doing vocals, and "Panzerfaust" turned a bit special due to this. Usually the body
is filled with a certain grim atmosphere, but this time it was real and pure hate."
Geir Larzen found "Total Death"
to be a down, and asks Nocturno how it feels to listen to the album today?
- "Honestly speaking I must say this is
the least thorough Darkthrone album" he begins. "It feels like a too rushed work, and it was recorded in two parts. The A-side
is one, the B-side the other. We're not completely dissatisfied, but the Darkthrone-spirit is there only partly. I admit that.
However, I guarantee in full that the feeling will be the strength of the new album, just because the old atmosphere
is back again. And the case isn't worsened by the fact that the album will be done in known surroundings and with a gigantic
distribution-service to back us up. I both think and hope this will be a great comeback. I'm not too much of an optimist,
but this gives me a good feeling."
Nocturno Culto did also participate in Satyricon for a while. How was this?
-
"We had an arrangement proclaimed on beforehand, and even though Satyr tried to convince me to stay longer, I don't feel home
in Oslo. My inspiration comes from totally different things than the urban surroundings. If I live in a city I can't get in
touch with my inner-self. I decided that it shouldn't last too long before I joined Satyricon. The one and a half year gave
me positive experiences. I had to work rather hard with the guitar-playing, and I got a taste of the touring-life. From this
we also got the concert on Rockefeller.
It turned out to be three tracks shorter than originally planned, and my mood
wasn't the best at that moment. I just had to end it. I wanted a bit more response from the audience, but on the other hand
I've later reconciled with the reactions towards us. When I watched Slayer back in the '80s, I stood there close to the mixing-desk,
just to calmly enjoy the music from a great band, and if the audience on Rockefeller had the same intention it was a bit wrong
of me to leave the scene. I'm close to apologise, but I have to admit that I easily get hot-tempered, and I soon behave irrationally."
Larzen
tells us he has a lot of Darkthrone favourites, but he thinks the most special track Darkthrone's done so far is "Najassja
In Eternal Sleep". This wasn't something Nocturno Culto heard every day
- "Nor does Frost of Satyricon find words to
describe that track, and so far the two of you are those I know who means this. I talked to an acquaintance a while ago, and
he was determined when he said that this track is Darkthrone's worst. I think Enslaved does a great version on the tribute
album. I'm especially weak for the vocal. Cool effect!
Speaking of effects, Fenriz asked me today if I wanted to use
synths on the new album. I find this rather out of question. If Darkthrone should do something besides the use of the standard
instruments, it had to be something which could create the same grim effect as the bell in the end of "Under A Funeral Moon"."
This was what Nocturno Culto told Geir Larzen in 1999.
The Fenriz story
Geir
Larzen spoke to Fenriz the day after he spoke to Nocturno Culto. Fenriz began with the tribute album.
- " "Darkthrone
Holy Darkthrone" is, from my point of view, more like a compilation of covertracks than an honourable homage. I don't want
to make more out of it than necessary. The way I see it, there are several other bands which should have been paid homage
to by tribute-albums.
The result doesn't contain any 'shocks', except for the lack of "In The Shadows Of The Horns",
which I consider everblack. Thorns is the most positive surprise, though I know that certain other Darkthrone-members appreciate
shabby vocals and a certain Immortal-contribution. I think it is at least as interesting for others to listen to this album
as it is for me."
Larzen says that Darkthrone is/was an extremely influential band, and I can just agree with him.
Fenriz says:
- "Yes, we were lucky with that. However, there were some 'problems' in the beginning. I remember when
we gave the master-tape for "A Blaze In The Northern Sky" to Peacville, the boss' premier genuine thought was that this had
to be a joke. He said that this had to be remixed, while we tried to make it clear that this was how black metal should sound
like. This wasn't death metal. I threatened to leave for the advantage of Deathlike Silence Productions, and not to loose
his face in the business he accepted all our demands. He probably understood that we stood behind this one hundred percent,
so even if he didn't like this he was forced to take another attitude.
Both him and several others are glad for our
continuation of the co-operation. I don't think he liked "Under A Funeral Moon", but he understood that it was black metal,
and respected what we were doing. He was more of a smoking Black Sabbath-fan.
Our transition from death to black metal
wasn't planned at all. Things happen to be like that those who're the first to do something or who redo some old stuff gains
respect, but I must pay full credit to those who wrote dark music when noone else did back in the period of 1986-1990; Mayhem,
Sarcofago, Samael, Tormentor, etc.
Our way of black metal was probably how Euronoymous figured it; not too much perfection,
a naked, cold and bestial atmosphere. "Under A Funeral Moon" is Darkthrone's most important album it is extremely totalitarian
in relation to the idea of black metal. I know that a lot of people find "A Blaze" as a better album, and the easy explanation
to that is that it came first. Lots of people do not reflect about the time-aspect. In addition there are many death metal
riffs on "A Blaze" and you do not find any on "Under A Funeral Moon"."
Geir Larzen has noticed that Fenriz has a strange
relationship to The Written Word and interviews
- "Back in 1991 there wasn't one black metal 'zine. I have total overview
on that. The two first who wrote to me and said that had plans to start such 'zines got clear messages; Don't bother, invent
something else, play in a band, anything but don't bother starting a black metal 'zine. I didn't want anything like that.
When
someone begun to answer to interviews there was no way to end it. It grew like an organism, and today you can see for yourself
how clean black metal has turned. It's all fucked up. We did try to do ours, and I see we haven't been the most active band
concerning interviewing, at least not the last five-six years."
Having this in mind, Larzen finds it a bit strange
that Darkthrone agrees to answer in connection with the tribute-album
- "I became extremely tired of answering to letters.
In the five years between 1987 and 1992 I answered almost every single one, and when Moonfog tell us they have booked a couple
of interviews which shall be done by phone, it's fine by me. Honour to those who still answer to underground-letters, but
either they don't have a job or they can't afford to drink beers.
I sneaked a bit in the Moonfog-office and found
the press-letter to the tribute by accidence. Down on the paper it said it was possible to arrange interviews. OK! I didn't
know anything, but phone interviews are pretty relaxing, so there's no problems by that.
By the way, there aren't
many Clearsil-smelling Greeks who ask about how much blood I drink daily. In this round there have mainly been reflected individuals
who more or less have understood the outlines of what they're speaking about."
Fenriz has been active in the metal-scene
for more than ten years. And he's done a lot of different stuff. He says:
- "I find it easy to acquire one special
genre's atmosphere, it comes natural to me. The black metal thing was both fascinating and totally 'alien', but we meant every
little thing.
"Transylvanian Hunger" was pretty totalitarian as well. There are two changes in speed on the whole
album. We wanted to see how far we could take it.
Since Darkthrone lived in an own universe the music-development
passed us by. Therefore a lot of the riffs on the album in question turned out rather typical for the period it was released.
But we didn't pay any attention to what was going on, it just turned out like that. I like the album myself. Maybe there are
few who agree!"
Larzen asks Fenriz if he looks on the statement "Norwegian Aryan black metal" as a provocation? Fenriz
laughs and says:
- "Damn, not again. Well, we all have an upside down cross to war. It's kind of the burden in my
life.
OK, we have never done anything just of the cause of provocation. It more like a 'natural born idiots' phenomenon.
It was more or less an idea who came around, and we chose to stick to that. What people have thought and said about Darkthrone
haven't been to easy to know for me, as I don't get any 'zines anymore. We have actually done some interviews, but when the
bands turned bigger people ended sending us their 'zines. Can you imagine? So, I don't know what's said about us."
With
"Panzerfaust" you turned out to be the worlds most hated band.
- "We thing we were very boycotted. It was almost only
in Snåsa people could get hold of a copy. Pretty boring stuff. Yeah, we pretty much fucked up back then. I mean, there went
a year before we got distribution in Germany. However, the Germans are pretty 'nervous' in when we speak about this Aryan
thing.
Myself, I've been both an anti-racist and a racist. Not so active on neither, but if you have just the necessary
bit of brain you understand there is not like one race who could be solely bad individuals. Shitty people is available everywhere,
no matter history. People they're the worst! So, nowadays I have more like and 'anti-people'-thing."
Larzen tells Fenriz
that Nocturno Culto thought "Panzerfaust" was the least popular album. What does Fenriz think himself?
- "Could be,
but on that album the vocals are from the 'basement-hell'. I definitely like it. And since we weren't asked to participate
on the Celtic Frost-tribute we made our own, just like that. We 'went' into Tom's head, and we hold out how he could think
about riffs which weren't already on a Celtic Frost album. In reality, "Panzerfaust" is a melting-pot of Celtic Frost-influenced
Darkthrone and "Transylvanian Hunger". I think some expected something different, something bigger in example synths and big
drums. We on the other hand became even more grim. I'm very proud of the sound-picture. We do what we fucking want, and we
aren't dependent on much money to realise our visions."
"Total Death" then. Everybody seems to think this is a different
album Fenriz disagrees with everybody.
- "There is not one fucking riff which couldn't have been placed on any other
album. The way see it "Total Death" is a Darkthrone-hotchpotch; a kind of summary of our carrier. I became a bit disappointed
with the production, but the album is done fast and bad as usual and it definitely has its highlights. It has been received
pretty bad, but I don't understand this at all."
Larzen tells us that Fenriz has laid Isengard on ice, that he regularly
rehearse with Valhall, and that he nowadays put advantages to his work; which gains the necessary supply of alcohol. However,
if he gets the need to make something of his own it would be natural to put it under the Isengard-banner. Anyway, it's OK
to rest for a while
- "I have participated on 15 albums in 7 seven years, so I don't see it as wrong to have a shorter
pause. It will no matter don't last that long. In the Summer next year (2000) it seems like we can realise my and Maniac's
collaboration with Phil Anselmo from Pantera. Anselmo is a self-declared Darkthrone fan, so that will most likely be very
exiting."
I can sure tell you from the Moonfog-sampler 2000 that the Eibon project (icluding Satyr as well) sounds
extremely interesting. Well, readers. This was a translation of Geir Larzen's interviews with Nocturno Culto and Fenriz in
Spring 1999.
PART II
The grimness story
- "Well, we have finally understood
the importance of promotion" Nocturno Culto begins. In fact, they've done as many interviews for "Ravishing Grimness" as for
their whole existence so far.
- "It has never been our 'thing'. It hasn't been important to us, but of course we see
the business point of view. And in order to sell you have to promote, no doubt."
Yes, the underground has lost its
magic. Now you have to be in the major magazines to sell, sadly. Do you pay any attention yourself to the scene?
-
"Well, not that much. There're certain things I notice though. However, I focus mostly on the music we make ourselves. In
fact, we're working on the new Darkthrone album. Lots of lyrics are ready, and one song is written by now. It'll be a bit
different from what we've done so far. I don't know how to explain it, but it deals with the actual playing."
Does
this small change have anything to do with your inspiration, or is it based on something else, like the fans demand changes
(not likely thought, just a thought ED)?
- "It comes only from my own inspiration and thoughts. When Fenriz and I do
Darkthrone we put ourselves in the 'Darkthrone-mood' to obtain the right feeling. We have to.
It's a fact that we
do not have that many new fans, so according to this it has to be Darkthrone, as our old fans are most important."
It
had to be exiting to see how the new generation of fans reacted towards "Ravishing Grimness"?
- "Well, it got better
feedback compared to "Total Death", no doubt. I think we didn't give it all when we did that album. There are thing we aren't
fully pleased with. But this changed for the new album, and I feel the 'touch' was back again."
So, can we conclude
that you're pleased with "Ravishing Grimness"?
- "Yes, definitely. It was all worked through. Last Winder we worked
a lot with the music to get forth our feelings."
I guess that's why it received better feedback compared to "Total
Death"?
- "Yes, I'm sure of that. We worked a bit different compared to how we usually have done the recordings. There
are three guitars. Two of them are equal as we dubbed the second. For the third we changed the adjustments a bit, and got
a different feeling."
Not only the music, but maybe more the grim feeling is what many really likes with "Ravishing
Grimness"!
- "I guess you can say that. I think with Darkthrone it has been more the feeling compared to the music,
though they are inclined to each other."
So, with these new songs, could we hope for a concert or two? Nocturno laughs
and says:
- "Well, I tried to hint to Fenriz the other day, but no change."
Satyr found that the audience has
changed for the better lately?
- "Well, I still don't think you'll see us, having the last concert we did in mind.
Thinking of it now, I can see that we may did a mistake. But the point was that we rehearsed very much in order to get it
as good as possible. But when the audience just stood there without any reaction at all, we got pissed off. Having said this,
I have to admit that I'm not the one going crazy myself when watching a band, so maybe However, what happened is long gone
now."
The discussion afterwards has probably had some effect, for the audience has turned better.
Nocturno
mentioned the new album. Anything more to tell about it?
- "We have no ambitions whatsoever to records it this year.
Maybe next Spring/Summer. We have by now two song-titles ready. One is "Reign In Murder" (or could it be "Raining Murder"?),
while the other is "Weakling Avenger". I've written the music for this second track, so it's finished."
Will people
still regard it Darkthrone?
- "Absolutely. But it will be a bit more technical though."
You're not afraid it'll
be too different?
- "No. I have much confident in our music, so that's no option.
This doesn't mean Darkthrone
will be super-technical, far from it. In fact, I have another project going on, which will be more in such a vein. After I
played with Satyricon some time ago, I felt for playing something more technical than Darkthrone. I don't know when this will
be out, and I haven't written much lyrics yet."
One should not forget that "Soulside Journey" was pretty technical,
I suggested.
- "Yes, you're right about that. About this project, I think we'll release a MCD first.
When the
time is right, I guess there'll be more about that project. Nocturno tells me there's one question which never has been raised
in connection with Darkthrone, much to his surprise. As he says himself:
- "What guitar do I use?"
So, what
guitar do you use?
- "Well, I used a Gibson Explorer for ten years. I think the sound I got from it suited well for
grimness of Darkthrone, obviously, and there was never any problems with it. However, I have got a new Gibson now, it's a
Gibson Flying V and it suits just fine for Darkthrone. For the more technical stuff I have an ESP."
For the cover of
"Ravishing Grimness" there exists two versions. One you can see enclosed in this 'zine, and is taken from the vinyl
version. It's the first one. The second is made for the new printing of the CDs, and the white and black above and below the
picture is taken away, as far as I understood. So, now you know.
Finally, what about the contract and the confusion
surrounding Peaceville and Moonfog?
- "Well, things happened. And we discussed the matter back and forth. Towards the
very end we didn't know what to do. To Fenriz' satisfaction we went for Moonfog. And our deal is good enough!"
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