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Interview
Deutsche VersionInterview mit The Forsaken (13.10.2012)
HH: A loud "HeyHo" from Germany's Heavyhardes to the mighty The Forsaken and foremost congratulations for your new output Beyond Redemption. From a personal view the record is exactly what I've been wishing for.
Patrik: Yo! Thank you very much for those kind words! We are very satisfied with the way the album turned out and the way it's been received by the almighty press!
HH: It's been a while hasn't it? Can I say it's good to have you "back"
because I guess you never really have been away, but the gap between Traces Of The Past (2003) and even the Demo (2006) and no the new record has been a big one. How come?
Patrik: I wouldn't say "back", but you could say it's good to finally have us crawl out of our filthy pit and returning to the scene.
Well, why the long wait? After Traces of the Past we were pretty spent. We'd released three albums in a few years and looking back we didn't really know what we wanted to sound like anymore or what kind of music to play. Every band has a certain need to evolve ever so slightly and at that time there was no real sense of direction for us. We didn't know what the next step should be. Also I was moving to a different town to study so we couldn't rehearse in the same way as before. Since we've always written our material collectively in the rehearsal room we couldn't create music the same way anymore.
In 2005 Century Media pretty much told us that they probably wouldn't release anymore albums by us and without the sense of urgency of a looming deadline the songwriting that had been at a jogging pace slowed down to a crawl. We did have material finished but we didn't feel it was good enough when compared to the older stuff. We recorded a three song demo in -05 but it was never officially released. The demo you mentioned that was released in -06 was never intended for release but did contain some material that made it onto Beyond Redemption, the song "As We Burn" was recorded back then. This was sort of a turning point for the band because even though we were still very slow songwriters at least the material sounded stronger then in quite a long time. After this point we started writing songs that were good enough for our standards that eventually made it onto the album.
HH: You also changed your record company and went from Century Media to Massacre. Any special reasons for that step? And now: what is the difference in working with the guys at Massacre?
Patrik: Massacre is a good and professional record label though considerably smaller then Century Media. The differences are noticeable through smaller budget and smaller distribution. We knew this was going to be the case though, after being gone for so long we knew we had taken a few steps down the ladder.
Massacre has done a good job so far though and we don't have any complaints.
HH: Thankfully there haven't been too many line-up-changes in The Forsaken from 2003 to 2012, but Stefan Holm was replaced by Calle Fäldt on rhythm-guitars. So why did Holm leave and how's Fäldt fitting in so far?
Patrik: Yeah, we've had a very stable line-up when compared to other bands. Apart from being bandmates we're also good friends who spend a great deal of our free time together. Having a stable line-up for so long and losing one of the founding members is indeed a tough blow.
Stefan left mostly for personal reasons. He was sick of the band not really going anywhere and chose to focus on his job and family instead. Though we were sad to see him go we respected his decision.
Ironically it was probably the shock of him leaving the band that kick-started us back into a creative state again. We had some really good material written by that time and we didn't want to see it go to waste so from then on we started getting our act together, culminating in Beyond Redemption.
Calle works like a charm with us. He's a bloody good guitarist and has loads of experience playing and touring from his years in Deranged. Also he and Anders had played together in a band called Feared Creation so we knew he had some sweet musical chops. He's also a good match personality-wise. Nicke knew him quite well from meeting up a couple of years ago on Sweden Rock Festival, so he was our first and only choice and we have no regrets.
HH: As I pointed out in my review for Beyond Redemption I always saw The Forsaken as a very unique act comin' out of the Scandinavian scene and the new record proves me right. You always managed to place your songs along the thin line where Black-, Death- and Thrash Metal collide and that makes your music outstanding and exciting. How long did it take to create your own style and where in midst of the Metal landscape would you place your special kind of music?
Patrik: It didn't really take that long. Our very first demo from -98 had all these influences as well, but at the time we didn't quite pull it off the way we wanted. The songs were way too different from one another. One was pure Gothenburg-Metal, another sounded like Death and yet another was very thrashy. For me the band was truly born with our Reaper -99 promo. That was when things really fell into place and we started to sound like we do today. Naturally we've evolved a bit since then. We've shed most of our Gothenburg-influences and our songwriting has been sharpened, but the general direction of the band was definitely clear at that time.
HH: I, at the moment, especially like "No Dawn Awaits", "Only Hell Remains" and "There Is No God". Could you please tell us the story behind those tracks? And: is there a special connection between those songs? Who's writing the lyrics anyway?
Patrik: "No Dawn Awaits" was a song that took a while to get finished. We had the intro-riff that we all agreed sounded really cool, but we couldn't quite move forward and incorporate it into a full song. For a long time it looked like the riff would end up as one of those that never made it into a finished song, but in the 11th hour things finally began flowing and now I think it's my favorite song off the album.
"Only Hell Remains" is one of the older songs on the album, meaning it was one of the songs that was finished and was properly demo-recorded by the time we signed with Massacre in -11. The main verse-riff is something Stefan Holm wrote a long time ago, probably back in -05 or something and at the time we thought it was too mid-paced for our taste. We picked up the riff again a few years ago and this time things fell into place much quicker and after a few tweaks we had a final product.
"There Is No God" was one of those songs that was written very quickly. Me and Nicke were jamming in the rehearsal room one day and pretty much got a rough sketch of the song finished in an hour. It's a very simple song structure and very few riffs, but it works.
I can't say these tracks are more connected then any of the other songs on the album. We constantly pick up older riffs and find places for them in our music, kind of like scavenging a scrap-heap and finding something useful. We've probably got hundreds of riffs just lying around, most are probably average at best but there might be some diamonds in there too.
I wrote the lyrics for this album. Nicke and Anders did all the lyrics for our previous albums. I started to write some lyrics back in -05. I think we were about to record a demo and neither Anders nor Nicke had the time to do it so I gave it a try. The first song I wrote lyrics for was "As We Burn" that was on that demo. When writing a song and putting the structure I usually hear in my head what I want the vocals to be like. The rhythm and general feel of them is something that comes quite naturally most of the time so very early in he songwriting-process I'll grunt some nonsense lyrics onto the song just to hear what it sounds like. After that I'll write the lyrics so they fit with the rhythms on the demo. I'm pretty ruthless about making them fit with the song. Sometimes I'll write a line that really reads well on paper but doesn't go with the rhythm I want. 100 times out of 100 it'll get cut down or replaced by something that is singable. I'd pick a great song with shitty lyrics over a shitty song with great lyrics any day.
HH: Many songs, as far as I can see, deal with the topic of religion in a wider sense, or better the belief/beliefs of man. Right? Is belief as itself a good or bad thing? A projection? Something made up by man to overcome the more urgent problems?
Patrik: I think when it comes down to basics we are still pattern-seeking mammals, many of whom prefer a bad answer to no answer. This is especially true when it comes to the big questions like the origin of ourselves, the origin of our universe and the question of what happens after we die. All these loose ends get tied up in a very neat knot signed "God". Not many people ask about the origin of God though...
I guess seed of religion was planted when we asked ourselves the first couple of unanswerable questions. "Why does the sun rise? Well obviously when something moves there has to be someone who moves it, I think there's a giant bear who pushes the sun across the sky. All hail the mighty skybear!".
That's all fine and dandy but when some people claim to know the will of the bear and perhaps even demand certain benefits for their supposed knowledge.Perhaps someone will even claim that the bear might not return with the sun unless certain favors are given, then religion has inevitably turned into a powerful political tool.
I don't mind personal beliefs, I have many friends who are believers in one irrational religion or the other. I do have a problem when beliefs extend beyond the personal sphere and affect people who want no part in it. Most of the lyrics are about the slimy grey area where religion and politics meet. Since Sweden is mostly liberated from that kind of thing I've looked a lot at the political arena in the U.S. and the bizarre circus that is the republican primary election. The hypocrisy is staggering. Here we have good Christians (and a Mormon) who just happen to be dollar-millionaires and tell the lower and middle class that public healthcare is bad. The fucking nerve these people have! Pisses me off!
HH: The world's not in a real good shape, I guess you would agree with me in this point. The European crisis, first the Libyan and now the horrible Syrian conflict. In Bahrain everyday people are killed. What's the outcome of all of this and where does it end? Personally I am more concerned than ever ...
Patrik: I do agree. I guess some regimes can't be replaced without violence. A totalitarian regime will do anything to stay in power, even turn on its own people. I think the Arab spring was and is a sign of great strength from the citizens of those countries, it gives me hope for the future. I am, however, very disappointed in the lack of support from the Western democratic countries who await to speak up until they know who's winning.
We can learn a lot from Tunisia, Libya, Syria, Egypt and all other Arab countries that have had uprisings. There is great strength in numbers. The government doesn't control a country, the citizens do. If many enough protest something, the ones in power have no choice but to obey. The "occupy" movement in the U.S. comes to mind as a western form of uprising. We have plenty of things to be pissed off about ourselves. The problem is that we have reached a certain level of comfort and can't really be arsed to participate in anything.
HH: How do you see the medium music? As a transporter? A unique form of art for the individual to deal with itself and his social environment? A political weapon? Or just something, a place to rest for everybody?
Patrik: Music is all the things you mentioned and more. There are as many ways to experience music as there are people in the world. For me music is essential to my very being, it is is always in my thoughts in one way or another. If I hear a song on the radio I immediately pick it apart in my mind, separating the different instruments, analyzing the arrangements and picking out the chords and melody. It's such a big part of who I am and what I do that I can't ever be without it even if I wanted to. To me it is self fulfillment in it's purest form.
Of course it is also a powerful vessel for any kind of message. Words accompanied with melody gains power beyond that of mere letters on a piece of paper. Music is something people can participate in to feel more powerful and determined as a group. Music inspires actions that mere words can't.
For some people the connection to a certain music style is a big part of their identity. Especially Metal, that in many ways is a rebellious kind of music. When I was a teenager I felt naked if I didn't have black jeans and a t-shirt with one of my favorite bands on. It was my way of saying "fuck you" to the establishment, to be a part of something bigger. I really feel the Metal scene has a much tighter community then most other music styles.
Then again I guess music for many people is just something that for some reason makes them feel good. Perhaps the sound from the radio makes the everyday chores less boring, perhaps it makes the workplace less dull or maybe music is just something you dance to while out with your friends. The good thing about music is that you don't have to know anything about it in order to enjoy it, there's no right or wrong.
HH: Do you listen a lot to new Black- or Death Metal? Any exciting new bands the readers should put an eye on?
Patrik: I'm ashamed to say that I don't really keep track of the scene like I used to. There are a couple of bands that I've recently discovered though. One of them is Okkultokrati from Norway. Dirty, punk-ish, with a healthy dose of Black Metal, it's a welcome break from all the overproduced hyper-technical Metal that's out there. I loved their album from the first notes and it still keeps growing on me. Of course there are other bands that stick out from the crowd, but its mostly old favorites like Cannibal Corpse, Vader or Marduk that gets blasted from my speakers, though I tend to listen more to non-Metal music nowadays. There's nothing wrong with widening your views every once in a while.
HH: The readers always like lists. So would you be so kind and assemble one of the ten most influential albums for The Forsaken?
Patrik: Lists huh? OK, I can't speak for the rest of the band but I'll give you my 10 most influential albums. Albums that had a big impact on me personally and musically.
10. Iron Maiden: Number Of The Beast
Probably one of the first Metal albums I actually liked. My older sister owned it and when she wasn't home I'd sneak into her room and give it a few spins. Still my favorite Maiden album.
9. Metallica: Ride The Lightning
The first Metal album I actually bought for myself. It's a close call but I think it's their best effort. A near-perfect mix between melody, speed, unpolished energy and finely tuned atmosphere. Classic!
8. Entombed: Clandestine
One of the first real Death Metal albums I got into. They were truly way ahead of other Swedish Death Metal bands at this time. I even like the vocals even though everyone seem to think they are shit.
7. Sepultura: Arise
This album was an eye-opener for me. It got me addicted to speed and fast songs and got me working on my guitar technique. Sepultura used to kick some serious ass!
6. Marduk: Those Of The Unlight
Their most melodic effort, but that was the kind of Metal I was into in the early 90's. I've pretty much enjoyed every album they've ever released but this was one of the gateway-drugs that got me hooked on black-metal.
5. Decameron: My Shadow
A very overlooked album in my opinion. Thrash-ish Melodic Death Metal the way it sounded back in the 90's. Besides a couple of killer tunes it was the musicianship that blew me away. One of the best drum-performances on a Death Metal album ever in my opinion. Tight, yet fucking groovy.
4. Death: Human
What Death Metal band that play even remotely technical doesn't have this album on their top 10 list? It's not just the fact that it was way ahead of the competition in regards to the instrumental performances, the patented Chuck-sound is present in every song.
3. Eucharist: A Velvet Creation
Another unjustifiably neglected gem from the past. It was Nicke who got me listening to this band in the first place and it became an instant eargasm for me. Their first album of only two was quite original even though it was a Swedish Melodic Death Metal album. A good mix between folksy, classical and atmospheric stuff. Not even a terrible production can destroy the musical quality of this album.
2.
At The Gates: Slaughter Of The Soul
I can't deny the impact this album had on me. In the first couple of years of the band we drew a lot of inspiration from it. One can hardly deny the awesomeness of this album even though it's been re-done and a gazillion bands have tried to copy the sound. I actually haven't listened to this album for close to 10 years I think. Even though we didn't want to be compared to them, the first album does have a lot of At The Gates influences.
1. Dissection: The Somberlain
I've never been much of a fanboy of any band, but if I ever was one this was the album that did me in. A truly monumental effort that still sounds fucking awesome almost 20 years later. The combination of cold Death Metal and blood curdling melodies blew me away like no album had done at the time. I didn't know you were allowed to use melody when playing Death Metal so this album was a real eye-opener and became the standard by which all other albums would be judged.
HH: Anders' vocals sound stronger than ever on the new record. Any hints for younger singers to keep the voice in such a good shape?
Patrik: I agree! His vocals on this album puts all past efforts to shame. I don't know if he has any secret tricks besides ginger-tea and honey. I was actually pretty concerned that his vocals wouldn't be up to par for this recording. We hardly rehearsed together for this album like we did back in the day so I had no idea what kind of form he was in, it turned out my worries were completely unfounded.
We did spend a lot of time on the vocals this time though. Not because he didn't get good takes, but because we wanted the best we could get out of him. For the older albums the rest of the band didn't really get involved in the vocals that much. For Traces of the Past Anders did most of the vocals alone in the studio during a single day. The rest of us made a few small suggestions here and there but 90% of the vocals were recorded in an 8 hour session.
This time we spent at least half a day on each song and it sure paid off. Recording the vocals in our own studio with no pressure when it came to how much time we had really allowed us to experiment much more. I had a pretty good idea of where I wanted the vocals to be high-pitched and where I wanted a deeper growl, but a lot of the best takes came when I told Anders to go nuts. There was also a great deal of time spent doing backing-vocals, something we overlooked in the past. Footage from the recording sessions can be found here.
HH: What does the near future bring for The Forsaken? I hope we don't have to wait that long again for some new music.
Patrik: No. You'll not have to wait that long. We'll release the new one in eight years instead. We have a couple of festivalgigs left this summer and then it's off to write some new songs. We do have some leftover riffs that didn't make it onto the album, but still sound cool so there's a good place to start.
HH: Any plans to tour Germany and maybe play some local clubs?
Patrik: There are a few secret plans for that. Instead of going for an 8 hour drive north to play we've been talking about going south to Germany and Holland. There's always a good chance we will show our ugly faces on the continent.
HH: It really was a pleasure for me to prepare those few questions for you. Even more: it was an honour and I am glad you are back! The last words belong to you:
Patrik: I thank you for this thoughtful interview and we're very glad to be back! Cheers!
Fuxx