Swedish black metal legends Lord Belial are going to release a new album called "Rapture" on May 27th via Hammerheart Records which is going to be a killer album I believe. I asked the band if they were interested in answering some questions and guitarist Niclas Pepa Green was kind to answer them very quickly and detailed via email. Thanks for that again! Enjoy reading the interview and check out "Rapture" as soon as it is available. You won't regret it!

Michael

Hey Pepa, how are you doing? I hope you all got well through the pandemic and shit around that?

Hi, Michael! Yes, everything is ok! I went traveling during the pandemic, I was in Naples, Italy, Amsterdam, and Frankfurt, on different occasions. Frankfurt had by far the worst restrictions! Armed guards at the mall, guards at restaurants, paperwork to sign before having a meal, etc. In Sweden, there was not much of a difference - a face mask was not mandatory, and you could go to restaurants and the mall without any problem, however, all competitions and such were canceled.

You had an on/off status with Lord Belial the last couple of years, majorly because of health issues Micke had. Since 2020 you are active again – is all fine with him again?

Micke's health issues were never physical, he just had bad tinnitus. He is in very good shape! He exercises a lot and keeps up with the drumming all the time now. (I was amazed when we recorded the Vassago-album in 2020 because he said he had barely played anything for five years. Yet it turned out excellent.) By now, we all have tinnitus - but we have learned to live with it. We have pretty advanced equipment in the rehearsal room nowadays, we don't play as loud as we used to because we have a monitor system in which you can choose what you need/want to hear more/less of - it is like being in the studio more or less! In the old days, we just turned up the volume more and more on the guitars in particular, so in the end, it was a very chaotic sound (which has its charm of course) with feedback noise from every speaker. It was cool but it hurt like hell after every rehearsal.

You are currently on the Dutch label Hammerheart Records. How did this happen?

The contract with Regain was filled and we were free to search for a new partner. We asked around and we were pleased with the offer from Hammerheart. The cooperation is progressing as we wanted from the start, thus we are pleased with our decision to join Hammerheart.

In May you are going to release a new album called "Rapture". I was pretty surprised to read this news. When did you come to this decision and why? I mean the last album was released in 2008 and a lot of things have changed.

After the recording of Vassago, we (Lord Belial) said that we should just jam for a bit and see what came out of it. Three weeks later, we had all purchased a lot of equipment and we went for it 100%! Suddenly, we were feeling very creative and were filled with fresh ideas, because Lord Belial has its own sound and that part had been missing from the other projects/bands. We felt at home again, we labeled ourselves "The Unholy Trinity" of Lord Belial.

How was the feeling of being in the studio again, writing new songs? Did you have some problems writing new stuff or did you have some trouble getting into it after such a long time?

It became the best studio session ever! We were quite focused and worked really fast. Afterwards, we were exhausted, but we all said that it was the best session ever.

What can you tell me about "Rapture" in general?

We really dug deep into ourselves when we discussed the title. We were in the studio at the time and discussed different titles. The concept of Rapture in its essence for us is that Belial is exalted, the beast is unleashed in its purest form. Then, there is also the concept from the bible, about Paul, in which he uses the Greek word harpazo, meaning "to snatch away" or "to seize," a concept where believers in Jesus Christ would be snatched away from earth into the air. It is an end-of-all-time thing for Christians and Christianity. There are a number of people that have looked into the concept through history; e.g. Edward Irving's idea about the snatching of Christians being followed by the rise of the Antichrist. The concept of the album reflects the idea behind the concept of the rapture, and also, the cover art; it reflects the concept in a phenomenal way.

I had the chance to listen to it in advance and I have to say that it is a typical Lord Belial album with the fast-melodic black metal you used to play in the past. What would you say makes the album more different to its predecessors if there is such a thing?

The album is in many ways a salutation to Belial, for instance in 'Rapture Of Belial': "Northern prince of evil, unleash your power onto this withering earth of human filth, Trample its burning soil"

Also, the song titles spell out Lord Belial:
1. L(egion)
2. O(n a Throne of Souls)
3. R(apture of Belial)
4. D(estruction)
5. B(elie All Gods)
6. E(vil Incarnate)
7. L(ux Luciferi)
8. I(nfinite Darkness and Death)
9. A(lpha and Omega)
10. L(amentations)

We have made a salutation to Belial, and the lyrics and the music reflect and represent our way. There is a common concept of rapture in its true meaning on the album; to make way for the antichrist and it is communicated not only in the lyrics but also in the music. "They shall cover the world in flames, The higher the flames, the greater the shadows" (from 'On A Throne Of Souls') "Lust and power for absolute annihilation, Winds of obliteration, fire, and death, Storms of destruction reaping all mortal souls" (from 'Destruction'). The frustration of being caught in the age and in the system/social function we all have to be caught up in is also reflected upon and is also from that same theme of rapture "Possessed by a thousand burning souls, Bound in human flesh, torment, and confusion, Centuries spent in chains" (from 'Legion'), etc. I think this album is a fresh restart for Lord Belial. Sure, we have been around for 30 years and we have seen many bands come and go. It is very flattering that other black metal bands make cover versions of our songs these days! We get a lot of feedback from people that ask about how certain riffs are played, they want to show us their own riffs and we communicate a lot with the fans via email, messenger, Facebook, Instagram.

One of my all-time favorite bands is Bathory, which holds an "unreachable place at the top" in Sweden. Then, underneath Bathory, there is nothing, and then nothing again, and then there are some 20 bands, and Lord Belial is quite high ranked in that league. Maybe you can tell a little bit more detailed about the different songs? What about a song-by-song walkthrough?

'Legion' - This song is about the frustration of being shackled in chains, be they mental or physical, still the same feeling. To not be able to do what you want because someone else says so - be it a dogma of religion or politics. It is about Legion from history as well, when a demon who is possessed by a multitude of demons is given the collective name of "Legion". It is a very fast and aggressive song, it is quite intense as well, you will probably feel that you need to breathe after it because you have held your breath while listening to it(!). Some short intense guitar leads drive the song forward, and then in the end it goes faster and faster, ending with a break and some feedback from a guitar and then the rhythm guitars + bass drums in unison, the end.

'On A Throne Of Souls' - It is about the destruction of the world as we know it, "Kill The King" (Rainbow) sort of theme - join the dark side, plunge yourself into the everlasting fire, join the hordes of darkness against the light. This song has a chorus that appears twice, the first time with the chorus riff and Thomas' vocals, the second time with a Pepa-choir and Micke's screams. There is a mid-part where a second chorus is played that goes "They shall cover the world in flames, The higher the flames, the greater the shadows, They shall bring me the heads of fallen kings, The higher the flames, the greater the shadows" where all three of us scream in the background, we call it "the choir of mental illness"!

'Rapture Of Belial' - A hymn to Belial, finally the time for the antichrist to be unleashed, the entity is in ecstasy about it "Ecstasy and morbid lust, feel the Rapture of Belial". The song begins with drums of doom and heavy slow-paced guitars that then continue to rise in intensity, along with double bass drums, and then it intensifies further with a harmony lead and blast beats + a disharmonic solo + even more drums of doom, then the drums and rhythm guitars follow tightly, moving into a death-metal sort of riff with darker vocals and then some twisted disharmonic chords, moving into a tempo-slow-down, and then back to the blast beats.

'Destruction' - This is a more old-school black metal song. The drums follow the guitars, it is a rather fast and aggressive song, but not blast-beat-fast. There is a chorus that goes "Life is torment, Death is liberation, Destruction is all" this song was originally more than 7 minutes long! We shortened it in the mix to 3:48. It ends with a chaos solo.

'Belie All Gods' - A clean guitar plays the harmony, backed by massive rhythm guitars and heavy-paced drums, a Georgian choir sings in the background. This is the most "progressive" song on the album, the chorus has some clean singing by Pepa and Micke in the background on the second and third time "The unholy trinity, slayer of gods, Faceless, fearless, dark shapes of perdition, Dressed in cloaks of burnt angel wings, We come to cleanse the earth". Towards the end, there is a break and a new riff appears with a harmonic lead. The song ends with Micke exhorting us to "Belie all gods".

'Evil Incarnate' - "In the deep murky chasm only darkness dwells" If you don't bang your head to this one, you need more beer. This is pure black metal, mid-paced yet forward-going. Towards the end, there is a slower part with an extinguished solo, then back to the chorus, and out.

'Lux Luciferi' - Explodes with energy and Thomas' fantastic voice tells us about a salutation to Lucifer - the fallen angel of enlightenment. This is a very dynamic song, one minute in - there is the chorus. Super heavy, with Thomas' scorching vocals "Let shine thine luminous light from within the realm of the dead, The radiant light of the son of the dawn, Hail to, the fallen one, hail to the flame, The radiant light of the son of the dawn" backed by Pepa and Micke on "Hail to the Flame". Background choirs and piano. Then the song explodes forward again, followed by a super-heavy riff that will put your speakers to the test. Then, a second chorus "Tu verus mundi lucifer". The song ends with heavy drums, a harmonic lead, massive guitars, Thomas vocals, choirs in the background, this is a really massive song.

'Infinite Darkness And Death' - This song begins with clean guitars followed by massive rhythm guitars and heavy drums, soon it explodes into blast beats, quickly followed by the chorus "The one we call our dark lord drains your temple of breath, Legions of war burning those of the light" that makes your hair stand up on your arms. It is followed by a speech by Thomas, exhorting us to crush all and kill all. The song ends with massive rhythm guitars, topped by clean guitars, and blast beats!

'Alpha And Omega' - This is a sort of reversed salutation to the most common religions of our time, "I deny your beliefs
I deny your gods and prophets" It explodes with double bass drums, massive rhythm guitars, topped by a clean guitar, into a really cool downward going marking, into a pre-chorus with mid-tempo drums, and then by the markings with the clean guitars, Mr. Andy La Roque makes a guest appearance. In the end, we talked about fading it, but we just cut it and it became really cool.

'Lamentations' - This song begins with strings and clean guitar, then comes the rhythm guitars and drums, as it continues more and more guitars are added. It is a very beautiful song, with lots of emotions, a perfect way to end the album. In the middle, Thomas says "I called upon thy name, O Dark Lord, out of the lowest of dungeons, Thou have heard my voice; hide not thine ears at my breathing, my lamentations". Then, as it goes on, there is a Georgian choir and then a beautiful solo.

You all are all 50+ years old now (except Thomas who is a little bit younger). Do you think that people still take it seriously when you are singing about demons and the Devil? I guess you all have families and stuff like that, haha!!!

We are always reading more and more, and we research everything thoroughly, the theme of Rapture is eschatology, and the subject is esoterism.

What do you think has changed in the black metal scene the last 20 years? I guess there are a lot of things. And would you say that the scene has changed in a more positive or negative way?

We grew up in the pre-internet era, it was totally different - we had to write letters via the underground movement, and we met other metalheads at parties before a show, during a show, and after a show. We had to listen to taped vinyl or the actual vinyl itself and then word of mouth spread via underground magazines. Today, it is spread globally with access to anyone, instantly. In that aspect, Black Metal has lost a lot of the mystique surrounding the genre in the early years. Like, going to East Germany to play before the wall fell. Quite the adventure compared to clicking on a Spotify-link!

Do you already have plans for touring or play at least some gigs or festivals?

We are talking about doing maybe some festival gigs, but nothing is yet settled.

What albums did you purchase lately, and which are your all-time faves?

I am mending the holes in my vinyl collection, last I bought Bathory "The Return" for the fifth time in my life.

My last question is one I have had in mind since I bought your first album "Kiss The Goat" in 1995. Why the hell did you choose this pink color for the cover? This wasn't too evil at all (at least for me being a teenager back then), haha!!

I know, it was supposed to be blood red, apparently, that is a tricky color to print!

"Old Men In New Cars" (maybe you know that very cool Danish movie) might be a good title for In Aphelion (of course they are not as funny as the movie though). It is a new band which just released a demo (find review here) and will release an EP called "Luciferian Age" in November (find review here). Nevertheless, we don't have any newcomers in this band but two members from Swedish death metal legend Necrophobic (namely Sebastian Ramstedt (voc, git, bass) and Johan Bergebäck (git) and Cryptosis drummer Marco Prij. I talked with main man Sebastian Ramstedt via Skype about the reasons for creating this band, the upcoming releases and plans. Enjoy the interview and check the releases. Thanks again for taking time for doing this Sebastian!

Michael

Hi Sebastian, how you're doing?

I'm fine, thanks!

You've started a new band named In Aphelion. How did it come to this?

It was during the pandemic, and we were discussing to launch "Dawn Of The Damned", the latest Necrophobic album. We had some kind of internal struggle about some issues, and I am not the founder of Necrophobic and so, if the band goes away, I will not have the band name and I've been the main writer and I was thinking that it is time for me to start something that nobody can ever take away from me. Something I have the power over, and I had a lot of ideas that was out of the Necrophobic box. Different tempos, different harmonies and a different approach to the music that I want to try out and I felt now when we have at least a year of restrictions I will have the time to actually do something over this. First, I just wrote songs that were not supposed to be put out on record at all because I normally write music for myself. I have demos of over 100 songs lying around but then I felt that something happened. I got some kind of serious atmosphere. I mean Necrophobic is also serious but it's also a bit cliché at times, metal for the sake of metal. I believed in "In Aphelion" in another way. I didn't have the restrictions of the other band members, it was straight from my heart. There was nothing holding back and when the songs started to form, there were no stops and it ended up with almost 70 minutes of music. So, I felt that I have to release this in some way. This cannot be only for my own sake. I wanted to try it and see what people would think. But I think the main reason was that I realized that Necrophobic is not my name, not entirely my music because I write the songs that they shall fit in but it's not 100% as I want it. I wanted to try what this would be.

What do the other members from Necrophobic think of this project? Are they afraid you may leave the band?

They are supportive in the way that they like the posts I do but it is also like a silent agreement that we do not speak about In Aphelion (laughs). At one time Joakim (Sterner; M.) said that he supports the band but that it doesn't really feel good in the guts. Of course, when people you're working with do something else and maybe you see that it has the power to be successful this may be a kind of a threat. It's like your best friend has a new best friend – it doesn't feel that good (laughs). I think there might be some kind of conflict in this, but I don't think it will ever be an open conflict. I think they will keep it to themselves what they think.

What do you think makes the difference between Necrophobic and In Aphelion? You are quite influential in the songwriting process in both bands.

The death metal elements from Necrophobic are not from me. These elements were how David Parland, the founder of the band, wrote his music and I kinda borrow the death metal feeling from him but I am not a death metal guy. Maybe since 1991 I haven't listened to death metal at all. I like thrash, speed, heavy metal and I like some black metal but rarely death metal. I mean except for Morbid Angel, early Autopsy, Possessed and Death, it's not really my genre. It's kind of senseless aggression, it's like a gore movie with just only the gore scenes put together while black metal has the atmosphere and the thought behind the gore. Death metal is just up in the front, it's like a porno movie without any sense (laughs). With this I wanted to take all my heavy metal influences and create black metal in the way I would like to hear it. It would say it's similar to Necrophobic in some kind but it lacks the death metal elements.

You're going to release an EP called "Luciferian Age" in November via Edged Circle Productions. Can you tell a little bit more about it?

The actual reason I wanted to release an EP before the LP is because that is how it was in the 80s. The first release always was a maxi single or EP and then came the album. I am a record collector so I kind of thought that if I can do this my way, like I want, then I want to do an EP. That's like throwing money into the lake, you don't get rich from it but I want it so I will have it. I think the EP will show pretty much what In Aphelion is about. The first song is very epic; it has this entire emotional atmosphere that is In Aphelion. It has an acoustic part, it has very raw, kind of Bathory-like, black metal parts, it has speedy parts, it has a brilliant guitar solo if I can say it myself but I'm really pleased with the solo (laughs) and it has a very epic ending. If you wonder how the LP Moribound will sound, I think this song; 'Draugr' it's called summons it all. The next song 'Luciferian Age' was the last song I wrote for the album, and it will be also on the full-length. I wrote it because a lot of the songs were very lengthy and epic and had so much on it, so I wanted to do a very simple, raw, strict-down, short track and I came up with this. I mean it's a very driven riff it relies on the bass and the drums and very simple guitars. It's almost Satyricon-it wasn't on purpose at all but when I heard it I thought this is a bit of Satyricon and I even don't listen to them! So, it's pretty coincidental but it sounds like something from the "Now, Diabolical" album or something like that. But we were discussing about releasing this "hit" because this could be one. But is this what In Aphelion is about? No, it's not really but we thought it's a good song and why should we hold back a good song? I not afraid of people who think we're posers, I mean I've been in that game forever and I'm soon 50 and I don't care about that and I felt that it's a good song to put In Aphelion on the map. On the other side we have 'Wrath Of A False God' which is one of my favorite In Aphelion songs. I really like the mid-tempo middle part that has a lot of acoustic atmosphere and I like the lyrics. It's actually one of the songs that Johan (Bergebäck; M.) isn't that fond of (laughs), but Marco (Prij; M.) and me, we both think that it's one of the best songs that we have done. So, we said that we should have this song as an extra that will only be on the EP and not to put a filler there. We end with 'Pleasure To Kill' of Kreator, fantastic song. I always felt that when they recorded "Pleasure to Kill" in 1986, everybody in the band played on their own. It's so untight, so hard to see where they go because everybody is playing on their own direction and a couple of years later when Kreator got better to play, they made a bit slower version of the song that didn't have the aggression of the original. For years I felt what if we could do the original song but strengthen it up a bit and keep the aggressive feeling? So what we tried to do was make a cover of it like Kreator would have played it in 1986 if they would have known how (laughs). Of course, we don't do it better than Kreator, of course not but it's a bit easier to follow our version. I think it came out very good, it suited my vocals, it suited our guitar playing and we had a fantastic guest appearance by Dennis from the Swedish black metal band Avslut who made the bass line for this. I also was important for me to show where our origin is from. Our influences for extreme metal is not from Mayhem or Darkthrone or Dimmu Borgir, they are from the 80s German thrash metal scene. So, I felt like this is how In Aphelion started 40 years ago. This is the seed that is what In Aphelion is now. All in all, I think it's a good EP with 23 minutes running time and not a short thing.

What are the lyrics about? Are they also that metaphorical as on the last Necrophobic?

The last Necrophobic album was very personal because it was about where I was in a really dark place, but lyrics are first of all themes and myths and tales that I think fits the songs. I usually read something, the song 'Draugr' is about the northern mythology, revenants…

…like the White Walker in Game of Thrones…

..exactly. These Draugr are so jealous about the living, they want to make them one of theirs. They come in the sleep and derange you in your dreams and they cross from the cemetery and go into your house, so it's a really cool story. I felt this eerie feeling, it starts hopeful or sad and it turns into this really evil, eerie atmosphere and I felt this is a good theme for the song. But then I always twist the lyrics that it is from my perspective. I mean, would you choose to live forever? These Draugr, they have eternal life, but they also have eternal sorrow. Would you, as a person choose a short lifespan with all kinds of feelings or immortal life on the dark side? I always put in my own thoughts and how would it be if I was one of them. And the lyrics take form both from the living side and from the side of these undead. In the song, I'm sometimes the one that tries to lure more humans into this dark world and point at everyone who tries to stop this. The rest of the lyrics have also a mythological background and then I put in my own thoughts, everything we dwell with – life, afterlife, how we react with other people, and I take something from the literature that matches this, and I twist it into mine.

What would you say, which bands the most obvious influences for the songs? Can the listener hear some clear influences in the songs?

I didn't listen to black metal at all when I wrote most of the songs. But at the very end of the song writing, I had this black metal spree when I listened to Darkthrone, Bathory, Venom, everything and I kind of got the last puzzle together. So, I was influenced by them but also from "Russian Roulette" by Accept. I think on that album they have a really interesting song structure. If you listen to "Heaven Is Hell" (sings the refrain), to take down a song for 2 minutes and they just repeat this one voice and then the answer comes back, that's great. There are even more songs on the album that are so interesting in the arrangements that I actually took notes of pieces and parts and I felt like that I have to do something this good. I have to use these stones to build my own temple but I hadn't thought of switching the chords like that or making the harmonies go down. So, I think that album was very influential for this. Now we will have to see for people will say this – yeah this Accept, "Russian Roulette", haha!!

The full-length will be released in early 2022 and the first two tracks are on the full-length, too….

It could have been done to be just on the EP because the actual album is a double LP with about 60 minutes playing time. It's a pretty strong debut to have an EP with extra songs first and then a double album with everything written within 9 months. We decided that these two songs, 'Draugr' and 'Luciferian Age' are written and needed on the actual album to make the full experience. If we took it away it wouldn't have all the building stones that the album needs. For people who cannot wait until the album, they have the EP first.

How content are you with your label? What I get to read on social media let me guess that they must be pretty glad having signed you.

It was a big decision if we should go to a big label like Century Media as with Necrophobic or if we should go to a small label. The advantage of being on a small label is that you can have pretty much your will. For me, it was important to do an EP and Century Media might have said there is no money in it, so we won't. You can have some digital singles if you want to, but we will not press this expensive LP format with four songs. Stian (Smørholm; M.) of Edged Circle is also a record collector and he said that he wouldn't make any money off of it but I was totally right that there should be an EP. He would like to do this because it's fuckin 'fun and it's the way it should be'. So, he agreed, and he was not greedy. You know, that is important for me, to create music and I don't want greedy fingers on my music. And I felt that Stian is also in this for the right reason, I'm sure Century Media also but they have to make some money. Being a big company, they cannot take any risk. With Stian I have a certain connection and we talk about the artwork and videos, he's on a friendly level with me. Maybe distribution and stuff like that may suffer from being on a smaller label but as for now, I feel it's worth it.

You designed the cover for the EP. What was the influence for this? It reminds me a little bit of "Deathrace King" by The Crown.

Actually, I don't know it. We didn't had any budget for bringing an artist in and I am an illustrator. I've always had been doing stuff like that. And I felt what can I do with what I have that will not be bad. I don't have the time to do an oil painting and I don't want to do an oil painting in Photoshop because people will think that's an oil painting in Photoshop. It's better to keep things simple. If you only have black and white colors, then use that and don't try to mix in some other things – people will see that. I just tried to make powerful and some kind of direct album covers that I felt have a lot of heavy metal feeling. I wanted to look at the cover and see that this is a black or heavy metal album cover. The result is pretty much how I wanted it to be. It's very drawn, if I say cartoonish, people will think it's funny which it's not but it's on purpose. It's not made to look real. I'm pretty happy with the aesthetics and it goes through the booklet, and we did a video for 'Luciferian Age' which is in the same way. It's very simple and I am a little bit afraid what people will think about it. If you put in a lot of money, you can also have a great artist doing the cover, but I wanted to do it by myself. I've written the songs, I've recorded it so this is all how I feel it should be. It's inside in my head.

You had some troubles with the sound of your first demo. What happened there?

I don't know. They printed in Estonia, I think, and Stian had used this printer all the time, and he never had any complaints. But something must have happened to this batch, I don't know if it was in the sun or demagnetized. A lot the cassettes had sound problems like the volume was up and down and it was mono in some and some were fine. We didn't get so many complaints and most people keep it as a souvenir and most people don't have a tape player and just want a physical format instead of listening on Spotify. The company who printed it was nice enough to offer everybody a new copy that needed one and we also made a post that everybody who wanted a new one could get in touch with us. I think we solved it well.

How much were Johan and Marco involved into the songwriting process?

Marco not at all. He did alter some of the drums - I programmed the drums first and he made a couple of choices where to go with the drums but mostly he kept it within my frame so to speak but he added some things. He is a drummer, and he is so much better than me, he is so brilliant. Johan did the title track for Moribund and that was all he actually had time for because he joined In Aphelion so late, and I was just finishing the song writing so I had one song left and said that he could write it. He came up with this riff and it was so good that I felt that this should be the title track. In the future of course he will have more time, but Johan rarely writes whole songs. He is a brilliant riff maker. I think in the future he will provide me with more riffs and more ideas but maybe not so many songs. But of course, he is free to write as much as he wants.

You said that you are going to play some concerts in Sweden. Is it with Necrophobic or with In Aphelion?

It's with Necrophobic. With In Aphelion, we have loose plans how to start when the album is released. We probably will do some kind of mini release fest tour, we also have friends – Jacob Björnfot of Kvaen, I've been talking loosely with him because he will also release a new album at the same time, we will release Moribund that we should do something together. There are no real plans but we're thinking of it. But In Aphelion has to find a way to rehearse because Marco is in Holland so it's not very easy to go to the rehearsal room and just try out things. I will have to rehearse a lot because I am the lead singer and the lead guitar player. I will manage but it will be a lot of work (laughs).

So, what would you think about a tour with Necrophobic, Cryptosis and In Aphelion?

That would be kind of good for the flight tickets and would be a good package (laughs)! Good idea, let's do that, haha!

The last words are yours!

I hope that people will listen to our music, and I hope they will see the honesty in this music because there was no one demanding me to do this. There was no one telling me how to write this. This was only and purely for the music and my drive to create something. I hope this will shine through, also in the not so commercial parts. It is exactly how it works in my mind when I do not do the pieces together easily. I hope they can follow my feeling through this and add their own atmospheres to it. It will be very interesting to see what people think about this.