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September 3, 2010 |
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Galder
October 12, 2005
By Brian Davis
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The defining reference for perfectly executed, concise and effective Black Metal extremes, Galder and OLD MAN'S CHILD have been around virtually since the style's birth in the early '90s and today stand dominantly upon the highest peak of precision and excellence, casting a long shadow across the valley of other would be Extreme/Black Metal patrons, enshrouding them further in a pale shade of comparative ineffectuality with every monolithic, landmark album OLD MAN'S CHILD unleashes. For there are none that do it better than OLD MAN'S CHILD, none that constantly solidify a legendary legacy with every release as effectively as OLD MAN'S CHILD, and none that better achieve the full lethal, venomous potential of Black Metal without compromising the grit, hook and honest intensity of full throttle Extreme Metal.
"Vermin" is the latest and arguably most devastating collection of hymns to the Morning Star yet, creating such an impact that you have to wonder if Galder will ever find a limit to the sheer brutal effectiveness of OLD MAN'S CHILD's music, and to which you have to say, "I sure as hell hope not!" METALEATER recently talked to Galder for the perspective, intention, and history behind this incredible album and what stands as the musical embodiment of OLD MAN'S CHILD.
What would you say your favorite aspect is about "Vermin"?
I think maybe the production - I'm quite happy with the production on it. It sounds very tight and clear. I have to listen to the album some more if I say it's the best album or not; it's really hard to say that, but the production is something I like.
What can you tell me about the cover?
It was done by this Greek guy named Seth. I just gave him the album title and he was working from that, and actually Century Media was giving me a lot of ideas from different artists; I thought he did the best job, and it was sort of dark and morbid, I liked it, we worked from there and I gave him ideas and approved and didn't approve, etc.
The drumming is distinct, but it's also toned down somewhat; was that to give more emphasis to the guitars, or did it just come out feeling that way and felt right?
Uh...it's not something I really planned; it's mainly because that's (Reno Killerich's) style of playing. I made all the drums before on the drum machine, so he pretty much knew how he was supposed to play it, but it still came out with some of his own ideas. And also that we didn't rehearse for months before we recorded. On this album I wanted pretty straight forward drumming but still very good; he has just a different style of playing than (Nick) Barker has.
One of the main things I noticed when I was doing the review was that he has a lot of variation in his high hats and cymbal rhythms that's really dynamic; kind of subtle at first, but definitely gives it some depth.
Yeah, I don't know what to say about that...I mean, I agree, but I don't know much about it, I don't play the drums. (laughs)
Going back, what attracted you to Black Metal in general?
Well, first of all, when I first was into the extreme music style there wasn't really anything that was called Black Metal - you had VENOM and BATHORY and stuff like that; I wasn't really too much into that - I had some VENOM albums and BATHORY albums, but that wasn't my priority; I was mostly into the Thrash Metal and Death Metal. Death Metal became very big so I just started listening to that, but actually everyone else that I knew were just listening to the Black Metal that came out those days in the early '90s. I didn't really follow it too much, but I just got caught up with it, I started to enjoy it more, and it just evolved from there. But I would still say that my music isn't typical Black Metal, it's also very Death Metal and thrashy.
Absolutely. Being in two bands, how often do you feel the urge to make OLD MAN'S CHILD? Is there a constant pull you feel to go back to it?
After I've been playing with DIMMU BORGIR, you mean? Like if I want to do my own thing?
Right.
Yeah. Of course when I have to do DIMMU BORGIR that's my priority, but I feel the pull to do my thing with OLD MAN'S CHILD because with DIMMU it's more...everyone makes music, and it's a lot of keyboards and stuff like that, but the OLD MAN'S CHILD is mainly guitars, and that's what I do. It's also fun to do your own thing - it's harder, of course, but it's also cool; and I've been doing it for so many years, so it's definitely a big part of my life. It would feel quite empty if I had to put it on ice.
When we talked last time you said that because you write all of OLD MAN'S CHILD's music, you're more self - conscious about keeping it interesting, keeping it changing and not being the same all the time. For example, you used a B - tuned 7 string on "The Plague Of Sorrows" for the first time…
Yep.
Do you have anything specific planned for the next time around, some variation you're looking to do next time?
Um, I'm going to be careful with what I'm saying because I always say that, "Well, on the next one I'm going to do this and that" and then it just doesn't happen. The way I feel now is that the next one I definitely want to fool around some more with tuning down to B, for instance, and make it sound darker; I like the atmosphere it creates. But the hard thing then is to keep it Black Metal, because not many Black Metal bands tune down to B, so that's going to be a challenge…and I also think I'm gonna perhaps try to make it a bit faster, just to prove we're not going to slow down; but then again, it might be slower too. (laughs) You can't really tell; but that's the feelings I have right now.
How far ahead of time do you start thinking about who you want to get in to do the drumming?
Not really that far - maybe when I have 2 - 3 songs left to make, because then I know what kind of style it is and if it's fast or slow; I just take it as it comes. Actually, I've never been thinking about it too much before, maybe just a month before going into the studio. It always works out because I know a lot of drummers in Norway, and Century Media knows a lot of people they can ask, so it usually works out; but it would be nice to maybe use one of the guys I've used before that knows my style this time. I might wind up using Reno again if he wants to, but I might also use someone else - I really don't know. I also might have a full band on the next album too, it's really hard to say; but if I'm going to have a full band that's something I have to decide very early on before I start to make songs and stuff.
Speaking of that, Jardar is still considered part of OLD MAN'S CHILD - he didn't have much to do with this album, but what does he do on the side? Does he have other bands?
He's fooling around with (DIMMU BORGIR guitarist) Silenoz, actually, and I think Tony (Laureano) is going to do the drums (Note: The band is called INSIDIOUS DISEASE). I think they've made a few songs and made some demos; I'm not sure where they're going to take it, but that's what he's been fooling around with. But yeah, I've always looked to him as a part of OLD MAN'S CHILD and if I were to have another guitarist, as far as I know now he would be my first choice because he's always been around. He's also a very good guitar player and likes the same music as I do, so...
Looking back now, which album stands out the most for you?
Uhh...you mean my favorite?
Yeah, which is the most distinct, the most memorable for you?
Uhh...maybe "Ill-Natured Spiritual Invasion"? It's really hard - it's going to sound stupid when I say I like them all in different ways, but I do, you know? The album I maybe don't like the most is "Born Of The Flickering", but it's not because of the songs, it's just because of the whole production; it was rushed and you can really hear some mistakes here and there, but the songs are really good on that album, so I like that one too. "The Pagan Prosperity" I really like in many ways, because when that album came out it was something quite new - I don't think that style had really been that much in the scene before. And also that reflected the album when it got out, because people were really like, "Hey, what is this?" But I think maybe "Ill-Natured" is the album I am the most happy with, but I don't know - this new one I really like also.
What do you think the biggest change has been from "Born Of The Flickering" up 'til now with "Vermin"?
Maybe that I've become a better musician? It's hard to say...I don't know how old I was back then, but I'm older now and a lot more experienced, especially when it comes to recording because I remember when we did "Born Of The Flickering" I just recorded the guitars the same time as I recorded the drums, live, and you don't work like that anymore now. That is the biggest difference, but I also think back then I was a lot more open - minded to experiment with a lot of different stuff, and today I'm a bit more skeptical to bring people along to the studio and do guest vocals and stuff if I haven't heard them; I'm sort of scared to do stuff like that today. So it's good and it's bad, but yeah - I've changed when it comes to making an album.
Do you have a favorite song, a specific one that stands out for you?
When it comes to songs that I really like, of being well made, I think maybe "Demoniacal Possession" on "Ill-Natured" - it's a very thrashy song, but I really like the way the song is made; "The Millennium King" is also a good song. Many songs have good sides and bad things, so there might be a song that I don't like so very much, but it contains some stuff in the middle, for instance, that I really think is killer, so it really depends.
Obviously the main thing about OLD MAN'S CHILD is the guitars - how important of a role do your lyrics play?
Of course they are important; I think the lyrics really are what set the music to being extreme, because the music can be like Heavy Metal at times, so I really need to have those aggressive lyrics. I also always make the lyrics very simple and straight forward, not a lot of foreign words. Of course it's really important - when I finish making a song that song gives me a certain atmosphere, so I just make the lyric after the song basically; but of course the music is definitely the most important thing. I'd say it's 40/60.
Can you elaborate on how you came up with the band name?
I didn't actually come up with it - it was the former drummer Tjodalv that came up with the name; I think he found it in some sort of a Viking book or something. I'm not sure if we were even looking for another name at that time, because we used to be named REQUIEM. I don't know why we changed the name, actually - maybe because it wasn't Black Metal enough or something like that. (laughs) When we first heard the name we just started laughing because it sounded weird, but he told me, "Nah, its cool: 'children of the devil' ". It all made sense and today I think the name really suits the band; it suits me. (laughs)
When you did the "Sons Of Satan Gather For Attack" split album with DIMMU BORGIR in 1999, did that contribute overall to you joining the band right after that?
I don't think so; I think that's more because we've all been friends, and I think [the split] was actually Tjodalv's idea and it just happened. At that time I didn't talk that much to Shagrath because he was living in another place, and it just happened basically.
What did bring you into DIMMU BORGIR?
I met up with them at a concert in Oslo, and that was right after Astennu was kicked out of the band. I just told them, "Hey, if you need a guitar player call me up." It went a couple of months, I met them again and things just happened from there; they tried me out and...yeah, it wasn't much of a big deal, really.
You'd already known everybody, more or less, for quite awhile.
Yeah, I mean there were a couple guys that I knew better than others, but I've pretty much known Shagrath and Silenoz, and I met Vortex out in Oslo.
While we're at it, can you give us a quick update on what's going on with DIMMU BORGIR?
Silenoz and Shagrath have just re - recorded "Stormblast" while I've been doing the OLD MAN'S CHILD album. I got a promo last night and it sounds really good; it was recorded in The Abyss.
Ah yes, Peter (Tägtgren).
Yep. And we're going to start making a new album as soon as possible; I think everyone has made ideas, and at least I've made a lot of guitar riffs and stuff like that, so we just have to meet up and put things together and see what direction we're going to do, if we're maybe going to do it a bit more old school, so...but we have to make more songs before I can say anything, it's hard to say. (laughs)
And who's the new drummer?
At least Hellhammer did the "Stormblast" re - recording, but I'm not sure if he's going to do the next album.
Definitely someone like a Nick (Barker) or a Hellhammer, someone with that kind of intensity, that kind of style?
Yeah, yeah, of course. The drummer is one of the most important elements in a band; you can make the best music in the world, but if the drummer sucks then it will destroy the album.
What do you think the biggest difference is between Europe's metal scene and North America's?
That's a tricky question - I don't know obviously know too much about the American scene, I've done some tours over there but I don't really know the people in genera - but when it comes to Black Metal, for sure it's becoming more and more big over there. The scene in Europe is a bit older, it's maybe 15 years old now; but the Death Metal scene of course has always been big over there, but I think now...How is it, is Black Metal as big as Death Metal over there?
I wouldn't quite say it's gotten to that point yet, but there's definitely been an increase. There've been guys I'm sure for quite a while have tried to do their thing with Black Metal, but it wasn't very convincing; I think they're getting better at it now.
Yeah, when it comes to Black Metal bands in the States, I think they might be a bit behind Europe. But when it comes to the crowd its killer; the crowds in the States are very dedicated, you've got the mosh pits going on over there and you never see that in Europe. Playing - wise I always have a really good time playing over there. And also when you look out into the crowd its different kind of people - you have people with caps and you have people with shorts and you have people with make - up and black long hair, you have everything. It's a good scene and it's growing and growing from each time I've been there, so it's going to be exciting to see in the future where it ends up.
This is kind of a side question, but you were in the Norwegian Military, is that correct?
Yeah.
How was that? Did that have any impact on who you are in relation to music?
I don't think it's got anything to do with the music; but this is like a strange service, because it was a very short but intense service. I was there half a year, but then you have to go out every year for a few weeks to train and stuff. Of course it changed me a little bit because I wasn't exactly used to running around in the bushes and stuff like that. But I've always been very interested in stuff like that, so I told them...you have to meet up at a place and then you tell them where you want to go, so I told them, "Hey, send me over to something really hard" and then later on of course I really regretted it. (laughs) It was a really strange thing to do, and it was actually me and Jardar from all the people I know that did that service. So I think it's a very good thing to bring along later on in life. You learn a lot of cool things; you get to ride in helicopters and do things like that.
Is that a requirement or an option?
Going into the service?
Right.
It's sort of like everyone is supposed to do it, but if you tell them, "Hey, I don't want to be here" then you're not supposed to be there. That's how every one of my friends...they were all told they have to do the service, but they just showed up with leather clothes and just said, "Hey, send me the fuck out of here" and they didn't have to go; so it's not that hard. (laughs)
And being in Norway, are you influenced at all…I wouldn't guess that this is necessarily the kind of subject for the music you play, but the Norse mythology and all that stuff - has that had any kind of influence on you?
Yeah, I would like to say that. I've done a lot of Viking - type lyrics, especially in the older days like "In The Shades Of Life" and "Born Of The Flickering" and "The Pagan Prosperity" - it deals with certain elements from that age. I wouldn't say that it's something I read a lot about, but it's something we learned when we went to school to see it from our past, and if you're Norwegian of course you know everything about that period of time in Norway, so of course it's something important for me, but it's nothing that I really read about. I like to collect axes and swords and stuff like that from the Viking age, but that's basically it; I'm really fascinated by it but I don't learn too much about it.
Very cool; that's always been my favorite of European mythologies.
So where will this interview be? Will it be on that page, or?
This one will be on METALEATER. It was kind of funny, because I received an advanced copy of "Vermin" so I could do that first interview with you, and I already have the entire album practically memorized.
Wow!
I'm serious - this is probably my #3 album of the year.
Killer! Thank you.
Absolutely. Thank you for such a great album!
Well, I really appreciate the words, man.
Anything I can do. I've always been a big fan, but this album just really caught me, and it's my first chance to talk to you and spread the word, so…
I really like the way you put my words on there too, you know, everything is as I said it.
Good, that's very important to me.
That doesn't always happen, you know. Its like, "Hey, did I say that?" (laughs)
(laughs) I try to approach it as a fan, I've been a metal fan for 15 years, and one of the biggest things for me as a reader and as a fan was: "That doesn't sound right; something tells me they're not giving the whole story, they're just changing it to suit their needs" and that's just not cool.
How old are you?
29.
Same age.
Oh yeah? Alright, I assume…I know you don't tour with OLD MAN'S CHILD, but I would assume once DIMMU BORGIR gets a new album rolling you guys will be coming back over here, correct?
Oh yeah, for sure, we will definitely go to the States, no question about it. I'm looking forward to it - it's always a good time.
I've seen you once, and that was with HYPOCRISY, CHILDREN OF BODOM, and NEVERMORE.
Where was it?
In Seattle at The Showbox.
Ah okay, yeah! I was really hung over that day. (laughs) That's nothing new, we're always hung over. [FIN]
» Official OLD MAN'S CHILD Website
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