METAL ARCHIVIST & OLD SCHOOL METAL HEAD … OBSESSED WITH HEAVY * THRASH * DEATH * BLACK * DOOM * HARD ROCK *
Saturday, December 13, 2025
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WHAT DO YOU CONSIDER TO BE THE WORST ALBUM RECORDED BY A BAND THAT HAVE RELEASED SEVERAL MASTERPIECES?
It doesn’t have to be the ones pictured here. Personally I think it kind of hard to chose one … but I don’t think I have ever been so disappointed as when I bought Celtic Frost ”Cold Lake” and put it on my record player! State your opinion on the post on our Facebook page.
DISSECTION (SWEDEN ROCK MAGAZINE #24, DECEMBER 2004) < TRANSLATED TO ENGLISH
Sweden Rock Magazine (SRM) is a Swedish metal magazine founded in 2001 and publish 11 issues per year. It’s written in Swedish, but here is an article translated to English for you.
PHOTOS BY MICHAEL JOHANSSON
DISSECTION
"After Josef fell, Jon did not try to take the weapon away from NN or distance himself from the act in any way that was noticeable to NN. Instead, he helped NN come down to the victim with the weapon in his hand and silently stood there to cover his ears when another shot was fired into the head. Not least with regard to the second shot, Jon's own statements mean that he showed indifference to Josef's life. The fact that Josef was dead and could not be saved was not something that Jon could assume with certainty…
DISSECTION
- MURDER WITH NO MUSIC -
"After Josef fell, Jon did not try to take the weapon away from NN or distance himself from the act in any way that was noticeable to NN. Instead, he helped NN come down to the victim with the weapon in his hand and silently stood there to cover his ears when another shot was fired into the head. Not least with regard to the second shot, Jon's own statements mean that he showed indifference to Josef's life. The fact that Josef was dead and could not be saved was not something that Jon could assume with certainty…
...Nödtveidt was 21 years old at the time of the crime. There are no special rules on limiting the penalty for him. The penalty scale for aiding and abetting is the same as for the completed crime, i.e. life or 10 years. With the assessment made by the district court above of each person's participation, the district court finds, however, that Jon participated in a lesser degree in relation to NN, which means that the penalty for him, with the application of Chapter 23, Section 5 of the Criminal Code, can be set lower than "what is stipulated for the crime. The District Court has found reason to determine the sentence to eight years."
With the above words, taken from the 51-page long verdict in case no. B 19859-97, confirmed in the Gothenburg District Court on July 6, 1998, against Jon Nödtveidt - singer, guitarist and undisputed leader of the Swedish death metal monster DISSECTION - the saga of one of the world's most respected death metal bands seemed to be over. Two full-length albums, 1993's "The Somberlain" (No Fashion, the title is according to Nödtveidt a self-invented pun meaning "lord of darkness") and "Storm of the Light's Bane" (1995, Nuclear Blast) and a few smaller releases seemed to be the only souvenirs the outside world would get.
SIGN OF LIFE
In the seventeenth issue (released in the summer of 2002) of the to say the least prestigious Norwegian magazine Slayer Mag, the first interview with Jon since he was imprisoned was published. In the interview, he clearly and distinctly declared that DISSECTION was by no means a closed chapter.
Two and a half years later, on October 29, 2004, Jon is sitting at the absurdly fashionable Clarion Hotel in Stockholm, holding a press conference together with what he calls a reborn DISSECTION. Representatives from the band's new management (whose website boasts zero musical assignments, but on the other hand a plethora of photo models, which made the editors doubt the authenticity of the press conference) lead me and photographer Johansson into a stately room with enormous panoramic windows. We are then asked to wait for our interviewee, who turns out to be in a brilliant mood upon his arrival. Jon laughs and smiles during almost the entire interview and there is no doubt that expectations for tomorrow's concert are at their peak.
- It feels absolutely wonderful. It's something I've been waiting for for a damn long time, it's been over seven years since the last time. It feels surreal to play again after all these years. With a completely new band. It's still DISSECTION - but with a completely new line-up (Set Teitan, known from ABORYM, among others, is the new guitarist, Thomas "Alzazmon" Asklund from DARK FUNERAL, INFERNAL and others, is on the drum stool and Brice Leclercq, formerly of NIGHTRAGE, plays bass). The right feeling is back.
We who witnessed the concert in question know that it began with an anticlimax that is hard to surpass in a death metal context. After the mighty "Ar the Fathomless Depths" intro has sounded out and the seven-year wait is about to be redeemed... drums? An experienced ear will recognize "Black Horizon", but where are the strings? Both guitars are missing completely and despite the guitarists cranking up the amplifiers, it takes two long minutes before everything is in place.
- We had some technical problems, but luckily they were solved just before the song started and it felt good in the end, Jon reports by phone from Austria a couple of days before this magazine goes to print. The tour has continued without any further mishaps and Jon is enormously enthusiastic
- It has really been a warm welcome and I don't want it to ever end. I think we have put together a really good package, he says and ends the status report by praising the Stockholm/Uppsala-based band WATAIN.
- They are sensible people and a damn good band.
With the above words, taken from the 51-page long verdict in case no. B 19859-97, confirmed in the Gothenburg District Court on July 6, 1998, against Jon Nödtveidt - singer, guitarist and undisputed leader of the Swedish death metal monster DISSECTION - the saga of one of the world's most respected death metal bands seemed to be over. Two full-length albums, 1993's "The Somberlain" (No Fashion, the title is according to Nödtveidt a self-invented pun meaning "lord of darkness") and "Storm of the Light's Bane" (1995, Nuclear Blast) and a few smaller releases seemed to be the only souvenirs the outside world would get.
SIGN OF LIFE
In the seventeenth issue (released in the summer of 2002) of the to say the least prestigious Norwegian magazine Slayer Mag, the first interview with Jon since he was imprisoned was published. In the interview, he clearly and distinctly declared that DISSECTION was by no means a closed chapter.
Two and a half years later, on October 29, 2004, Jon is sitting at the absurdly fashionable Clarion Hotel in Stockholm, holding a press conference together with what he calls a reborn DISSECTION. Representatives from the band's new management (whose website boasts zero musical assignments, but on the other hand a plethora of photo models, which made the editors doubt the authenticity of the press conference) lead me and photographer Johansson into a stately room with enormous panoramic windows. We are then asked to wait for our interviewee, who turns out to be in a brilliant mood upon his arrival. Jon laughs and smiles during almost the entire interview and there is no doubt that expectations for tomorrow's concert are at their peak.
- It feels absolutely wonderful. It's something I've been waiting for for a damn long time, it's been over seven years since the last time. It feels surreal to play again after all these years. With a completely new band. It's still DISSECTION - but with a completely new line-up (Set Teitan, known from ABORYM, among others, is the new guitarist, Thomas "Alzazmon" Asklund from DARK FUNERAL, INFERNAL and others, is on the drum stool and Brice Leclercq, formerly of NIGHTRAGE, plays bass). The right feeling is back.
We who witnessed the concert in question know that it began with an anticlimax that is hard to surpass in a death metal context. After the mighty "Ar the Fathomless Depths" intro has sounded out and the seven-year wait is about to be redeemed... drums? An experienced ear will recognize "Black Horizon", but where are the strings? Both guitars are missing completely and despite the guitarists cranking up the amplifiers, it takes two long minutes before everything is in place.
- We had some technical problems, but luckily they were solved just before the song started and it felt good in the end, Jon reports by phone from Austria a couple of days before this magazine goes to print. The tour has continued without any further mishaps and Jon is enormously enthusiastic
- It has really been a warm welcome and I don't want it to ever end. I think we have put together a really good package, he says and ends the status report by praising the Stockholm/Uppsala-based band WATAIN.
- They are sensible people and a damn good band.
ANTI-COMSIC ALLIES
All the old members, with the exception of Jon, are out of the picture and the new musicians have been selected with a focus on a pronounced satanic ideology. Bård Faust (previously drumming in the Norwegian EMPEROR, he also served a prison sentence for the murder of a homosexual man) was the drummer in the reborn DISSECTION for a while, but dropped out because he could not wholeheartedly stand behind the band's ideology. Considering that some other reasons for the departure are not even as much as those given by either Jon or Faust, we can therefore conclude that the ideological thinking behind the band has been taken to its extreme - The goal has always been that everyone should be able to stand behind the concept one hundred percent. After Faust left us, it has been a meditation. In the search for the right members, it has been very important for it to be authentic. It also has to work musically and on a personal level so it's been difficult, but I'm incredibly happy with the new line-up. This is The Rebirth of DISSECTION.
Given that every interview with Jon and also the band's official website (www.dissection.nu) has focused on the ideological aspect, there is a risk that the music will fall out of focus, but that fear was met with a verbal shrug.
- It would be if people didn't listen to our records, but I think the music speaks for itself. The concept and the music are one when it comes to DISSECTION. It's rather the opposite, the satanic concept is the creative flow in the band. It's the core of everything we've done before and what we do today, Nödtveidt asserts and is backed up by the remaining band members who joined the interview.
Although Jon is aware that most of the questions concern him, he is very keen for the other band members to have a say. Mr. Asklund clarifies and backs up the only original member on a couple of occasions during the interview, which is mostly conducted in Swedish. When we switch to English (Set is from Italy and Brice is originally from France), both string benders express immense pleasure at being in DISSECTION and explain that it is the perfect band for a Satanist.
When the members from the band's earlier period are brought up, Jon is extremely diplomatic and explains that they have all simply gone their separate ways in life. - They will always be part of what DISSECTION was, but it is something new today. For the first time we are a Satanic entity and it is something completely different. We want to take this as far as possible. We are all set to work on the music full-time. I have experienced both active and inactive phases in bands and seen differences in the personal commitment of the members, but now it is no longer the case that different people want different things.
All the old members, with the exception of Jon, are out of the picture and the new musicians have been selected with a focus on a pronounced satanic ideology. Bård Faust (previously drumming in the Norwegian EMPEROR, he also served a prison sentence for the murder of a homosexual man) was the drummer in the reborn DISSECTION for a while, but dropped out because he could not wholeheartedly stand behind the band's ideology. Considering that some other reasons for the departure are not even as much as those given by either Jon or Faust, we can therefore conclude that the ideological thinking behind the band has been taken to its extreme - The goal has always been that everyone should be able to stand behind the concept one hundred percent. After Faust left us, it has been a meditation. In the search for the right members, it has been very important for it to be authentic. It also has to work musically and on a personal level so it's been difficult, but I'm incredibly happy with the new line-up. This is The Rebirth of DISSECTION.
Given that every interview with Jon and also the band's official website (www.dissection.nu) has focused on the ideological aspect, there is a risk that the music will fall out of focus, but that fear was met with a verbal shrug.
- It would be if people didn't listen to our records, but I think the music speaks for itself. The concept and the music are one when it comes to DISSECTION. It's rather the opposite, the satanic concept is the creative flow in the band. It's the core of everything we've done before and what we do today, Nödtveidt asserts and is backed up by the remaining band members who joined the interview.
Although Jon is aware that most of the questions concern him, he is very keen for the other band members to have a say. Mr. Asklund clarifies and backs up the only original member on a couple of occasions during the interview, which is mostly conducted in Swedish. When we switch to English (Set is from Italy and Brice is originally from France), both string benders express immense pleasure at being in DISSECTION and explain that it is the perfect band for a Satanist.
When the members from the band's earlier period are brought up, Jon is extremely diplomatic and explains that they have all simply gone their separate ways in life. - They will always be part of what DISSECTION was, but it is something new today. For the first time we are a Satanic entity and it is something completely different. We want to take this as far as possible. We are all set to work on the music full-time. I have experienced both active and inactive phases in bands and seen differences in the personal commitment of the members, but now it is no longer the case that different people want different things.
FOCUS
That DISSECTION lives in the present is clear even when the band's old albums are mentioned. Among the many original lines the frontman spits out during the interview, the comments about the older works do not belong to them:
- Every release has its charm and represents where we were at the time. I am very satisfied with both the first and second albums, even though you can go in and analyze the details. But that is not how I evaluate albums. I go for a holistic feeling.
The fact that the author himself is still satisfied probably creates some pressure when it comes to songwriting. We hardly need to mention the pressure from the fans - few musical creations in the death and black metal scene are placed on such unattainable pedestals as DISSECTION's two full-length opuses, which became clear with all the desired clarity after the quartet's first new material premiered online. A 53-second clip from the single "Maha Kali" was presented for public download on dissection.nu and the reactions were immediate.
"... the guitars are reminiscent of old IN FLAMES" ... this doesn't sound like DISSECTION at all. I'm really disappointed, it sounds like an IN FLAMES copy...", "DEATHSTARS is more brutal than DISSECTION ... unfortunately, this sucks as hell.", "...R.I.P. DISSECTION...", reads an excerpt from the band's official forum. Ruthless, to put it mildly. It's also a bit surprising that the reactions often refer to a lack of brutality. In the author's ears, DISSECTION's music has always been about the mood it creates, which "Maha Kali" also succeeds in. The female vocal part is particularly infectious.
- What can you expect... it was just a taste, if even that. We're breaking off before the first verse has time to start. It was a conscious choice to release such a short thing just to show that the single is coming. "Maha Kali" started to be recorded at Hall where I had access to a music room together with another prisoner who had hard drive recording equipment. I started recording demos and pre-production for the album, so that's actually where the vocals and guitar for the single are taken from. Then the drums and bass were added in Thomas' Studio Monolith.
- We're going to record the song again for the album, so it was more fun to make this something unique, Thomas chimes in.
- It's a pretty cool thing to show that this started already in prison. From starting to record the song in a closed national prison and then when it is released to be free, Jon explains.
The second song on the single is a re-recording of "Unhallowed" from 1995's "Storm of the Light's Bane" ("to reconnect with the old", according to Jon). The cover was created by loyal art supplier Kristian "Necrolord" Wählin, who has actually been with the band since the demo days. The lyrics, in turn, were written by a "very good friend" whose name Nödtveidt does not want to reveal, but says that it will be included on the album.
-As a message, "Maha Kali" is about the great dissolution, which in Indian mythology is called Mahapralaya and can be compared to Rag- drug smoke or Armageddon. That's what DISSECTION is about - the great dissolution of order to re-establish the original chaos.
The single is released by the Stockholm-based label Escapi, who will also release a DVD that will contain the Stockholm concert, archive material and a documentary.
That DISSECTION lives in the present is clear even when the band's old albums are mentioned. Among the many original lines the frontman spits out during the interview, the comments about the older works do not belong to them:
- Every release has its charm and represents where we were at the time. I am very satisfied with both the first and second albums, even though you can go in and analyze the details. But that is not how I evaluate albums. I go for a holistic feeling.
The fact that the author himself is still satisfied probably creates some pressure when it comes to songwriting. We hardly need to mention the pressure from the fans - few musical creations in the death and black metal scene are placed on such unattainable pedestals as DISSECTION's two full-length opuses, which became clear with all the desired clarity after the quartet's first new material premiered online. A 53-second clip from the single "Maha Kali" was presented for public download on dissection.nu and the reactions were immediate.
"... the guitars are reminiscent of old IN FLAMES" ... this doesn't sound like DISSECTION at all. I'm really disappointed, it sounds like an IN FLAMES copy...", "DEATHSTARS is more brutal than DISSECTION ... unfortunately, this sucks as hell.", "...R.I.P. DISSECTION...", reads an excerpt from the band's official forum. Ruthless, to put it mildly. It's also a bit surprising that the reactions often refer to a lack of brutality. In the author's ears, DISSECTION's music has always been about the mood it creates, which "Maha Kali" also succeeds in. The female vocal part is particularly infectious.
- What can you expect... it was just a taste, if even that. We're breaking off before the first verse has time to start. It was a conscious choice to release such a short thing just to show that the single is coming. "Maha Kali" started to be recorded at Hall where I had access to a music room together with another prisoner who had hard drive recording equipment. I started recording demos and pre-production for the album, so that's actually where the vocals and guitar for the single are taken from. Then the drums and bass were added in Thomas' Studio Monolith.
- We're going to record the song again for the album, so it was more fun to make this something unique, Thomas chimes in.
- It's a pretty cool thing to show that this started already in prison. From starting to record the song in a closed national prison and then when it is released to be free, Jon explains.
The second song on the single is a re-recording of "Unhallowed" from 1995's "Storm of the Light's Bane" ("to reconnect with the old", according to Jon). The cover was created by loyal art supplier Kristian "Necrolord" Wählin, who has actually been with the band since the demo days. The lyrics, in turn, were written by a "very good friend" whose name Nödtveidt does not want to reveal, but says that it will be included on the album.
-As a message, "Maha Kali" is about the great dissolution, which in Indian mythology is called Mahapralaya and can be compared to Rag- drug smoke or Armageddon. That's what DISSECTION is about - the great dissolution of order to re-establish the original chaos.
The single is released by the Stockholm-based label Escapi, who will also release a DVD that will contain the Stockholm concert, archive material and a documentary.
11 TRACKS FOR COSMIC IMBALANCE
On the question of whether the rest of the next album's lyrics will deal with the same theme, Jo is at first brief, but it turns out that I'm opening a veritable snake pit.
- It is ritually structured, the lyrics are about different gods and goddesses within different mythologies and cultures. The dark sides, of course, adds Jon.
Wait here - ritually structured?
- The lyrics are written as spells, so-called Voces Magicae. Even the music itself has magical meaning, certain riffs are structured with very conscious structures to channel the forces we make. For us it becomes like holding a ritual through the music. On a ritual and religious level, we want to upset the cosmic order, and if it lies in the listener's psyche - we all carry a microcosm - and we can open new black holes in his or her consciousness, that is a goal we have achieved. It will affect everyone who listens to the music, even those who don't understand this, the songwriter concludes as if this were the most obvious thing in the world.
The album is supposed to consist of eleven songs - the number of tracks as it symbolizes chaos. And the only thing I get from Jon in terms of the music itself - without mixing in anti-cosmic thoughts - is the following: - It's heavier and straighter... It's hard to categorize. It's satanic metal, then people can put whatever label they want. - The drums are more metal than black metal, clarifies Thomas.
The band is not revealing any details regarding the record label and studio, but hopes to record in early 2005.
On the question of whether the rest of the next album's lyrics will deal with the same theme, Jo is at first brief, but it turns out that I'm opening a veritable snake pit.
- It is ritually structured, the lyrics are about different gods and goddesses within different mythologies and cultures. The dark sides, of course, adds Jon.
Wait here - ritually structured?
- The lyrics are written as spells, so-called Voces Magicae. Even the music itself has magical meaning, certain riffs are structured with very conscious structures to channel the forces we make. For us it becomes like holding a ritual through the music. On a ritual and religious level, we want to upset the cosmic order, and if it lies in the listener's psyche - we all carry a microcosm - and we can open new black holes in his or her consciousness, that is a goal we have achieved. It will affect everyone who listens to the music, even those who don't understand this, the songwriter concludes as if this were the most obvious thing in the world.
The album is supposed to consist of eleven songs - the number of tracks as it symbolizes chaos. And the only thing I get from Jon in terms of the music itself - without mixing in anti-cosmic thoughts - is the following: - It's heavier and straighter... It's hard to categorize. It's satanic metal, then people can put whatever label they want. - The drums are more metal than black metal, clarifies Thomas.
The band is not revealing any details regarding the record label and studio, but hopes to record in early 2005.
MEMENTO MORI
In an article with the headline "I'm not proud", published on the Expressen website on September 22 of this year, Jon explains that he does not want to discuss the murder of 37-year-old Algerian Josef Ben Meddour, dramatically described in the introduction. I get almost exactly the same answer that the singer gave to the evening newspaper when I start asking about what really happened on the night of July 23, 1997 in Keillers Park on Ramberget in Gothenburg.
Out of respect for both the victim's and my own relatives, I do not want to discuss the matter. I do not want to open up old wounds.
With this evasive maneuver, Jon has effectively avoided making any public apology, which has attracted some attention and resulted in some listeners and the media distancing themselves from DISSECTION's music.
My crime belongs to me and my history, I cannot change that. I accept the consequences of my actions and I have served my sentence. I am here today. I am free and must move on. With everything that happened and with the prison sentence in the baggage, people value life in a completely different way today.
- I'm certainly not an advocate of society as equivalent to freedom, but in contrast to sitting behind bars, you can still call it freedom. We all have our own time. One day it's over, Jon concludes bluntly.
Although both Jon and his MLO brother (more on that later) changed their stories a couple of times during the murder investigation about what happened on the night in question, both ultimately stuck to two stories that differed from each other. The court chose to believe our interviewee and convicted him of aiding and abetting.
There was no actual evidence regarding this particular part of the incident, but the court simply found Nödtveidt to be the more credible of the two.
Since the testimonies of the two defendants differed from each other, the district court could only establish with certainty the course of events up to and including before the three arrived at Ramberget. In short, the two perpetrators had been annoyed by Ben Meddour, who was persistent and had made unwelcome homosexual advances - "Jon's intention in going to Ramberget was to at least beat or threaten Josef," the verdict states. What happened next is only known by two people, Jon and the other perpetrator. There were no eyewitnesses in Keillers Park. Jon, his accomplice and Josef Ben Meddour were the only ones present.
In an article with the headline "I'm not proud", published on the Expressen website on September 22 of this year, Jon explains that he does not want to discuss the murder of 37-year-old Algerian Josef Ben Meddour, dramatically described in the introduction. I get almost exactly the same answer that the singer gave to the evening newspaper when I start asking about what really happened on the night of July 23, 1997 in Keillers Park on Ramberget in Gothenburg.
Out of respect for both the victim's and my own relatives, I do not want to discuss the matter. I do not want to open up old wounds.
With this evasive maneuver, Jon has effectively avoided making any public apology, which has attracted some attention and resulted in some listeners and the media distancing themselves from DISSECTION's music.
My crime belongs to me and my history, I cannot change that. I accept the consequences of my actions and I have served my sentence. I am here today. I am free and must move on. With everything that happened and with the prison sentence in the baggage, people value life in a completely different way today.
- I'm certainly not an advocate of society as equivalent to freedom, but in contrast to sitting behind bars, you can still call it freedom. We all have our own time. One day it's over, Jon concludes bluntly.
Although both Jon and his MLO brother (more on that later) changed their stories a couple of times during the murder investigation about what happened on the night in question, both ultimately stuck to two stories that differed from each other. The court chose to believe our interviewee and convicted him of aiding and abetting.
There was no actual evidence regarding this particular part of the incident, but the court simply found Nödtveidt to be the more credible of the two.
Since the testimonies of the two defendants differed from each other, the district court could only establish with certainty the course of events up to and including before the three arrived at Ramberget. In short, the two perpetrators had been annoyed by Ben Meddour, who was persistent and had made unwelcome homosexual advances - "Jon's intention in going to Ramberget was to at least beat or threaten Josef," the verdict states. What happened next is only known by two people, Jon and the other perpetrator. There were no eyewitnesses in Keillers Park. Jon, his accomplice and Josef Ben Meddour were the only ones present.
MISANTHROPIC LUCIFERIAN ORDER
Jon and the other perpetrator belong to the satanic organization Misanthropic Luciferian Order (MLO) and in the booklet of DISSECTION's "Live Legacy" album you can read that the band is MLO's "sound propaganda department" - the wording on the album literally reads "DISSECTION is the sonic propaganda unit of MLO".
On MLO's website (www.mlo-scandinavia. tk) you can read about the organization's ideals and thoughts. The general information states, among other things, that "... Therefore, elitist thinking and superhuman ideals are an essential part of MLO's philosophy, which also strongly colors the Order's esoteric work".
In the aforementioned evening newspaper article, it is alleged that Jon and his accomplice were under the influence of amphetamines on the night of the murder. When it is brought up in the Slayer Mag interview, Nödtveidt brushes it off, saying that it was something their lawyers advised them to say. When I raise the same question and point out that the use of drugs goes against the elitism that MLO advocates (the association's information sheet ends with the words "Drug addicts and mentally weak individuals should not contact the organization. MLO does not tolerate weakness!"), I am met with a different answer, however - You change a lot. I am a person who... I usually see it as things that can teach a lesson. Mistakes can also be a lesson, although in a boring way. I stand for all the mistakes I have made in my life, says Jon, having difficulty finding the right words.
A moment of silence follows and it is clear that this is a subject the interviewee does not feel comfortable with.
-I believe that you cannot speak about something you do not know about. And I can only say that I have enough knowledge to speak about this matter, Jon clarifies. At a later point he also points out that the part about the lawyer was also true. He was advised to mention it to mitigate the punishment and thinks that a chicken has been made of a feather of the whole thing.
Thomas speaks up and explains that no one in the band does drugs, or is particularly addicted to them for that matter. Jon has explained in previous interviews that he no longer drinks alcohol.
On October 30th of this year, DISSECTION had had enough of the rumors circulating about the band's alleged racist views (Josef Ben Meddour was Algerian and also homosexual). They therefore published an official statement in which it was explained that DISSECTION is a satanic band and has nothing to do with racism. Back to this elitism, thus:
- It's about taking advantage of your circumstances and utilizing your resources, whatever they are. A person with a physical disability, for example, must develop different skills than the rest of us. It's about having a strong will and character. We all have our weaknesses, but with a strong will you can overcome all obstacles, whatever they may be. It's about strengthening yourself on an individual level.
- There is a lot of so-called "pretend elitism" where there is a lot of talk about being better than someone else, and I don't give a damn about that. It's all about the inner strength you carry within yourself, Jon concludes and thanks for the interview. ■
By Thomas Väänänen for Sweden Rock Magazine
DEATH POETRY SET TO MUSIC
The events of the aforementioned night in Keillers Park inspired the blissfully sleepless Gothenburg band The Crowns Magnus Olsfelt to write a lyric for the band's "Deathrace King" album (Metal Blade, 2000). Obvious when you think about it, but for some reason it has eluded at least the author of the article previously. Compare the title with DISSECTIONS "Retribution -Storm of the Light Bane" and note the italicized passages.
Executioner...Slayer Of The Light
Jon and the other perpetrator belong to the satanic organization Misanthropic Luciferian Order (MLO) and in the booklet of DISSECTION's "Live Legacy" album you can read that the band is MLO's "sound propaganda department" - the wording on the album literally reads "DISSECTION is the sonic propaganda unit of MLO".
On MLO's website (www.mlo-scandinavia. tk) you can read about the organization's ideals and thoughts. The general information states, among other things, that "... Therefore, elitist thinking and superhuman ideals are an essential part of MLO's philosophy, which also strongly colors the Order's esoteric work".
In the aforementioned evening newspaper article, it is alleged that Jon and his accomplice were under the influence of amphetamines on the night of the murder. When it is brought up in the Slayer Mag interview, Nödtveidt brushes it off, saying that it was something their lawyers advised them to say. When I raise the same question and point out that the use of drugs goes against the elitism that MLO advocates (the association's information sheet ends with the words "Drug addicts and mentally weak individuals should not contact the organization. MLO does not tolerate weakness!"), I am met with a different answer, however - You change a lot. I am a person who... I usually see it as things that can teach a lesson. Mistakes can also be a lesson, although in a boring way. I stand for all the mistakes I have made in my life, says Jon, having difficulty finding the right words.
A moment of silence follows and it is clear that this is a subject the interviewee does not feel comfortable with.
-I believe that you cannot speak about something you do not know about. And I can only say that I have enough knowledge to speak about this matter, Jon clarifies. At a later point he also points out that the part about the lawyer was also true. He was advised to mention it to mitigate the punishment and thinks that a chicken has been made of a feather of the whole thing.
Thomas speaks up and explains that no one in the band does drugs, or is particularly addicted to them for that matter. Jon has explained in previous interviews that he no longer drinks alcohol.
On October 30th of this year, DISSECTION had had enough of the rumors circulating about the band's alleged racist views (Josef Ben Meddour was Algerian and also homosexual). They therefore published an official statement in which it was explained that DISSECTION is a satanic band and has nothing to do with racism. Back to this elitism, thus:
- It's about taking advantage of your circumstances and utilizing your resources, whatever they are. A person with a physical disability, for example, must develop different skills than the rest of us. It's about having a strong will and character. We all have our weaknesses, but with a strong will you can overcome all obstacles, whatever they may be. It's about strengthening yourself on an individual level.
- There is a lot of so-called "pretend elitism" where there is a lot of talk about being better than someone else, and I don't give a damn about that. It's all about the inner strength you carry within yourself, Jon concludes and thanks for the interview. ■
By Thomas Väänänen for Sweden Rock Magazine
DEATH POETRY SET TO MUSIC
The events of the aforementioned night in Keillers Park inspired the blissfully sleepless Gothenburg band The Crowns Magnus Olsfelt to write a lyric for the band's "Deathrace King" album (Metal Blade, 2000). Obvious when you think about it, but for some reason it has eluded at least the author of the article previously. Compare the title with DISSECTIONS "Retribution -Storm of the Light Bane" and note the italicized passages.
Executioner...Slayer Of The Light
There's no escape, as the darkness falls you can't resist, the Devil's call!
Misanthropic - Frozen soul blaze black and cold. Luciferian-Slave to the beast and marked for life. Order from Hell - To send souls to the other side. In Dark Devotion-Living for terror and destruction
Executioner executioner executioner slayer of the light! Desecrator volator devastator me senger of death!
Sworn to Satan - Morbid minds close horrid pacts. The Dagger Strikes - Blood is shed for the faceless one. Possessed with Murder - Angels of death amphetamine sped. At the Mountain - A body found in killer's park
Evil lives and death draws near Serve blind tha dreadful voice you hear. With violence, horror, pain and fear. To make them see the reaper clearly
Shot like a dog, emptied on blood. Life won't return, to the silent corpse! In the staring eyes of both the victim and the hillbilly. All light has now forever fled away the darkness fell to stay.
Electrified-Stunned, down, and sacrificed Two Shots for the Dark - Through the head and through the heart
Magnus Olsfelt - former bass player in THE CROWN and now active in STOLEN POLICE CAR - how come you wrote a text about this very thing?
- I think it's a bit ridiculous that bands have to come up with fantasy lyrics when there are real things to base their work on. There was a lot of writing about Euronymous and the Count around 1992-93 (BURZUM's Varg "The Count" Vikernes stabbed MAYHEMS' Euronymous to death in 1993, editor's note), but this was mostly written about in the mainstream media while the hard rock magazines kept quiet.
Have you heard any opinions from any of the people involved?
- No. It wasn't until a few years later that the general public began to understand what the lyrics were about. The lyrics are not a position statement, I neither praise nor distance myself from what happened.
Misanthropic - Frozen soul blaze black and cold. Luciferian-Slave to the beast and marked for life. Order from Hell - To send souls to the other side. In Dark Devotion-Living for terror and destruction
Executioner executioner executioner slayer of the light! Desecrator volator devastator me senger of death!
Sworn to Satan - Morbid minds close horrid pacts. The Dagger Strikes - Blood is shed for the faceless one. Possessed with Murder - Angels of death amphetamine sped. At the Mountain - A body found in killer's park
Evil lives and death draws near Serve blind tha dreadful voice you hear. With violence, horror, pain and fear. To make them see the reaper clearly
Shot like a dog, emptied on blood. Life won't return, to the silent corpse! In the staring eyes of both the victim and the hillbilly. All light has now forever fled away the darkness fell to stay.
Electrified-Stunned, down, and sacrificed Two Shots for the Dark - Through the head and through the heart
Magnus Olsfelt - former bass player in THE CROWN and now active in STOLEN POLICE CAR - how come you wrote a text about this very thing?
- I think it's a bit ridiculous that bands have to come up with fantasy lyrics when there are real things to base their work on. There was a lot of writing about Euronymous and the Count around 1992-93 (BURZUM's Varg "The Count" Vikernes stabbed MAYHEMS' Euronymous to death in 1993, editor's note), but this was mostly written about in the mainstream media while the hard rock magazines kept quiet.
Have you heard any opinions from any of the people involved?
- No. It wasn't until a few years later that the general public began to understand what the lyrics were about. The lyrics are not a position statement, I neither praise nor distance myself from what happened.
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YNGWIE MALMSTEEN’S RISING FORCE ”SOLO DEMO 81” (PER STADIN & ANDERS JOHANSSON SESSION) (1981)
Information and all credits to YouTube uploader Jacob Marcel:
The first take was arbitrarily inserted by fans at the beginning of OPUS's demo or mixed into the opening of Riot, so even I don't know which one is the official version. However, this is believed to be the genuine, standalone version created. The latter was posted to a short video platform, and I intend to repost it here while deleting the short. The latter is likely something no one owns—probably a take secretly pulled during recording and leaked by someone involved. Check out his channel here!
The first take was arbitrarily inserted by fans at the beginning of OPUS's demo or mixed into the opening of Riot, so even I don't know which one is the official version. However, this is believed to be the genuine, standalone version created. The latter was posted to a short video platform, and I intend to repost it here while deleting the short. The latter is likely something no one owns—probably a take secretly pulled during recording and leaked by someone involved. Check out his channel here!
Friday, December 12, 2025
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PONTIOUS PROPHET "RITES OF HATRED” [DEMO TAPE]
Genre: Speed Metal/Thrash Metal
Year: 1988
Country: US
Notes: Short lived band by John Cyriis of Agent Steel fame. He went under the name Father Damien here. This was the bands only release, but it’s a really awesome piece of Speed/Thrash Metal.
Year: 1988
Country: US
Notes: Short lived band by John Cyriis of Agent Steel fame. He went under the name Father Damien here. This was the bands only release, but it’s a really awesome piece of Speed/Thrash Metal.
Side A
Black Sacristy
Rites of Hatred
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I do not own any of the music, videos & photos. All clips, photos and music belong to their respectful owners. I do not earn any money with these post. This is for educational purposes only. Any use for monetary gain, contact the creator.
Any tracks, demo tapes or albums streaming on this channel is not in print at the date of the upload. If any music on this blog have been re-released by a label, contact me and I'll take it down.
WATAIN (NY MORAL #1, 2004) < TRANSLATED TO ENGLISH
Ny Moral (New Morals), was a Swedish print magazine (maybe just one issue) and today is a webzine and a podcast. Although everything is in Swedish, here’s an interview I translated to English for you!
WATAIN (SWE)
Are you doing other activities besides Watain that can be connected to the music? I know your drummer prints t-shirts, for example.
- I work with layout etc., more info at www.coldseed.tk. Otherwise, nothing that can be connected to the music.
MLO - Misanthropic Lucifer Orden. Comments?
- Out of respect for the organization in question, I decline to comment on them in a music magazine.
Ny Moral is not a music magazine, but ok...
If you had to choose three bands to play live with, who would they be and why?
- VON, Mayhem 1991-era and Mercyful Fate 1984-era. Comments are superfluous.
How will future material with Watain sound like? Rabid Death's Curse and Casus Luciferi differ quite significantly from each other, perhaps primarily on a sonic level. Will it be the same with your third release? What will be the next recording?
- Watain will always produce magical, traditional Black/Death Metal, more than that should not be revealed at the moment! The next Watain recording will be a participation on a tribute album to Motörhead that should come out sometime this spring. In addition to that, a split-LP with the old kings MALIGN is also planned, containing live material from both bands.
Final words to Ny Moral's soul-murdering readership?
- Suck my holy genitals!
WATAIN (SWE)
The black metal that Watain stands for is something that seems beyond the usual metalheads' understanding of whether the Devil should be worshipped for fun or in all seriousness. Those who are undecided have the most to gain here.
Erik, you just got back from a mini tour in Finland with Kaamos. Tell me all the dirty details from beyond the grave, please.
-The tour went well... Three days of total chaos including burning houses, burning arms, blood, eating excrement and general misery. Inspiring if nothing else! Also interesting to see how big a difference there is between Finland and Sweden in terms of audience response. It seems that people have actually managed to maintain some kind of genuine interest in extreme Metal over there, something you have to make a real effort to feel at Swedish gigs where people are more interested in demonstrating their roles as inbred peace activists than showing any appreciation for being able to take part in a gig.
You also played at Open Hell. Tell us about that and the Russian grave desecrator…
-The tour went well... Three days of total chaos including burning houses, burning arms, blood, eating excrement and general misery. Inspiring if nothing else! Also interesting to see how big a difference there is between Finland and Sweden in terms of audience response. It seems that people have actually managed to maintain some kind of genuine interest in extreme Metal over there, something you have to make a real effort to feel at Swedish gigs where people are more interested in demonstrating their roles as inbred peace activists than showing any appreciation for being able to take part in a gig.
You also played at Open Hell. Tell us about that and the Russian grave desecrator…
- Yes, we played at this Czech festival in July this year (2004), together with TÖRR, ROOT and lots of idiot bands. Three days of violence, absinthe and death! Greg from Orthodox Productions in Russia, who also released the Russian cassette version of Casus Luciferi, took the train to the gig from the Siberian tundra, bringing a freshly dug skull and femur as a gift. No pardon!
How do you think about a gig and what can you expect? You've played in some pretty odd places in Europe.
-We've always had a special relationship with our live performances, and over the years things have only gotten worse and worse, in a positive sense. Many confused statements have been made by various pseudo-misanthropes that Black Metal is not something that should be performed live in the first place, a thesis that I personally can't see as anything other than idiotic. Watain's gigs are the times when the power and magic of our music is channeled through us, no more powerful manifestation of the primal power that we serve can be made by us as a band. It is true that most metal bands that play live do so for different reasons than we do, and how relevant it is to watch four penguin-faced whores in latex pants perform an exact static copy of what they do on their worthless records is debatable, but we believe that what we do live is about something completely different than the ego trip it entails for most people. For us, it has become something of a ritual, and I think that most people perceive what we do on stage as unpleasant rather than "cool".
So far we have done two entire European tours and several separate gigs in countries like Italy, England, France etc... I assume that by odd places you mainly mean the places we have played in Eastern Europe, the paradise of the iron knight, and without a doubt it is also these gigs that have been the most inspiring. People over there still hunger for the genuine art form that Black/Death Metal once was (and still is, albeit drastically watered down in most places), and of course you'd rather play to such people than degenerate German young pigs who don't care if it's Iced Earth or Nifelheim playing, as long as they get to spill their beer and be mentally handicapped in peace. No, Germany has done its part, it shows...
You seem to like to operate in the hidden. There are only a few pictures of you, you don't reveal much about your personalities in interviews, you are rarely seen in contexts other than concerts, and then all of a sudden you were just there with one of the greatest black metal albums of all time, Rabid Death's Curse. How do you explain that?
How do you think about a gig and what can you expect? You've played in some pretty odd places in Europe.
-We've always had a special relationship with our live performances, and over the years things have only gotten worse and worse, in a positive sense. Many confused statements have been made by various pseudo-misanthropes that Black Metal is not something that should be performed live in the first place, a thesis that I personally can't see as anything other than idiotic. Watain's gigs are the times when the power and magic of our music is channeled through us, no more powerful manifestation of the primal power that we serve can be made by us as a band. It is true that most metal bands that play live do so for different reasons than we do, and how relevant it is to watch four penguin-faced whores in latex pants perform an exact static copy of what they do on their worthless records is debatable, but we believe that what we do live is about something completely different than the ego trip it entails for most people. For us, it has become something of a ritual, and I think that most people perceive what we do on stage as unpleasant rather than "cool".
So far we have done two entire European tours and several separate gigs in countries like Italy, England, France etc... I assume that by odd places you mainly mean the places we have played in Eastern Europe, the paradise of the iron knight, and without a doubt it is also these gigs that have been the most inspiring. People over there still hunger for the genuine art form that Black/Death Metal once was (and still is, albeit drastically watered down in most places), and of course you'd rather play to such people than degenerate German young pigs who don't care if it's Iced Earth or Nifelheim playing, as long as they get to spill their beer and be mentally handicapped in peace. No, Germany has done its part, it shows...
You seem to like to operate in the hidden. There are only a few pictures of you, you don't reveal much about your personalities in interviews, you are rarely seen in contexts other than concerts, and then all of a sudden you were just there with one of the greatest black metal albums of all time, Rabid Death's Curse. How do you explain that?
-Black/Death Metal has never been dependent on personalities or individuals. The genre itself has certainly had certain key figures who have carried its torch forward, but when it comes to performing the pure art form, it is no longer about how creative, purposeful, famous, rich or charismatic the artist actually is. The key to being capable of performing real Black Metal lies in Receptiveness. The role as a medium. When I listen to A blaze in the northern sky I don't hear three pimply Norwegians in lice cardigans trying to make innovative music. What I hear is as far from what you can get, it's not human. The same thing when we listen to the Watain albums afterwards, and that's why we have never attached any great importance to who we really are as people. Even if what we have inside us colors - strongly - how we live, there is no reason to put ourselves at the center. Watain is not three people, but the power that flows from and between them.
"I play in a black metal band, but I am not a devil worshipper or a Satanist". Comment? Can you even imagine listening to a BM band where you know that the members don't give a damn about devil worship?
- With the above answers in mind, it is impossible to deny that a lot of quality Black Metal has been written by people who ultimately know nothing whatsoever about what forces they are actually dealing with. And don't hold it against me, the blind can serve just as well as the sighted. On the other hand, an open denial - or a gross misinterpretation of Satanism and the spiritual is completely unthinkable for people who consider themselves to belong to the same genre as us. Bands that are not receptive to anything greater than their own individual fondness for a subculture that they have not really understood are of course nothing that shouldn't result in anything but a shot in the back of the head.
Do you/they distinguish between devil worship and Satanism? How serious are Watain in their devil worship? How does it express itself? Do you live as you teach? Why worship anything at all? What is the point of submitting?
-The doctrine to which Watain has submitted is not something that can be described in a few words in an underground magazine. Its temple is built of all the world's teachings, heresies, churches and communities and most of its living knowledge is hidden within itself, and in its servants. The band itself is an expression of the religion, an intricate symbol that is constantly nourished by an ever deeper insight among its three poles. Perhaps it is the closest we will ever come to a righteous manifestation of what we have within us. "Art and prayer are the only decent ejaculations of the soul."
Tell us about your lyrics. These are not the usual BM lyrics you get when you read them carefully. How serious are they really? What got you into these tracks and thoughts? You were born an innocent little brat just like everyone else. Suppose you never discovered the dark side of music, where would you be today? Can it be explained as simply as discussing only heritage and environment, or is there something deeper to dig into?
"I play in a black metal band, but I am not a devil worshipper or a Satanist". Comment? Can you even imagine listening to a BM band where you know that the members don't give a damn about devil worship?
- With the above answers in mind, it is impossible to deny that a lot of quality Black Metal has been written by people who ultimately know nothing whatsoever about what forces they are actually dealing with. And don't hold it against me, the blind can serve just as well as the sighted. On the other hand, an open denial - or a gross misinterpretation of Satanism and the spiritual is completely unthinkable for people who consider themselves to belong to the same genre as us. Bands that are not receptive to anything greater than their own individual fondness for a subculture that they have not really understood are of course nothing that shouldn't result in anything but a shot in the back of the head.
Do you/they distinguish between devil worship and Satanism? How serious are Watain in their devil worship? How does it express itself? Do you live as you teach? Why worship anything at all? What is the point of submitting?
-The doctrine to which Watain has submitted is not something that can be described in a few words in an underground magazine. Its temple is built of all the world's teachings, heresies, churches and communities and most of its living knowledge is hidden within itself, and in its servants. The band itself is an expression of the religion, an intricate symbol that is constantly nourished by an ever deeper insight among its three poles. Perhaps it is the closest we will ever come to a righteous manifestation of what we have within us. "Art and prayer are the only decent ejaculations of the soul."
Tell us about your lyrics. These are not the usual BM lyrics you get when you read them carefully. How serious are they really? What got you into these tracks and thoughts? You were born an innocent little brat just like everyone else. Suppose you never discovered the dark side of music, where would you be today? Can it be explained as simply as discussing only heritage and environment, or is there something deeper to dig into?
-The lyrics are what outwardly makes Watain a Black Metal band, and the fact that they play an incredibly central role probably doesn't even need to be mentioned. The occasions when they are written have always been special, moments of an almost painful closeness with the Satanic reality, and the feeling that they are not written solely by me is most of the time very tangible. The lyrics are as personal as they can be, written as a result of a consciously established bond between me as a person and the servant that is in me, as well as in you. How some find the dark path and others do not is beyond our comprehension, but of course the interest in the left path and the constant feeling of a calling have served their purpose. And once again, the receptivity. There are too many "whys?", and the one that refers to the reason why I am what I am today is something that has become less important the stronger the conviction has become.
Do you believe that God and Satan exist according to the biblical tradition? Explain your view of what you believe. And if it is the Christians who are the truly evil ones and will burn (Knutby is probably the latest example of evil in its darkest form, George W Bush another. The Christian right is permeated with total darkness), where does Watain end up? Personally, I believe that what people call God and Satan are the same thing.
-This depends on which biblical tradition you point to, the definitions of good and evil in Christian doctrine are quite different depending on who wrote them or of course how you interpret them. But just open the book and read the first lines, there the struggle begins "And the earth was formless and empty, and darkness was over the face of the deep, and the Spirit of God was hovering over the face of the waters. And God said, "Let there be light"; and there was light. And God saw that the light was good; and God divided the light from the darkness." (GEN 1:2) There are more ancient forces than one in this world, and they constantly work against each other. The same struggle exists within all people.
To claim that Christians are "the truly evil ones" is of course an exaggeration, but it is also obvious that Christianity is thoroughly infiltrated by forces other than the Creator's.
How do you view other religions? Is religion an opium of the people?
Yes, I am not completely unfamiliar with that idea. But I don't see enslavement as something worth fighting against, but rather for. Evil is chaos, what ignites the flame of passion in human souls, and most religions serve no other purpose than to lead people away from the truth, into lies, sin and tragedy.
I think The Satanic Bible by LaVey is damn lame in comparison to the real thing. There is nothing in it that is particularly revolutionary in terms of thought, even if the first part is quite truthful, and its only purpose seems to be to whore for the public and create pseudo-headlines in weak minds. What do you think of the book? Any other books that have opened your eyes and made your brain work a little extra?
Do you believe that God and Satan exist according to the biblical tradition? Explain your view of what you believe. And if it is the Christians who are the truly evil ones and will burn (Knutby is probably the latest example of evil in its darkest form, George W Bush another. The Christian right is permeated with total darkness), where does Watain end up? Personally, I believe that what people call God and Satan are the same thing.
-This depends on which biblical tradition you point to, the definitions of good and evil in Christian doctrine are quite different depending on who wrote them or of course how you interpret them. But just open the book and read the first lines, there the struggle begins "And the earth was formless and empty, and darkness was over the face of the deep, and the Spirit of God was hovering over the face of the waters. And God said, "Let there be light"; and there was light. And God saw that the light was good; and God divided the light from the darkness." (GEN 1:2) There are more ancient forces than one in this world, and they constantly work against each other. The same struggle exists within all people.
To claim that Christians are "the truly evil ones" is of course an exaggeration, but it is also obvious that Christianity is thoroughly infiltrated by forces other than the Creator's.
How do you view other religions? Is religion an opium of the people?
Yes, I am not completely unfamiliar with that idea. But I don't see enslavement as something worth fighting against, but rather for. Evil is chaos, what ignites the flame of passion in human souls, and most religions serve no other purpose than to lead people away from the truth, into lies, sin and tragedy.
I think The Satanic Bible by LaVey is damn lame in comparison to the real thing. There is nothing in it that is particularly revolutionary in terms of thought, even if the first part is quite truthful, and its only purpose seems to be to whore for the public and create pseudo-headlines in weak minds. What do you think of the book? Any other books that have opened your eyes and made your brain work a little extra?
-I do not find LaVey's heresies particularly stimulating, no, they are too carnal and worldly to be applied to true Satanism... As far as stimulating literature is concerned, there are certainly a lot of writings dealing with the mysteries of the Lord, but for the sensation-seeking heretics who read this magazine, the daily newspaper is rather recommended, if obvious evidence of the Devil's splendor is sought. There is no reason to cast pearls before swine...
By the way, I recently saw Mel Gibson's film The Passion of The Christ. Have you seen it? A real slasher film where the suffering of Christ is highlighted in a nice brutal way.
-I have not seen the film in question, but I will definitely do so. The interesting thing is the controversial aspects of the film, I think, always encouraging when Jewish propaganda is wavering.
You use corpsepaint, blood and other paraphernalia from all corners of the BM scene, but on the records you are called Erik, Pelle and Håkan as in everyday life (or rather E., P. and H.). I assume this is because you want to be honest in your practice of Black Metal as it should be performed according to you? You don't hide behind pseudonyms. Feel free to develop this with corpsepaint, blood and the names. What meaning does it have for you?
-Pseudonyms can serve their function in some bands, but most of the time they are added for no reason, and pointlessness in combination with Black/Death Metal is unacceptable... We don't even use our regular names anymore, who we are, what our names are etc. have become more and more irrelevant. As far as the visuals are concerned, Watain is very traditional, and there are many reasons for this. The bands that inspire us and that shaped what we see as the true Black/Death Metal scene are also the bands that have been most successful in creating art that functions as a channeling of black and demonic energies, not only through the music but also through lyrics and the visuals. Bands like Mayhem, Necrovore, Beherit, Venom, Mercyful Fate and Samael were all keen to form a whole of the visual, the music and the lyrics, and therein lies the biggest reason to use the accessories you mentioned.
The connection between Black Metal and Nazism/racism/fascism, how do you see it? I got hold of a fanzine called Blutkrieg Zine (or something similar, I can't bring myself to look it up) where there is more talk about white people taking over the world (!) than about the music. The zine is printed in 88 copies, and those 88 guys are going to take over the world... Haha! There are so many damn cool players out there. Within the BM scene, symbols associated with the Third Reich (SS skulls, swastikas, etc.) are relatively common. Is it just a gimmick or can it perhaps be interpreted as a symbol of ultimate evil?
-That politics and Black Metal do not belong together should be obvious by now, people who believe otherwise are hereby urged to march to the gas chambers. A political ideology will never be more than a grain of sand in the desert compared to the metaphysical evil and immeasurable power that Black/Death Metal is built on.
Tell us about the collaboration with Davthys, the man behind a large part of your covers and who also makes the crudest fanzine the earth has ever seen, also called Davthys.
-We stand for the ideas, Davthys visualizes them, of course with some influence from his own way of thinking, which can be associated with Watain on many levels, as it has turned out. He is in my opinion one of the most brilliant artists in the Black/Death Metal scene ever.
Tell us about Casus Luciferi - the meaning of the title, the music, the lyrics, the cover, the layout, the guest lyricists, the symbolism... Anything you want to tell me should go here.
By the way, I recently saw Mel Gibson's film The Passion of The Christ. Have you seen it? A real slasher film where the suffering of Christ is highlighted in a nice brutal way.
-I have not seen the film in question, but I will definitely do so. The interesting thing is the controversial aspects of the film, I think, always encouraging when Jewish propaganda is wavering.
You use corpsepaint, blood and other paraphernalia from all corners of the BM scene, but on the records you are called Erik, Pelle and Håkan as in everyday life (or rather E., P. and H.). I assume this is because you want to be honest in your practice of Black Metal as it should be performed according to you? You don't hide behind pseudonyms. Feel free to develop this with corpsepaint, blood and the names. What meaning does it have for you?
-Pseudonyms can serve their function in some bands, but most of the time they are added for no reason, and pointlessness in combination with Black/Death Metal is unacceptable... We don't even use our regular names anymore, who we are, what our names are etc. have become more and more irrelevant. As far as the visuals are concerned, Watain is very traditional, and there are many reasons for this. The bands that inspire us and that shaped what we see as the true Black/Death Metal scene are also the bands that have been most successful in creating art that functions as a channeling of black and demonic energies, not only through the music but also through lyrics and the visuals. Bands like Mayhem, Necrovore, Beherit, Venom, Mercyful Fate and Samael were all keen to form a whole of the visual, the music and the lyrics, and therein lies the biggest reason to use the accessories you mentioned.
The connection between Black Metal and Nazism/racism/fascism, how do you see it? I got hold of a fanzine called Blutkrieg Zine (or something similar, I can't bring myself to look it up) where there is more talk about white people taking over the world (!) than about the music. The zine is printed in 88 copies, and those 88 guys are going to take over the world... Haha! There are so many damn cool players out there. Within the BM scene, symbols associated with the Third Reich (SS skulls, swastikas, etc.) are relatively common. Is it just a gimmick or can it perhaps be interpreted as a symbol of ultimate evil?
-That politics and Black Metal do not belong together should be obvious by now, people who believe otherwise are hereby urged to march to the gas chambers. A political ideology will never be more than a grain of sand in the desert compared to the metaphysical evil and immeasurable power that Black/Death Metal is built on.
Tell us about the collaboration with Davthys, the man behind a large part of your covers and who also makes the crudest fanzine the earth has ever seen, also called Davthys.
-We stand for the ideas, Davthys visualizes them, of course with some influence from his own way of thinking, which can be associated with Watain on many levels, as it has turned out. He is in my opinion one of the most brilliant artists in the Black/Death Metal scene ever.
Tell us about Casus Luciferi - the meaning of the title, the music, the lyrics, the cover, the layout, the guest lyricists, the symbolism... Anything you want to tell me should go here.
Fuck you all!
...ok...
How do you go about writing the music? Who writes what? Do you ever jam songs? Who does most of the riffing? Etc etc…
-I haven't the faintest idea about it.
I’lbe damned ...
How important is it for you to be able to record with Tore Stjerna (a friend of the band, also drummer in Funeral Mist and the driving force behind the Necromorbus studio). Would it be different if you were forced to look for another studio? The soundscape on Casus Luciferi is truly special. Tell us more about it and how you thought about it. How did the work in the studio go, etc. etc…
-The collaboration with Necro has been brilliant so far, it is stimulating to say the least to work with professionals who also have deep insight into the nature of the band. Casus Luciferi was most likely not our last collaboration with him, as we have so far not felt any need to broaden our horizons when it comes to recordings. The soundscape on the aforementioned album was something we had quite clearly drawn in our minds before we went into the studio, and the result is frighteningly similar to what I myself had in mind, at least. A dagger in the face to all the third-rate Darkthrone copies who believe that a completely worthless sound image is equivalent to true Black Metal. We piss on all that is called inferior, primitive scene metal, and also on the hordes of fourteen-year-old cripples who stand behind it!
Tell us about your participation on the Damnation album Destructo Evangelia. Your vocal contribution is among the best that has been done in a long time in the BM scene, if I may be allowed to flatter a little.
-Insulter asked me to add some vocals in connection with making the layout for the album in question. It was definitely an honor to contribute something to such a band, Damnation is one of the few remnants of the old days that still knows the true ideals of Black/Death Metal, and who profess to them.
Fortunately, the Black Metal scene (at least the number of bands) has decreased in size in recent years. When it was at its worst, every idiot started a BM band and both the music and the feeling were seriously eroded. For me, Black Metal is about more than music and aesthetics. Many bands seem to forget the genuine feeling. What do you think about this? You seem to have a lot of contacts within the scene, how do you see today's BM scene? Which BM bands do you listen to yourself?
-That the scene should be reduced in scope is something I find difficult to agree with, I would personally like to see 90% of it decimated in the most violent way possible. Only a few Black Metal bands measure up to the current situation, and these are those affiliated with NORMA EVANGELIUM DIABOLI, as well as Dissection and a few others. These bands are the ones whose goal is not to promote a music scene or feed their egos, but to bring forth and channel the forces of the forces of destruction, to praise them and to see them work. As for the Black Metal bands that are on the record player at home, apart from the above royalties, it will mostly be old stuff like Mayhem, VON, Master's Hammer, Samael, Mercyful Fate, Root, Venom, Sabbat, Morbid Angel, Sadistik Exekution, Necrovore, Profanatica etc... And apart from this of course a lot of Death/Speed/Heavy and other shady stuff...
In a park not so long ago I heard a certain E. make the following statement when the nerd band Europe performed Rock the night on the bandstand: "Sweden's best band". Try to defend it if you can, kid!
-I've never said Sweden's best band, but on the other hand I usually mention them in the same league as Bathory, Morbid and Grotesque, without a doubt! Definitely Sweden's best heavy metal band. As for the "nerd factor" in that statement, I feel fairly comfortable, at least as far as I know I'm not a writer for the humanist magazine Close-Up, like some others.
And now you're contributing to the humanist magazine Ny Moral instead. Hoho.
What do you listen to besides metal?
-There will be a lot of other things too, but the common denominator is that it should have a dark/chaotic character. Some bands I like outside of metal are Fields of the Nephilim, Mob 47, Diamanda Galas, Subvision, Nick Cave, Arsedestroyer, Sutcliffe Jugend, Vit Aggression, EAK, Skrewdriver, Korpses Katatonik, Laibach, Svart Parad and many others. In addition to that, there will be very old soundtracks etc...
You have also been behind the drums in the band Systemslakt. Tell us!
- I played drums in this band ten years ago, together with some street stone-throwing Zionist lackeys from Uppsala. Definitely violent, but too frivolous.
Hellish Massacre is your creation, a fanzine beyond the ordinary. I thought you only wrote about Black Metal, but that doesn't seem to be the case. Do some zine history and tell us about your purpose with it is?
- Hellish Massacre is a provocative Black/Death magazine with a focus on the underground…
I'm not really looking to attract new readers, so I don't have much more to say...
...ok...
How do you go about writing the music? Who writes what? Do you ever jam songs? Who does most of the riffing? Etc etc…
-I haven't the faintest idea about it.
I’lbe damned ...
How important is it for you to be able to record with Tore Stjerna (a friend of the band, also drummer in Funeral Mist and the driving force behind the Necromorbus studio). Would it be different if you were forced to look for another studio? The soundscape on Casus Luciferi is truly special. Tell us more about it and how you thought about it. How did the work in the studio go, etc. etc…
-The collaboration with Necro has been brilliant so far, it is stimulating to say the least to work with professionals who also have deep insight into the nature of the band. Casus Luciferi was most likely not our last collaboration with him, as we have so far not felt any need to broaden our horizons when it comes to recordings. The soundscape on the aforementioned album was something we had quite clearly drawn in our minds before we went into the studio, and the result is frighteningly similar to what I myself had in mind, at least. A dagger in the face to all the third-rate Darkthrone copies who believe that a completely worthless sound image is equivalent to true Black Metal. We piss on all that is called inferior, primitive scene metal, and also on the hordes of fourteen-year-old cripples who stand behind it!
Tell us about your participation on the Damnation album Destructo Evangelia. Your vocal contribution is among the best that has been done in a long time in the BM scene, if I may be allowed to flatter a little.
-Insulter asked me to add some vocals in connection with making the layout for the album in question. It was definitely an honor to contribute something to such a band, Damnation is one of the few remnants of the old days that still knows the true ideals of Black/Death Metal, and who profess to them.
Fortunately, the Black Metal scene (at least the number of bands) has decreased in size in recent years. When it was at its worst, every idiot started a BM band and both the music and the feeling were seriously eroded. For me, Black Metal is about more than music and aesthetics. Many bands seem to forget the genuine feeling. What do you think about this? You seem to have a lot of contacts within the scene, how do you see today's BM scene? Which BM bands do you listen to yourself?
-That the scene should be reduced in scope is something I find difficult to agree with, I would personally like to see 90% of it decimated in the most violent way possible. Only a few Black Metal bands measure up to the current situation, and these are those affiliated with NORMA EVANGELIUM DIABOLI, as well as Dissection and a few others. These bands are the ones whose goal is not to promote a music scene or feed their egos, but to bring forth and channel the forces of the forces of destruction, to praise them and to see them work. As for the Black Metal bands that are on the record player at home, apart from the above royalties, it will mostly be old stuff like Mayhem, VON, Master's Hammer, Samael, Mercyful Fate, Root, Venom, Sabbat, Morbid Angel, Sadistik Exekution, Necrovore, Profanatica etc... And apart from this of course a lot of Death/Speed/Heavy and other shady stuff...
In a park not so long ago I heard a certain E. make the following statement when the nerd band Europe performed Rock the night on the bandstand: "Sweden's best band". Try to defend it if you can, kid!
-I've never said Sweden's best band, but on the other hand I usually mention them in the same league as Bathory, Morbid and Grotesque, without a doubt! Definitely Sweden's best heavy metal band. As for the "nerd factor" in that statement, I feel fairly comfortable, at least as far as I know I'm not a writer for the humanist magazine Close-Up, like some others.
And now you're contributing to the humanist magazine Ny Moral instead. Hoho.
What do you listen to besides metal?
-There will be a lot of other things too, but the common denominator is that it should have a dark/chaotic character. Some bands I like outside of metal are Fields of the Nephilim, Mob 47, Diamanda Galas, Subvision, Nick Cave, Arsedestroyer, Sutcliffe Jugend, Vit Aggression, EAK, Skrewdriver, Korpses Katatonik, Laibach, Svart Parad and many others. In addition to that, there will be very old soundtracks etc...
You have also been behind the drums in the band Systemslakt. Tell us!
- I played drums in this band ten years ago, together with some street stone-throwing Zionist lackeys from Uppsala. Definitely violent, but too frivolous.
Hellish Massacre is your creation, a fanzine beyond the ordinary. I thought you only wrote about Black Metal, but that doesn't seem to be the case. Do some zine history and tell us about your purpose with it is?
- Hellish Massacre is a provocative Black/Death magazine with a focus on the underground…
I'm not really looking to attract new readers, so I don't have much more to say...
Are you doing other activities besides Watain that can be connected to the music? I know your drummer prints t-shirts, for example.
- I work with layout etc., more info at www.coldseed.tk. Otherwise, nothing that can be connected to the music.
MLO - Misanthropic Lucifer Orden. Comments?
- Out of respect for the organization in question, I decline to comment on them in a music magazine.
Ny Moral is not a music magazine, but ok...
If you had to choose three bands to play live with, who would they be and why?
- VON, Mayhem 1991-era and Mercyful Fate 1984-era. Comments are superfluous.
How will future material with Watain sound like? Rabid Death's Curse and Casus Luciferi differ quite significantly from each other, perhaps primarily on a sonic level. Will it be the same with your third release? What will be the next recording?
- Watain will always produce magical, traditional Black/Death Metal, more than that should not be revealed at the moment! The next Watain recording will be a participation on a tribute album to Motörhead that should come out sometime this spring. In addition to that, a split-LP with the old kings MALIGN is also planned, containing live material from both bands.
Final words to Ny Moral's soul-murdering readership?
- Suck my holy genitals!
TEXT: INDY
PHOTO PAGE 32: Bajsmagnus / UBS Crew
OTHER PHOTOS: From the vaults of Watain
MÖTLEY CRÜE "SHOUT AT THE DEVIL" ALBUM REVIEW (ANN ARBOUR NEWS, MI, US * DECEMBER 3, 1983)
I guess someone didn’t like the band or album! 😂
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PLAYING RIGHT NOW … TYRAN PACE ”LONG LIVE METAL” [LP]
Genre: Heavy Metal
Year: 1985
Country: Germany
Note: I f**kin love this album, even though UltraBoris on metal archives call them a ”Mediocre Accept/Helloween clone” 😂. For me this contains everything I want out of metal, fast paced guitars, catchy lyrics and some real metal screams here and there.
Year: 1985
Country: Germany
Note: I f**kin love this album, even though UltraBoris on metal archives call them a ”Mediocre Accept/Helloween clone” 😂. For me this contains everything I want out of metal, fast paced guitars, catchy lyrics and some real metal screams here and there.
ASYLUM (US)
Active under the name between 1981-1988, then between 1988-1992 as Obstination. And since 1992 as Unorthodox.
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