Necrophobic
Wywiad przeprowadził Wouter Roemers
Necrophobic is currently working on a new album. Since 1989 these Swedes have been consistently releasing strong obscure death/thrash albums. 2001's "Bloodhymns" being their last album to date, albeit being a strong offering Necrophobic still doesn't get the press attention they rightfully deserve. Masterful Magazine got in contact with bassist/vocalist Tobias Sidegard and asked him a few questions.Hi guys! Thanks for taking the time to talk to us. How have things been in the Necrophobic camp lately?
Hello, my friend. We've had a little pause for a few months but now we're working again in the rehearsing studio. We almost have all songs ready for a new album and we're trying to make them tight and change small things to make it as raw as possible. It really feels like we have a strong one coming this time.
1993's "The Nocturnal Silence" is often mentioned as Necrophobic's most influential entry in the death metal genre. With "Darkside" (1997) and "The Third Antichrist" (1999) the sound glitched slightly towards a more black metal based approach. 2001's "Bloodhymns" consequently marked the return to the veteran death/thrash sound. Can you tell us why exactly these two are more black metal based? Was it a statement against the then already oversaturated death metal scene?
We're just making the sort of music we like and would like to buy ourselves. In my opinion we've always been in between those two styles. It has never been really important to us what the hell we are playing as long as it is raw and has the right atmosphere. But I agree when you say "Darkside" sounds a lot of black metal, but I think some of it has to do with the sound and the production of it. When we do those songs live it's more similar to the other material.
In 1993 David Parland was still an active member of Dark Funeral. In an almost simultaneous timeframe the recordings of the Dark Funeral mini and Necrophobic's now legendary debut were taking place. "Secrets Of the Black Arts" is released in '96 and a year later "Darkside" comes out. That must have been quite a hectic period in the band's existence? How was it having a member in two important genre acts at the same time?
As I recall it was okay. When David wrote black metal riffs he used them in Dark Funeral and when he had some ideas that sounded more death he brought it to us. We've never been touring so much so that wasn't really a problem either.
"Bloodhymns" was released on Hammerheart Records in 2001. As far as reviews are concerned it received high praise in the international metal press. It must have been stellar to have 4 albums out, which all received very high praise. I'm sure that motivates to write even more compelling material, do you agree?
Of course it's a bit flattering that magazines all over the world give us high praise. But the most important is what the audience thinks and say when they catch you live. We have been a bit spoiled with good reviews - even from the early demo days. So, it is actually kinda fun if some mag writes that it is all shit and not worth listen to. I don't believe that good reviews affect your sale points in a big way. Most metalfans have like one ore two journalists that they feel they can trust and don't really care about what other journalist think. At least my friends are eager to find out for themselves.
With "Bloodhymns" also a small lyrical change can be noted. Whereas the earlier albums were heavily anti-religious in content, this album takes a more dark, mysterious approach with blood as the central thematic. Is this to be considered a one-time concept thing or is there a certain symbolism behind the fascination for blood?
I think the lyric changes started even on "The Third Anti-Christ" [the album before "Bloodhymns", ed]. At that point we had done two albums with at least 20 songs with anti-Christian lyrics and we had to find new perspectives on them. It wasn't too hard, though, since several members of the band had been students of the occult and dark esoterics for many years. The music got more complex and we felt that we also had to deal with heavier subjects in the lyrics. I guess it is just a natural progression. I mean, you get older and even though you're still the same person, maybe you don't have the energy to be as angry as you where when you where 20. There has never been any un-methaphorical fiction in our lyrics. Necrophobic is for real, and always will be.
Hammerheart Records recently transformed into Karmageddon Media. Did this change impose any notable problems for Necrophobic with album availability and so forth? I read Soulreaper had their "Life Erazer" album postponed due to the change.
We haven't done anything since the change, so I have to pass that question.
Your previous label was Black Mark Productions - but for a number of reasons the co-operation didn't work out. Karmageddon Media is quite a respected label in the international scene. Are you satisfied with the work they put into their roster? Are they able to give their bands enough tour support?
They've been cool with us. Maybe we should have toured a bit more. But right now it hasn't worked out with our personal lives: studies, ordinary work, kids etc. has been in the way. Life looks a lot clearer now, though.
Line-up troubles have plagued Necrophobic in the past. "Darkside" had the band even operating as a trio. Finding a decent second guitarist seemed to be the re-occurring problem. How's the chemistry in the current line-up, is this line-up bound to stay?
This is the final and coolest line up we've ever had. It's four guys with a deep friendship and respect for each other. I'm not sure we would continue if someone of us decided to quit the band. The chemistry could not be better. I would kill for anyone of those guys if they just asked me.
Rhythm guitarist Johan Bergebäck recently was enlisted as Dismember's new bassist. Does this impose any problems on the workings of Necrophobic? Dismember have quite a touring schedule ahead of themselves.
Johan is the only member in the band that doesn't have any kids and stuff that holds him back. He felt that he wanted to tour more and we would never hold him back. I did the same thing with Therion a few years ago and it worked out fine. Dismember are cool guys and good friends but they can never compete with the strong bounds Johan has with Necrophobic. We're his "homies" so to speak.
Necrophobic has always remained a band with a love for orchestration. Without overdoing it tracks regularly contained small keyboard lines, piano pieces, acoustic interludes and albums came with full-blown instrumental tracks. From the listener's point of view, this creates an appealing experience. How is this from the composer point of view?
Sometimes when you compose different tones pop up. Maybe they have the right atmosphere but wouldn't work out in a ordinary Necrophobic song, then it might been used for a intro or a small instrumental track. In my opinion, those small things do something extra to the albums and the whole feeling to it. A musical journey in the dark wastelands shouldn't only be hard and fast, then you will lose the focus on it. It's good to rest the ears for a few minutes and then cast yourself into the flames again.
As mentioned before "Bloodhymns" was released in 2001. How is the new material shaping up? Are there any specific details known about when the next album is to be recorded and released, or is it still in pre-production phase?
Right now where working hard in the rehearsing place to sort out all songs. It looks like it's going to be released late summer, if the record company think it's okay. We already have a title for it but we're gonna keep it for ourselves for a while. This one is gonna be something extra.
Can you unveil something about the new material. How it compares to "Bloodhymns" and the band's earlier releases?
It's easily the fastest one. Similar feeling as on "Bloodhymns" but rawer. We're also going to try something else then Sunlight Studio this time to change the sound a bit. It's a bit sad to not work with Tomas Skogsberg, but we feel that we have to explore new grounds.
In a way Dissection is something I could always hear through out Necrophobic. In my opinion you apply the same use of harmonics, melodies and structure. On "Darkside" Jon Nödtveidt (Dissection) even did some guest vocals on the track 'Nailing the Holy One'. How was it working with such an influential person?
It was a while ago but as I remember it Jon came down to the studio for a few hours, we had a few beers, he sang and then we went to my place for a small party. At that time I used to speak to Jon every now and then but we lost contact when he went to jail. Maybe it's true that we use some similair harmonics that Dissection use but I can assure you that they never had any impact on our sound or riffs. We all like Dissection though, it's a great band.
An unavoidable subject is the return of Dissection. As Dissection's impact on the death/black metal scene is undeniable, with the spawning of many bands cloning and imitating their seminal sound as a result. How do feel about the band's much anticipated return?
I guess they have an enormous impact on the black metal scene. Especially on the younger bands that search for their own identity. I went to see them a few months ago at their first gig since their return here in Stockholm. They were okay but not great. I think it's going to be a lot better after they have played a few more gigs. Jon looked quite different from what he used to before he went into jail.
Thanks a lot for talking to us. Good luck with Necrophobic! The last words are all yours.
It was more than two years since we played in Poland last time and we're longing to get back. Hopefully we could visit you on some tour [yeah, I agree. Come to Belgium! ed] in the end of the year. Stay true to the scene and thank you Wouter for making this interview...
Band information:
Site: www.necrophobic.net
Label: www.karmageddonmedia.com
