What a way to end the year! On the last day of 2001 and I get my questions answered by Maurizio Iacono from Kataklysm! Have you heard "Epic (The Poetry Of War)"? No, then get to the local store while there's still time and end this year with a real kick in the face from our Northern-hyperblasts. I don't want to repeat myself here (you can read the review) but Kataklysm once more proved themselves as a class-act in a death metal world and with the addition of a few new elements to their traditional sound, they created a masterpiece that made my knees bleed. With this bloody accent I wish you all more of that in 2002… and that won't be a problem while listening to albums like "Epic (The Poetry Of War)".

Chris


Congratulations on a perfectly composed music assault to keep us warm during the winter. Is that cold Canadian winter a big reason for such heavy molesting of your instruments?

Well, there must be something in the water making bands play faster than the norm, that's for sure... [laughs]

Why 'poetry' instead' of 'power ' of war, such delicate word with so brutal an event?

It's a play on words, something poetic is meant to be beautiful and delicate yet war is destructive and dark. The Romans used to sometimes associate both, by saying that War was a beautiful thing... a necessity for survival.

Are you against or for the present situation in Afghanistan?

I'm for it... those responsible should pay for the horror they have committed. The sad thing is our paradise has fallen now we must be vigilant, 'til the enemy is defeated.

Are all tracks related to the topic of war only and from what point of view?

Most of the album deals with the human mind and how it can make the whole difference in conquering problems in life… I've used the Roman Empire and war themes as an example of that... the reason they conquered the world is because they used their intelligence, not because they were bigger or stronger men. The same tactics used by the Romans and their ideology/strategies on battle is still the base for all wars conducted by super-powers like the USA.

It seems like Rome I' and 'Rome II' is a mini-concept on this album; to what event does it relate?

It's basically the rise and fall of Rome in two parts. To write it in a detailed manner would take me many more albums... it's too long. I just wanted to show with this that Power can bring you the greed that will kill you in the end.

Although "Epic" is still a traditional Kataklysm release, there are more influences from other genres; the album seems more melodic, there are some thrash and black metal elements. How different was the writing process from your previous releases?

It's getting easier and easier to write... I guess we've matured and now know how to put to music what we are thinking... which is sometimes a problem if you limit yourself, we don't restrict ourselves and wanted to put all the influences that make Kataklysm what it is... the most important thing is that it flows like water.

"Epic" is Kataklysm's most technical release to date, how hard did you have to work on it and did it take more time to write it than before?

It took us a whole month and a half to write... that's how this is getting to be part of us, as long as we have something to say, I think it will be easy to express ourselves. We have ideas and everybody in the band collaborates and makes it interesting. If we would take months to write, I think that we would lose that original edge that comes with being spontaneous.

A lot of lyrics are sung in a more black metalish style, which is different from what most death metal bands do. Why did you choose this form over traditional growls?

I get bored of using the same tones over and over again... so I try to put variety in it... I like high pitch and low ends... and I also go mid range, whatever fits the mood.

Do you think all those changes are a natural progression of the band within the last 10 years or is everything happening according to the original plan?

It's rare that plans stick... they never do most of the time, especially if it's for the long run... so we go with the flow, we've survived many obstacles that would of destroyed many bands... and to actually come back and become stronger than ever makes me very proud.

How are your relations with Nuclear Blast right now, you've been in and out and in again?

It's never been as good as it is now... we have people over at the head office in Germany who really take care of us and believe in Kataklysm. I think we deserve a better push in N. America... but you don't get what you desire every time.

I've heard that the European tour turned out to be a huge success for you. What was so special about it and can you share with us some embarrassing or weird stories from it?

It was amazing... probably the most successful Kataklysm tour in Europe... people were really digging the new album and we made a lot of new fans, which is resulting in us going back in march for our first euro-headliner tour and our first festival appearance at WITH FULL FORCE in Germany in July.

An embarrassing moment was me singing with my fly/zipper wide open... J. F. kicked me and said "dude your zipper... " ...I'm like "oh shit!"

You've been touring a lot but is there a band you dream of playing with?

I mean we could only tour with extreme bands... so I'd have to say Napalm Death, one of my fave bands and one big influence on Kataklysm.

What are your future plans to support "Epic"?

Tour more in 2002. Europe is confirmed... hopefully we'll make it to The States.

Is Kataklysm a band of close friends or do you do your job and each one of you goes separate ways until the next record or tour?

We are friends, if we didn't get along it just wouldn't work. There's too much blood and sweat involved and not enough money... we don't see each other often cause half the band lives in the city and the other half in a different city an hour away.

Are we ever going to see Kataklysm as a band of "Northern-melodic-happy-blasts"?

Melody will always be present but the 'Happy' part ain't happening with Kataklysm!

Norway's Enslaved, since releasing their first material on the split EP "Hordanes Land" with the now infamous Emperor, has been destined for great things.
Unfortunately, a band as talented and cutting-edge as Enslaved hasn't quite been able to break the ice as far as gaining the recognition that acts such as Emperor have, when surely they deserve it. However, Ivar Bjornson and Grutle Kjellson, the two original and founding members of Enslaved, are still doing what they love, and that's creating music.

This year, Enslaved dropped "Below The Lights" on us, the follow-up to 2001's excellent "Monumension." With a more than staggering response towards their seventh album, Enslaved is that much closer to making their presence more widely known.
This time around, Enslaved decided to take a break from what has been the trend for their last two albums, doing a concept and tying everything tightly together.
"This time there is not the direct link between the lyrics, as there is no real complete concept for the album. It is more a collection of more or less abstract and open lyrics: dreamscapes, visions, thoughts, mythology and mysticism. So, we were looking for the red line to bind it together; hence the title and the cover. Truls Espedal (Artist for "Below The Lights" cover) has a supernatural empathy for what we are trying to express, and we provided him with the title and some insight into the different songs, he simply went into his studios and returned with the front cover," says Ivar.

Neglecting to embrace the idea of a concept album once again doesn't make "Below The Lights" any less of a complete work. Whether or not "Below The Lights" is a superior album to its predecessors is a question that only the listener can subjectively answer, but according to Ivar there are a number of reasons that, to him, make it a stronger piece of work. "I would emphasize direction, better production and better songs. It is simply the most energy filled album we've done up to date," says Ivar. "I also think we were very critical towards our own performances during this recording. The whole process of revising the line-up for the sake of the album and the band, which carried a lot of grief and emotions with it, made us more open to criticize and encourage each other. We all had a lot of input on each other's work.
"Whether it is superior to "Monumension" is not for me to say. They are very different albums, but as a songwriter, lyricist, co-producer and metal fan, I am going for "Below the Lights."

The recording process for "Below The Lights" did have its fair share of struggles. More than one would expect, as a matter of fact. Not only did Enslaved part ways with their drummer, Dirge Rep, who played with Enslaved from 1998's "Blodhemn" all the way throughout "Below The Lights," but the band also lost longstanding guitar R. Kronheim, who had been a part of the bands line-up since Dirge Rep joined and left after "Monumension." These losses, however, failed to hold the Enslaved collective back from success, and may have been for the better.
"I think Roy added a chaotic element to our songwriting process, which is a positive thing, in all aspects. However, everything has a "limit," and we felt that we had reached maximum entropy after finishing "Monumension." We felt a need to focus the musical energy, to channel it all through a narrower gate, so to speak. With Kronheim wanting to take the band into a stoner-like direction, add some personal issues, it became evident that Enslaved had to make "Below the Lights" without Kronheim. I think the density and focus of "Below the Lights" proves this to be a right decision," says Ivar.

As of now, Enslaved has made use of another guitarist, Arve Isdal, and a new drummer, Freddy B, who after working with Enslaved for a half a year or so, joined the band as a full time member after his band at the time, Re-actor, faced line-up trouble.
"This is for us the best drummer we've had playing with us. Of course, all of Trym, Harald and Dirge have been excellent drummers for the work they have been playing, but C2 (Freddy B.) fits the new material, as well as almost all the old stuff, perfectly," says Ivar.
As for Enslaved's earliest drummer, Trym Torson, who is best known for his work Emperor, we won't be seeing him rejoining the Enslaved fold anytime soon.
"We socialize on occasions, like gigs and stuff, but we are not in regular contact or anything. You know, he moved to the other side of the country and began a totally new life. I am pretty sure he will never play with us again, but it was amazing while it lasted. I regard him as a friend and admire all his post-Enslaved work, but differences that made us part ways are too big to make it plausible to see him drum for us again," says Ivar.

Through the years, dealing with numerous line-up changes, it's a wonder that Enslaved has been able to keep things so strong. For Ivar, the determination and will power to keep Enslaved a living entity is tied directly into his life, including his beliefs.
"[My beliefs] play a very major role in the music. The music is directly derived from our lives and experiences, our dreams and thoughts. So the beliefs, or maybe even philosophies, which is a bit pretentious, I admit, are the cornerstones of the music, I guess," says Ivar.
This has been an aspect of Enslaved's music since the beginning of their existence. Another aspect that has followed Enslaved, to one degree or another since the beginning, is Viking mythology.
"The runes; the mythology and mysticism of the Viking Era is alpha and omega/ fehu and dagaz for Enslaved, and has always been that," says Ivar. "We have developed a more micro-cosmologic approach to it over the years, but the core is still the same. It is as if we are more interested in describing the atmosphere of the experience, rather than accounting for the actions that make up the experience."

Such elements of Enslaved that have been there from the beginning will never die, and will always hold their place in the hearts and minds of the band.
"Progression or evolution is best served if it does not include dismissing either the past elements or the future possibilities. Being all about regression makes music rotten from the inside in the long run, while total futurism tears up roots and make the tree fall," says Ivar. "What am I, some old wise guy talking at the bonfire under the stars? Somebody stop me."
One might wonder what on earth is the purpose of all of this. Who in their right mind dedicates most of their life to such a time consuming project?
"I have developed an urge to "express myself" though music," says Ivar. "Over the years I have grown more and more hungry for making music that can alter my own state of mind. Being introduced to the old black metal bands on one hand, and 70's prog and psychedelia like Hawkwind and Yes on the other, was the perfect combination on how to make energetic dark music that could evoke extraordinary sensory experience for me. And it seems to be working for others too, so it is all good."

So, other than the fact that Enslaved isn't quite gaining the recognition that they deserve, all is right in the Enslaved realm. To Ivar, Enslaved is as healthy as ever.
"Every decision, positive or negative, every sacrifice, downer, upper or still moment makes me a little more convinced that starting this band with Grutle will be my greatest achievement as a humanoid."

Allan 'Enigma'