DieSeele



Hello, Corina!! It’s a pleasure for us having an interview with you! We always try to support and promote artists that we respect, so, here we are..Are you ready ?
Lovely, thanks for your interest in my music!

How did your music career start?
I have been singing and making music for a long time, but it was only recently that I decided to commit to music as a real career. I have been working all of my life and transitioning into becoming a full time musician was kind of a gradual process that just developed alongside my personal path. I am still working on it and you never know what happens, but what I know is that I love what I am doing now and it is both a humbling and beautiful experience to see other people loving it as well.

Corina, as we know you cooperate with many projects.Tell us some words about it.
My two main projects at the moment are BLACK EGG and VILE OBLIQUE. Musically they are related but the working process is very different. Black Egg is a truly collective endeavor with many people involved in all the different stages of production. Vile Oblique is only and absolutely me during the whole way of creation, it comes more from a cocoon kind of state of mind, from purity of within. I love both types of processes from the abundance of sharing and solitude. I have also been doing some vocal and writing work for two fantastic french musicians: Michaël Fristot's great project MELANOBOY just released its first album “From Dust” via Unknown Pleasure Records. The same label will release the album of the other project I have been writing and singing for, the wonderful NORMOTONE, whose second album “Hiraeth” will be out this summer. “Hiraeth” is an untranslatable welsh word that means something along the lines of longing, desire, nostalgia, and you can hear this vividly in all the tracks. The music is intense, deeply atmospheric and very emotional. It was wonderful to tune into and create around that energy. I really enjoyed working with both artists, as different as they are in their musical approach. Writing and singing for other people's bands and projects is something that is always a lot of fun for me, and something that gives me the opportunity to step away from myself and the all-embracing approach I usually have in music and focus in a completely different way.

Where do you find inspiration?
Explaining inspiration seems to be quite elusive to me, it comes from a hidden place, from a space of sacred abundance. It is unfolding when the channel is open and the experience can flow, being triggered from what the senses contact outside and also what is perceived within. So everything I see, hear and feel is potentially inspiring to me, I follow the growing pull of the experience wherever it leads me. Then the creating starts and is always effortless in this kind of beginning. The hard work comes soon, later, but the moments of inspiration and initiating are light, gentle and free-flowing.

How do you feel being the protagonist to most of your videoclips, especially to Ghost Actor? It was a way for you to express parts & ideas from yourself?
All the videos for my projects so far were very DIY, enlisting the help of artist friends and also learning things from scratch, so it kind of  just happened that I am in front of the camera in some of them. But yeah, it is a direct way of expressing things, even though it is not so personal. It is a bit like performing live, which is more of a transpersonal state to me, even though I might be up on that stage, it goes beyond that. So even though I have been the protagonist of some videos, it could be any other person, its not so personal, it is more of being the vessel for the grander ideas.

I was wondering which are the bands that inspired you the most and what do you prefer in music nowadays.
I have been and continue to get inspired by so many different musicians it is really impossible to name it all here. The deepest marks and cuts have been left by Great Women like Tori Amos and Diamanda Galas, whose strong spirits have touched me and put me in touch with my own forces. Also the rawness of energy emanating from artists like Nic Endo of Atari Teenage Riot continues to inspire me. These days in terms of listening to music, I tend to go through phases of intense exposure and raw deprivation. During the exposure days I soak up all kinds of sonic energies, throughout the last months I have been coming back to melodic, pop-songish kind of music like Florence & The Machine and more intense and aggressive pieces like Haus Arafna. It is a broad spectrum, and I love it this way.

What’s your opinion about the dark scene in Austria?
I always find it hard to answer questions like this, because I do not really find it easy to define the boundaries of scenes and what they entail or not. But let me put it like this. There are exciting things happening in Austria, even though it is getting harder and harder in terms of organizing events and concerts. I don't really know why it just seems to not work as well as it used to. So I would love to see some changes in visibility, I know a lot of people doing beautiful music and art here, and I wish there were more regular and successful possibilities for them to showcase their work and their projects. There certainly is an interest for darker things everywhere, so I would love to see that blossom again here on a larger scale.

How do you feel about the music promotion on internet? According to your opinion internet is a good or a bad ‘tool’ for the musician? 
The internet definitely is a good tool. Both for promotion and networking I find it to be a fantastic opportunity. It is a bit contradictory for me, because generally I feel most comfortable working with people I have met in person and looked them in the eye. So this disembodied communication feels alien to me on some level. But it just works so well! And it makes things so easy that would otherwise be terrifyingly complicated. So on this level of the simplicity of being able to connect to people who might be interested in what you are doing and to build creative relationships on a DIY level it is great. But I also wouldn't overestimate it, real personal connections are still very important and the best promotion is still word of mouth.

Which are your interests despite music?
I love so many different things from poetry, nature, to science and all kinds of magick. Right now with the joyous energy of spring glowing on the horizon I am very into body techniques, doing all kinds of things like lots of yoga, dancing and being outside as much as possible connecting with myself and nature on this level.

Tell us a few words about your future plans. Are you preparing any new release?
The next thing that is coming is the BLACK EGG album. “Melencolia” will be released by aufnahme + wiedergabe very soon! I am very proud of this album and excited to present and celebrate it with the live shows we are in the process of planning across Europe. Also the first VILE OBLIQUE release is scheduled to be out later this year and I am beyond happy about the way it has been going so far, so the future is shimmering beautifully and I cannot wait to share the joy of it!



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It was 1990, and I was 16 years old and discovering more strange and delightful sounds than I could ever have dreamt existed. Despite growing up in a small English village, I could just about tune into an intriguing radio show from France, if I tilted my stereo the right angle under my bedcovers (it was broadcast after I was supposed to be asleep...) Then a new boy dressed in black joined my small sixth form class, at last! someone with the same arcane tastes. An intensive exchange of C90 cassette tapes ensued, and in amongst the gothic rock and 4AD back catalogue was the holy grail - 'Dead Can Dance', the eponymous first album by a band that went onto encompass world, mediaeval, soundtrack, and neoclassical sounds to name but few in a seemingly unending quest for beauty.

From the first moment, this (still) sounds like nothing I have ever heard. A sound like a tidal wave fills your ears; then there is some kind of otherworldly howl before the music kicks in - drums/percussion, bass, guitar, and some kind of unidentifiable voice. Yes somehow not a single one of these standard elements sounds like anything that is familiar...the rhythm sounds almost off-kilter (although it is not), the wordless indescribable voices send a shiver up your spine, and there are no reference points. It is unusual to hear an album begin with an instrumental - and 'The Fatal Impact' is as foreboding as the name implies.

But there is no time to absorb this impression, as 'The Trial' begins immediately afterwards - a faster pace, another unusual yet mesmerising rhythm, another yearning wordless voice, but at last the familiar anchor of vocals and lyrics, albeit low and distant: 'All my senses rebel...' Brendan Perry's narrative (which due to the low vocal mixing, I am still partially deciphering 25 years later) is married with a claustrophobic and insistent bass-driven melody - and that is the key word here, because there is nothing in this album that is not melodic. Even the drums/percussion and the reverb transcend their traditional boundaries to add to this whirlpool of melody that makes repeated listenings of this album still a voyage of discovery. The lyrics appear to be inspired by the eponymous Kafka novel: 'Deliver me from these feverish eyes / That threaten to unbalance my state of mind / For I must confess only to the smallest of crimes / A sense of guilt...' The last line is repeated as a ghostly choir subtlely adds to the song's anxious climax, ominously hinting at the fate of the protagonist.

I hesitate to use the same adjectives, but if these two songs weren't otherwordly enough, 'Frontier' takes the word to a whole new level. We are introduced to Lisa Gerrard's haunting and mostly wordless vocals, weaving in and out of percussion sounds and rhythms that I've never heard before or since, with only a stark and haunting cello/vocal merging as accompaniment (at least that's what it sounds like; it is quite magical for me as a musician used to analysing each sound to still not be sure exactly what I am listening to...) We can eventually decipher some of Gerrard's words, but they bring us no relief from the building dread that the music climaxes towards: 'I stare at the bloodstains on the floor...' 

'Fortune' brings some relief from the intensity built so far, as we return to Perry's words and vocals - 'how easily we seem to forgive and forget...' But the intricacy of the percussive and melodic interplay makes this no less an intriguing prospect - and the refrain of 'fortune smiles upon our heads' is somehow not a superficial respite.

'Ocean' maintains some calm, or at least a more ethereal prospect, as Gerrard's submerged yet anxious vocals return with an almost uplifting guitar/bass counterpoint throughout. As with all the songs on this album but perhaps more apparent on this one, the instrumental elements themselves are so simple - but ingenious interweaving makes jewels of them all. 

'East of Eden' is also one of the gentler tracks on the album, at least musically. The instruments find an almost playful way to coil around each other, driven as ever by the inventive percussion - but lyrically, darker stories continue to unfurl: 'I was told this in a distant land where tortured souls have to fight together in anguish / And the scenes of the show are of a cruel and violent nature / Scenes of pain and cruelty are there to be seen / The arena, the town, the place was set / For all to watch and see'. It sometimes sounds like this is an allegory for a painful relationship - 'Scenes of pain and cruelty are there to be seen / All the while I should have known / It was you killing me.' But since learning of Perry's interest in Middle East affairs, now I hear this track in a new sad and prophetic light: 'Somewhere east of Eden / The designs will never change.' This was written in the late 70s/early 80s.

'Threshold' is the only track that sounds like anyone else, to my ears - the influence of Joy Division (which is also apparent on other tracks, although less obviously) is inescapable. But Gerrard's yearning vocals and the oceanic sounds swelling throughout the song make what initially seems a post-punk workout so much more complex - to the extent that it haunts you, and you have to go back and work out why - again and again...

To my ears, everything that has gone before builds up to 'A Passage in Time' - my favourite track to this day. Perry seems to be evoking some kind of Odyssean quest: 'Until we return, paradise interred / Spread your golden wings, let the sails unfurl'. Another allegorical adventure, soundtracked by musicians transcending boundaries with their instruments once again - but the almost ecstatic sense of optimism is ripped away halfway through the song as reality kicks in, musically and lyrically: 'Opportunity's doors did not open wide / The answers remain locked away inside'. But time and faith prevail, and again the revelation unfurls in an exquisite marriage of music and words, but not one without warning: 'In truth we had found the key / But its application would unravel this mystery.' 

'Wild in the Woods' with its whimsical waltz is like a musical balm on the soul, and lyrically less mystical - although typically of Perry, certainly not about to compromise reality: 'Wild in the woods of love / We harm those whom we adore / And contrary to all good intentions / We suffocate them in an alarming embrace.' Who does not recognise themselves in this harsh assessment of the nature of need? But musically, this is one of the most expansive and languid tracks on the album - a resignation rather than a judgement, with a message of hope: 'All is hidden in hidden meanings / All can be learned from within / We're all brothers and sisters in spirit.' The hammer dulcimer which subtlely comes to the fore at the end of this track is the only instrument in the swooningly haunting closer, 'Musica Eternal', as Gerrard brings down the curtain, simply and beautifully.

The quality of the cassette recording I first heard was dreadful, possibly a 4th or 5th generation copy, completely speeded up - but even that couldn't disguise how incredible these songs were. I was also reading the 'Gormenghast' trilogy for the first time which became my favourite book, and discovering the two together ranks without doubt as one of the most exquisite and formative experiences of my life.

This is a very detailed way to expand upon an influence, but it is truly the only way to honour an album that has remained a treasure throughout my life - somehow (and unlike any other), free of nostalgia. It is of its time, but still sounds unique and timeless. It has indirectly influenced much of what I have done musically throughout the years - whether as a drummer, bassist, guitarist, keyboardist, composer, producer, or lyricist - and if I am capable of creating anything a fraction as evocative and meaningful as any of these tracks, I will consider my life a success!

~ Caroline Jago, Seventh Harmonic / Shadow Biosphere / Sol Invictus
http://soundcloud.com/caroline-jago
http://seventh-harmonic.com/
http://shadowbiosphere.bandcamp.com/



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Some years ago I stood beside Thomas Lüdke of the 1980ies Electro band "The Invincible Spirit" in the backstage area of a festival near Berlin, when he talked to an elderly looking guy with a bald patch. This guy, who appeared suspiciously like a bank clerk during leisure time, told him with an enthused face that he grew up with his music - and I was really amused to see how Thomas' smile started to freeze. Yes, time is inexorably. Three or four years later it was my smile that froze. After our show in Rome a young woman told me that she prefers to listen to that old music from the 1990ies - just like ours. And then she asked me what my initial spark was to make such kind of music - in those old days. Which was a really good question.
When my school buddy Kai Kampmann and I started our first project (named T:H:E) in 1985, New Wave was already absorbed by the public - but its darker side was still peculiar for "normal" people. Since the Darkwave scene was pretty small in our hometown, everybody was welcome to join the club. Unlike today there did not exist any rules how you have to be or how you have to act. No dresscode, just creativity. We saw ourselves as a group of individuals, united by a common perception - and by the confusion of our enviroment. Our teachers sneered at our weird haircuts, our classmates regarded wearing black clothes even in summer as totally stupid and my parents were a bit concerned about the fact that I used kohl. And that I ran around in a black pyjama for quite a while (according to that line in the Adam & The Ants' song "Prince Charming": 'ridicule is nothing to be scared of'), did not make it easier for them. We thought we were real underground and enjoyed being different. And with exactly that attitude we created quite simple tunes with melancholic lyrics, inspired by bands like The Cure or Joy Division, based on a borrowed drum machine, a guitar, a bass and a cheap monophonic synth. We did not know anything about songwriting nor did we care about it. We did not take it seriously, it was just fun with sad faces. One day we saw an advert of a recording studio called Andromeda, which offered a whole recording day for just 200 Deutschmarks. So we took some friends with us and entered that cellar studio one sunny morning to record our first demo songs. Which seemed to be a bad idea at first. Those two rock musicians, who ran that studio, could not do anything with our music. In their eyes we were just some bumbling school boys with childish ideas - and of course they were right. They grumbled that our songs would be too monotonous, too whistful and without any catchy hooks. They told us what we should do to get a proper tune and it was not very easy to defend our loose conception against permanent interferences when they were justified by the reference to a long-standing experience. But strangely enough: the more we had to argue, the more we got convienced about the way we wanted to have it. And in the end they gave in and just recorded - grudgingly - what we were doing. Of course the songs sounded really poor, but they were our songs. And I think that was the point when I knew that this kind of music was more to me than just a fashion or a juvenile quirk. Who cares about perfection and exterior expectations when you find your own emotions in something you create? And when I went home after the recordings I stood at a bus stop and a woman pointed at me and said to her 8 or 9 years old son that he would end up like me if he would not make more efforts in school. Yes, that was a great day...




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The music was working and always acts as a reflection, a mirror of internal feelings. As a child I remember the change of seasons from winter to summer .. The different scents in the air and colors created in the heart small melodies . Accompanying my dreams ..
 In music as in any form of art there is no definition.All are life experiences together, heavy losses, moments of loneliness, deadlock interactions .. The effort to understand yourself.
 There are numerous opportunities to activate the process of survival and of expression. Music is like a silk bedsheet you're paving to rest .. There isn't any sorting of the most beautiful elements of the world, but an automatic effort to transform all into something wonderful.
 The first contact with this pervasive power occurred in my childhood, watching the Symphony Orchestra of Prague, performing the work of the great Bedřich Smetana: Má Vlast (Vltava). A swinging sensation in the heart and with small butterflies in the stomach, this managed to cause a sharp chill in my body. Not knowing the feeling of ecstasy then, I had the impression that I got sick. It was one of those illnesses that persecute you until the end. Like a microbe, a companion following you throughout your life.
 The years have passed and the melodies took a form, capable of activating perpetual magical power in the soul , a "machine" that automatically replenishes what it exhausts. Like Lisa Gerrard who strikes a bargain with angels. Like Beth Gibbons, through her you manage to perceive what love is. All converges so as to force the "random" to articulate a truth as old as the nature and leads to a sense which doesn't get old ..  but despite allows a person to remain refined..
 Whether surrounds you the song of a lantern, or the voice of a storm, the breath of the sunset or the moan of the sea, there always awakes behind you a broad melody, woven with a thousand voices, and within it, there somewhere, space for your own solos. To recognize the moment when it's your turn to sing, is a secret of your own solitude, this is the art of true feelings ..
 It is a spiritual language that applies to metaphysical concepts, revealing through these the harmonic laws..

 Kriistal Ann

Links:
https://www.facebook.com/kriistalann


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 A great band, with a weird, unusual history. Frederic and Alain, the founders of L'Ordre d'Heloise, played together, since 1992 without being known outside their hometown scene and friends. Unfortunately Frédéric got hill in 2012, and this pushed those two lifelong friends and  musicians to write an album trying to describe that tragedy....The feelings, hopelessness, the real life darkness.
Something that most of us have experienced at least once during our lifetime, and maybe one of the things that make this album touch inside, straight untill our heart, our soul.
Sadly Frédéric passed away in the first months of 2014, and this pushed Alain to create a website and to try to spread their music through the social and musical network, to make their music known, in the attempt to keep alive his friend's memory, and to make him get a phostumous aknowledgment of his talent...
So they started to arrive the first radio broadcasting, and we can proudly say that Die Seele has been the first radio in the world to air one of their tracks, followed in a row of months by plenty radios around the globe.
They also got some very good rewiews of this album, composed by 14 tracks/soundtracks of a journey trough inner feelings, emotions, fears played and described with a cold beauty. The music is heavily rooted in the '80, and at the same time quite personal: they don't “sound like”m but have their own style, like the greats.
The album is opened by Amelia, an instrumental track, with the bassline pulsing like an heartbeat, and the guitars painting the struggling of the feelings dwelling inside.
Receuil de nuit is a more atmospheric track, where we can hear the voice of Frédéric, that sings on subtle unsettling sounds, a song that talk about fears, nightmares that come so close in the nightime, that is the subject of the lyric.
“Dernier espoir” is another instrumental, in with the guitar trying to describe the ups and downs of emotions.
“Le chaos de l'Histoire” is one of the most touching and at the same time dramatic tracks of the album: the description of the impeding tragedy, the resignation, and the despair of the awareness of an unchangeable future, with the bassline that rythms the anguish, and the voice of Alain, that ends saying “It remains nothing” in the silence, as to represent the moment in which even words are useless. The despair and the strenght to look at reality straight in the eyes, maybe the attempt to exorcising what would have happened, to get the strenght to survive to this.
“Meme le noir s'est assombì” is cold, like the northern industrial outskirts, dark like the grey of streets that look all the same, swallowed by the fog, and by the pollution, that claim the price of industrial civilization stealing the soul, and sometimes the life to mankind.
La Horde”, inspired by a romance by A. Damasio, has the blinding light of ice, the cutting cold of polar winds, a freezing grip to which it's possible to survive only getting close to the others, even if it gets harder day after day.
“LODC”  is one of the most touching tracks, with a frozen atmposhere and a warm voice, that keep a sweet shade even in despair, even on the cold sound of the synths, stretching on the track, like the ice age described by the lyrics, one song so touching to be maybe able to melt also the ice that describes, because if there is still people able to keep this warmth in the heart even in front of the coldest moment of life,  maybe not all is lost.
“Le verset noir” is a slow, dramatic is a dramatic, slow song, like the tears dropping on the face in front of an unescapable disaster, with the voice of Frederic, shining sweetly despaired, like the lyrics, a track that has the same, deep painful strenght of Passover by Joy Division, the same description of the last journey, of the last landscapes in front of dying eyes.
“Le Froid” is a tearing track, it sounds like the description of Frèdèric's life and feelings in his last months, his desires, his pain, and it's so straight and intense that you can really imagine, live it for a moment listening to it.
“Extinction des cieux” has a nervous rhytm,  ha un ritmo nervoso, and describes Héloïse the imaginary character of the band's name (about which you will soon know more in our Dusk Memories columns), an imaginary female Godess, that can be compared to Karont, and that is going to perform her task; lead the souls on the other side, where the sky ends....
“Le vertige” has a sound that really suceeds to evoke the whirl suggested by the title, a spyral leading to the abyss, to the other side...... there is no rage in those notes, not even sadness, just astonishment and resignation.
“L'Enfer me ment” has a beautiful, touching lyric, posing questions about existence, it sense, the questioning about what will happen after we pass away....and the music is like the sountrack of this questioning: cold, slow, reflexive, sounds describing the detachment, the ultimate indifference in front of the awareness that everything is ephemeral and vain.
“Si le vert dicte tombe”, has the beauty of sadness, the magic of catharsis: green are the eyes of Heloise, so this is the green that orders to go to the grave, to leave for a last journey, like many others did and will.... It's an attempt to describe the feelings, the helplessness in front of the fate, the fear of the unknown, the chilling cruel look of death..
“Croire en la nuit”  the track that closes the album is another instrumental, with the synthetizer that attempt to reply the sound of  the life monitoring instruments, sloving, fading at the end, like Frèdèric's life, like this chapter of the history.
One year is passed by, Jerome, a new meber has now joined Alain in the line up, and I want to wish him that the laws of Entrophy works out soon, that a new order rises from the chaos.....
Beside the website and the bandcamp, they have a facebook page, where they are publishing, with an impressive frequence new tracks, that I hope could soon be collected in a cd, in the meanwhile I warmly invite you to go to follow the links to make a visit, listen to new tracks, and, why not, leave a feedback: after too many years of silence, of work in the shadow, the spotlight can be warm, rewarding, encouraging, this strange beginning with deep, old roots.



https://www.facebook.com/lordredheloise
http://lordredheloise.free.fr/
https://lordredheloise.bandcamp.com/
https://soundcloud.com/lordre-dh-lo-se
http://www.mupiz.com/lodh59

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                                                                                                                                Photo: Cecilia Bjärgö

Annmari Thim is the person who is behind the ethereal project ‘ANGELIC FOE’ and is also well-known from the collaboration with Arcana.Let’s meet Annmari and her beautiful music.

How did you choose the name of your project?
Originally I intended to call the project “A Touch of Lilith” and as I worked with the first demo for the debut album “Oppressed by the Heavens” one of the tracks actually carried the name “Angelic Foes”. After a while I realized how much I liked the sound of the latter and decided to change the project name as well as the song name. “Angelic Foe” represents a threat disguised with loveliness, just as many female demons and mythic creatures; but it could also just as well mean angel of death or angel of penance. 

Tell us about the driving force that leads you to create your personal project "Angelic Foe"
The driving force to create material under the umbrella of “Angelic Foe” is sprung out from inspiration as well as provocation. I have always been fascinated by folklore, sagas and mystique as well as different belief systems. Furthermore, I find it agitating how evil forces in many of these worlds often are represented by beautiful and/or terrifying female creatures. And on top of this I was once actually accused of being a “succubus” myself and that provoked me enough to write about it and to form this project.

Tell us about your collaboration with Arcana and other projects.
My main focus is at present on Angelic Foe and the project has become most precious to me but I do collaborate with other bands and musicians as well, however on a more sporadic level. There are a couple of larger projects in pipeline but I am as of yet not obliged to talk about them as they still are taking form. As for my involvement in Arcana I would say that it is right now on hold, since Peter Bjärgö last year decided to dissolve the lineup back then and return to his origins. Nothing is, however, carved in stone and we will see what the future brings for both of us! My 13 years in Arcana has been a time, which I truly treasure. I still collaborate with Peter for Angelic Foe though, and we even share the same studio space.

What is the mission of your music?
The purpose of my music is first and foremost creative relief! But I also wish to create another world for listeners to lose themselves in for a while. I want to project elements in holy scripts, mysticism and historic events with music and words; I see it as melodic story telling.

Can you tell a bit about your songwriting and recording process? How do you come up with the ideas for the songs?
The song writing process has changed over time but what remains the same from the beginning and until now is that I always start by writing the lyrics. I composed the songs for the first album together with guitarist Cristian Ellingsen and we did it from scratch. After that they were developed further by drummer Mattias Borgh and producer John Tyrell, who made the sound complete. For the second album, which I just finished, I recorded the foundation for most songs alone in my studio only with a drum rhythm as support. In this way I created rough drafts of the songs with the vocal melodies and harmonies for the different parts that I thought the songs should consist of.  After that I brought the ideas to musician Samuel Lidström and we composed and produced the music together digitally. The album is now in the hands of Peter Bjärgö for mixing and mastering and I hope to release it during the year. 

Can you describe the atmosphere you want to create with your songs?
The soundscape has altered; the first album was mainly acoustic and quite sparse whereas the second album has a rich and dramatic orchestral sound and in the next production, which I am currently working with I am flirting with dimmer and more industrial elements. But generally I want the atmosphere to be dark and epic.

Which areas do the lyrics of your songs refer to?
My lyrics center mostly on creatures and tales from ancient religious texts. They also treat historic events such as the witch prosecution in Europe, etc. and some of it are simply recitations of spells, old or new.

Sweden is full of myths and a lot of artists are interested in fantasy worlds and especially in forces of nature, magic, paganism and mythology. Are you interested in them too?
Forces of nature, magic, paganism and mythology are all elements in the music of Angelic Foe. The Nordic heritage reflects just that and therefore it comes naturally for me as source of inspiration.

Which are some of the bands or musical styles that have had an influence on your music?
The different music styles that have influenced Angelic Foe in one way or the other are quite a few: classic orchestral music, epic film music, symphonic metal, death metal, dark ambient music, industrial music, ethnic folk music, pagan rock and even some electronic pop.

What kind of feedback have you received about your music and what would you say people think of ethereal music in general?
The first album got pretty good reviews as far as I know and I have received very positive feedback from those listeners, who have approached me with their thoughts. I hope that the listeners will enjoy the upcoming album as well, even though it is more neoclassic than the previous one. I am sure that there are people who dislike my music too but I guess that goes for most bands. I think that the ethereal music scene today has grown, both when it comes to number of bands performing and when it comes to the audience listening. The reasons for it could be many; easy access to music online, availability of fantastic orchestral sounds to use for digital programming, or maybe the scene has simply become more approachable due to all the fantasy oriented video games, TV series and films that are increasing in popularity.  

Which are your non-musical interests?
When I am not working with music or writing lyrics I enjoy visiting old ruins and ancient sacred places, spending time in the nature, hanging out with family and friends, watching films, reading books (both for pleasure and inspiration for lyric writing) and playing video games. And I also like other obvious things such as delicious foods and wines.

What about your future plans?
As mentioned earlier I aim to release the new album ”Mother of Abominations” later this year on a label. I am also currently recording an EP together with Peter Bjärgö with a slightly darker and less melodic touch. More information on both these releases will follow. Lastly, I have already started writing new material for yet another full-length album but I am in no hurry to finish it and I have not made my mind up yet when it comes to what kind of soundscape it should carry. No rest for the wicked!
                                                                                                                             Photo: Cecilia Bjärgö


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There , it's finished ... It's about to start ... Higher ... More intense ... More accelerated ... Painful ...
It's decided ... The Holy Virgin's breast in the mouth ... to feel nothing , ever ...

Not to be touched ... Not to feel ...
Higher ... More intense ... More accelerated ... I may heal ... I'm hearing the voice-heads ...
Let it start again ... The reel-time clustered to shreads covering the ape of a next time ...
I'm moving backwards longing to fly in the rubick's room disorder , no witness , no shape ,
the blinded assistance eating remains of former years of vitriol ...
Higher ... More intense ... More accelerated ...
Sound and sand lungs in the mouth singing sirens' call ... We are unsurmontable ...
The public dance ... My body will be with me ... Spited a bit ... The brain still leaks ...
The choreography of chaos ... The tramways hung to the hat-stand ...
To get oneself operated from life ... Higher ... More intense ... More accelerated ...
The hole has come back ... The dream is worth it ... A last let oneself slip ...
Movement ... Be fast ... There they are ... The look has broken ... Without emotions ...
The silence faster and faster ... Higher ... More intense ... More accelerated ... The raw head ...
Like raping oneself ... Again the brain leaking ... A few more drops to be sure ...
Notes like fixed gestures ... The blows ... Cutting carton faces ... Skimming the breath ...
The abcess of living ... Sung ... Vomiting the emptiness ... The shot off and on ...
It's urgent ... Disgust is warm and empty ... Music tricks ... Building castles of sound ...
Again the emptiness ... A kind of boning ... Half a head ... I've spitted a bit of myself ... Close to them ...
My gestures have been useless ... Fast , fast , higher ... More intense ... More accelerated ...
Life is solid , it's cutting ...
We run away through the immobile looks .




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