In The Woods
As long as it may have turned out to be, the following chat with my mate Svithjod from the Norwegian IN THE WOODS... has at no time felt boring or stretched, but as to ensure such, and moreover, as to get to the actual substance itself, I bet it would be better to start the ball rolling right off!
" Without even noticing, from Beta to Alpha and the other way around, had in reality walked beside you, hand in hand.
"For quite an amount of time.
"All this without even noticing any of its fabulous diamonds
"As a piece of life finally was led towards its non-miserable worlds, you actually gave away a tear (not a spitted one though!).
"Oh, what a delightful melancholy."
This is it, the purpose of the metaphysical, a unification with our caring yet abused mother, the call of nature, IN THE WOODS... . The five involved individuals from Norway forth their concern that being at one with our surroundings as conceived is the only solution towards fully respecting oneself, what they not only express through their musical and lyrical creation, but also aided by the written thoughts of a one modern philosopher Bhagwan Shree Rajneesh.
As a chill of harmony while embracing myself listening to IN THE WOODS... , I can sense the subliminal call of surrender to what has been all these years part of me yet what I might have at times neglected its powers, that being my I as I. Simplified, such is of no esoteric origin yet a common feeling which every listener of "HEart of the Ages" is to explore. Overlord Svithjod, sharing motivator within the quintet spares what he and his co-talented would like to bring forward....
....as one feels throughout one's life quite a lot, it is at most stages hard to put words, or other expressions for that sake, to your feelings. They are just "something" which is there at most occasions, letting you know you're a human being after all. Both the music and the lyrical aspects IN THE WOODS... express, are of course a major part of these feelings, and also the opposite. Every single tune you will hear while listening has a deeper meaning to us. Every single word you'll read has something more, from our maybe confused insides. In other words, hard to put mortal words to in general. However, I can try to tell what I most probably feel concerning the aspects our compositions bring forth...
At almost the middle of the day, with hard work previously done spinning in the back of your head, you are always longing to a totally DIFFERENT site, where mortal life has no place. Where ignorance never existed and where you are one with yourself and your surroundings. Might be in the middle of a slumber, and even more exciting, in the middle of grand mother nature... where everything you are frequently reminded of withers away into dust which never existed. Either you think for a few moments about its unbelievable pureness or you simply just put all thoughts aside, and just float around in a "nothingness" filled with hope only. Just like meditation in a basic way. Without even noticing it...
Our expressions, or compositions if you will, may be a stated picture out of this, as well as it may be not. However, the main important thing is that it exists. It is always there for you to pick it up. We don't demand that you shall understand. Just respect its presence, and if you please, let it take you away to places you never may have been before. Most likely you've never been there, but if you have, our individual secrets have been touched. We would not mind, as we know you are for real, then...
Expressions. The original fire to give rise to any form of art, for this sake music. Something from inside as mate Svithjod freely puts it. Maybe confused is the inside, but how come not, how could anything purely stable result in art? And furthermore might this be why you yourself find it hard to put mortal words as to describe your musical and lyrical concepts? As I am to observe from the lyric of "The Divinity of Wisdom" off your prodigious work "HEart of the Ages",
"Seek within your own kind of depths,
and tell me the tales of your thousand lies.
Yet I have withered, but I've grown again,
and designed my own blackness to judge.
For as we all are aware of this suffering pain,
it drowns in this planet's mortality."
Yet again one common denominator - that being the logic by which we humans decide - to a thousand ways as to interpret the above, so if you do not mind leading us to the right track....
Personally when "I" create words and music, it is mostly not the "mortal Svithjod" which is the main character. I know that, as I have found myself into unknown states several times while painting moving emotions into "visions". Even though, at times, when I do know the origin of either words or music, I have never really enjoyed telling other beings on the outside about it/ them. It feels so private and obscure that I feel in many ways that no one else has got the opportunity to explain and put words to it. However, I'd like to share a hint about this lyrical piece with you, as I know it is some kind of a crossing of paths which we all explore at stages in our lives. If man do not know, he'd like to give others an indication that the opposite is actually the truth about himself. Thus rumours are created, and false words are being spread. Jealousy is the other aspect which comes naturally in here. This matter about others not knowing about me as a person, makes them feel in control to know "everything" about me from the way I look in clothing and the likes. Their ignorance tells me almost everyhting about them as fools entwined in "a thousand lies". They share no respect, they are "the hard crackers of society" and they "always follow their own instincts". Alone in bed at night, they are nothing but small, miserable clowns worrying about what tomorrow will bring.
From visionary feelings better embodied through private discussions to the music. IN THE WOODS... is performed with the for long customary electric instruments and effects so present in nowadays metal music, and that's a fact you could actually relate to even from which circles better receive your activities. Still for some reason or other, I tend to find your charm is derived from sounds maybe not so commonly used within the genre, so my next question here should obviously regard what works do you consider as a heavy inspiration for your share in IN THE WOODS...? And if you could tell, what about the other members?
In earlier days of rock history, innovation was the code-word for musicians seriously into their art. Copying others, many found themselves trampled under the foot of both the listeners and the journos in general. The case today, is strictly different. Today, you are allowed to say that "I don't mind if we sound like others as long as our music remains catchy". How can that be possible? It's only a question... music is being sold out by mass-media, and few care about music's dimensionable Karma. We must not forget who brought us the rock music of today. That is just like cursing mother earth for giving you birth. Blasphemy! In some way or another, I am as others, influenced by the music I do listen to occasionally over the stereo. Lately, as I did mention in the first opus of this round of word-sharing, I have found myself into deeper, unknown states concerning music and written matters. Personally, this "place" is where I think music has its origin, innovation and real form. Original music comes from the inside only. If it does not, I might be wrong, but I do think it's a coincidence then. However, I personally listen to a lot of 60's and 70's rock music and/or bands and persons influenced by the mentioned. Also a lot of 70's and 80's heavy metal and a lot of classical composers who inspired most of the latest mentioned. We must not forget doom, whether it's metal or not, and in general all music which I find widely listenable. That's the main point about it all. As for the other individuals involved, I do gather they have the same ideas more or less, unlimited by genres and limited by good quality music.
In addition to the above enquiry, I note not only through your dedication of a track on your debut CD but also by the inclusion of the article in your own edited zine "A 1000 Years of Lost Pride and Dignity", that you are heavily inspired by the native classical composer Edvard Grieg, and just for the record I thought about asking you to emphasize what you believe our readers should check out about this musician so dear to your heart. For simple curiosity, I also would like to know your opinion on SAVATAGE's "Prelude to Madness" covering Grieg's own "Hall of the Mountain King" for a progressive metal attack in the shape of the same title? Furthermore, what do you think of the everincreasing wave of classic inspirations in today's metal scene, especially the doom one?
It is known that Edvard Grieg started with music as a youngster, and as years passed, he wanted his musical education in the central part of Europe, where all the respected classical composers had "baked" the fundaments for their own musical cakes. After a few years down there, where he composed a lot of music alike to the "masters", he probably got tired of not doing too much by himself concerning innovation. What did he do? He came back to his original home, being Norway in the western part, started to make his long journeys through vast nature's landscapes, taking almost all his inspirations from both that and older folk tunes from Norwegian history. I think that says a lot about him as a composer. Using the surroundings in a way that he almost gave them life NOT by hurting them. That is probably why I do respect him so much as a composer. Concerning the SAVATAGE part, I'd like to open by saying that I have been into their works from the very first moments I picked them up under my wings, and they usually got better by time, even though I cannot relate to the period after Jon and Chris Oliva's departures. However, when a metal band at first were to take a version of Grieg at heart and metalize it a bit, it just had to be SAVATAGE who did it. Without doubts! The fact that a lot of metal bands even today take a lot of classical inspiration is really, for me, the best direction HM- music could head. As we know, the NWOBHM brought us a lot of classical influences, and most likely, the newer bands are more influenced by these bands than actual classical composers. Anyway, as a whole, it's only for the best in these "techno-times" that the actual origin of modern music is being exposed fairly well.
As regards your own zine, I get the idea it had been a one-off project. Nevertheless, by its abundance of proud references to the Norwegian folklore as much as the true metal music heritage, I feel it very worthed of its efforts. Are any copies left unsold, and what most counts, is a follow-up issue in consideration or was it released just once to serve as an ethical reply during times when the whole Norwegian metal scene was going above its own head, thus mocking most ignorantly the price in the heart of those who cared for what your ancestors stood for?
When at first starting up this fanzine, we were a three-piece. Everyone is eager to work before the actual work starts off, but later when it's storming, each has an excuse to depart. However, it was my aim to finish off in a respective manner, as I always finish off what I have once intensely started. So, it's the truth that it was almost a "one-man project". Originally, I had plans for further issues, but IN THE WOODS... seemed to loan more and more of my ability I had to call it a day. Few bands and people knew this, and they continued to send material after the first issue was released (and sold out in two months, 300 copies). I gave all income fair reviews which I planned to spread around to other mags. That was before I came up with the idea to release a newsletter. In case anyone is interested in the latest, it's available for one IRC. Non-profit, just supporting the bands, right! I would very much like to continue, but I cannot find myself available enough to do it all alone, so I assume that writing a few words for other mags would do the best for me at the moment. "We're not dead until our last breath sails out of our room, where final sleep awaits..."
Talking of Norway, what can you say of its beauty as a land. I suppose that due to the amount of citizens in proportion to the area of the country itself being not that much to discuss of overpopulation, I bet you are left with more time to appreciate your nature so much that I thought on asking how does each individual performer within IN THE WOODS... find himself living there.
A couple of nights ago, my best friend and I paddled in a canoe on a rather small lake, heading towards our "final rest" for the night. Sleeping in mid-nature with the sky as your only roof is an experience each and every one of us should take part in. Especially here in Norway, I assume. This friend of mine said when we woke up: "I am so happy being born in Norway, and being able to explore its beauty from the first day of birth". As you are living and breathing within Nature's harmony each and every day, you're somehow getting spoilt. When words like that come clear as a day, you are realizing how lucky you really are. Just like celebrating life... I think this says it all, as far as I'm concerned. For other performers within IN THE WOODS... it's a bit unclear for me to discuss which kind of relationship they have towards the wilderness up here, but I do know they are closer to a union right now than they ever were earlier.
On a more active side, how is the scene regarding communications for live shows and promotion for the band? With you moving for your military service quite soon, how might this effect IN THE WOODS... , also keeping in mind that MISANTHROPY may have interest in organising some mini-tour around Europe for you?
Concerning that military part, I already told you about the causes for my early departure from their ranks. So that won't happen. However, I do not see it as a major part to promote our works here in Norway. I'd rather pack my bags and concentrate on other parts of e.g. Scandinavia, Europe, Far East and the likes. Generally, people are rather narrow-minded up here, and thus I see no point in stressing the whole topic. On a more live-based activity, we did a concert at a festival around where we live just to gain some more live-experience. The response was good and I assume that at least 1500 people showed up. Later (possibly in late August) we'll probably play a festival in Berlin, and also probably a couple of smaller concerts at clubs. Concerning tours, we'll leave it be as there is no way one can keep the intensity high, night after night. Besides that, we have some disease problems within our ranks and that almost makes it impossible to tour over a period of time. I assume we'll just consider all serious offers which might come. We take one day at a time. Planning, just makes your life boring.
Pagan metal. As such you promote yourselves amidst loads of bands coming by in the form of penguins (just joking ok, oh you black metallians?) from your same land. So how do you see the difference between both styles not only regarding the beliefs you stand for but also as how the musical tunes are laid down together? In addition I get the impression you do not hang around with many of these musicians up there, but at least do you reckon there is some similar train of thought sometimes as you are writing music?
Maybe it would be better for a person outside of the band to define the differences between IN THE WOODS... and these mentioned "penguins". But from my point of view, I shall talk about our music, as I do not know which directions other bands take these days. I do see our expressions as an ocean of variety few other Norwegian bands take to heart and express. It's like, we have gathered so many opposites throughout the years that it reflects back to our composing and writing. Doing the same things over and over again, makes your music suffer as time passes, and possibly I see it hard to gain something from one's own compositions when you are just being a clone of your own shadow. As I do not know exact beliefs of other bands mentioned, I cannot comment upon that, but concerning our own beliefs, I can only give the listeners a hint on what's going on , through our lyrics. Yes, I do suppose that the way of our composing has an indication of these other bands, but as from I've seen from interviews with other bands, it seems we do have many similar sources of inspiration concerning the older death metal bands. This source of inspiration is still present in the IN THE WOODS... sound I guess, but as I mentioned earlier, we'd like to explore new shores all the time, and by that, no one will ever know for sure what to expect from one IN THE WOODS... composition to another.
Still on Norwegian themes, but back again to the lyrical contributions of IN THE WOODS... I get the impression that yours is a deep will to understand and revive your ancient heritage. How would you share such expressions. I quote what you said above here if you permit: " Most likely you've never been there, but if you have, our individual secrets have been touched." Is the "there" a seeming surreal place in nature, or is it more for real in the shape of some Pan-European educational brotherhood? Could you kindly approach the issue as to get the readers into understanding that bit more of the magick by which you write and perform?
"There" is, in a way, a place, but it's a place in mind and soul. A state of mind to be correct. You are right when saying that we have a strong will concerning the understanding of our roots, and without forcing its many matters, I personally want the whole thing to evolve naturally on the inside. Mythology is based on tales, but for me, they also tell a lot about the ideologies and philosophies the people had within back then, in older times. For me, it's important to trace one's roots since one very often can find elemental knowledge discovering our past. I do not consider any of these matters as magick in any way. For us, it's more a reality to gain from. Anyway, we're often being fooled by our ancestors' sense of humour, so we've got to be critical all of the time.
To come to a conclusion may I refer to the saying of "art is not a mirror, it is a hammer". How do you see that comment upon yourselves and other bands in today's scene of ever increasing competition, and furthermore what future do you see for IN THE WOODS... What is the market to receive sooner or later other than some T-shirts off MISANTHROPY?
I am not quite sure what you're trying to say with those words, or saying if you'd like, but I assume you're speaking of modern art not only as a revival of older art, but also a present strike from these times innovators? (More or less that quote talks of artists being those who are continually on a challenge to make society conform to their new sounds rather than to conforming to society's already established formulas.) If it's meant that way, I assume that you're correct in some ways concerning modern musical expressions, but for me, the earlier composers are kings! However, the whole thing depends upon nature's own fine balance, which means that the strong, which have all strong elemental aspects on their side, will always survive. Other happenings independent from that are more or less coincidences, the way I see it. In a few years' time, we'll see. IN THE WOODS... might be dead by that time, but personally, I'll always deal with composing in one way or another. If a force dies, talent does not necessarily have to die with it. Mankind's non-ability to live in peace and harmony often set the boundaries for further developments, but that's only a true fact anyway, and somehow, we've got to accept it. At present time, we are working on two further compositions. Different, but still IN THE WOODS... Most probably, these, and more to it, will appear through a second album. If nothing strange happens, MISANTHROPY RECORDS from the UK will handle that release as well. We shall see. One day at the time, right!
As to call it a day, please polish up the canvas of emotions discussed and hail!
I'm empty,. Totally. But do take it to heart as a compliment only! Never have I received a conversation like this interview! More a challenge than an actual 'view, I suppose. I'd like to ask the readers whether they got an impression out from these words, concerning IN THE WOODS... ? If so, I would suggest you to write us a few lines. It might get interesting.... Best wishes further on, and may you all remain critical to what is happening round you. Always. Yeah, always remain critical to the existence within and around you, and just as to check a dominant factor in present art, drop in a few lines to IN THE WOODS... , P. O. Box 7093, 4628 Kr. Sand, Norway
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