Lugburz Jan
Yrlund March 1998
Last year,
Ancient Rites unleashed one of the best European albums of the year:
'Fatherland'. Keeping the old dedicated fans satisfied and gaining many new
souls, they have extended their cult-status with this piece of art. Instead of
making a usual Ancient Rites interview, we thought it would be nice and
original to have a chat with Jan -Örkki- Yrlund, their guitarplayer. Not only
focusing on Ancient Rites and Danse Macabre, but on the entire personality of
this interesting musician. With great pride we present you this
killer-interview... so take a beer, sit back and enjoy!
Hei Örkki, how're you feeling today? - For starters,
we'd like to be unpolite and ask you some more about your background! - I
believe your father is Swedish, but you are a Finn, and on top of that you
traded the Land of the Thousand Lakes for the Land of the Thousand Windmills,
Holland! Why(&when) did you leave Suomi Finland Perkele and choose for Het
Koninkrijk der Nederlanden?
- Hi Bram, I'm feeling just fine! About my background; you're right that my father is of Swedish origin,
but like many others he lived in the Swedish speaking cost of Finland. So he
had Finnish nationality. I was raised in a bi-lingual family, because my mother
is Finnish. As you may know Finland knows three official languages; Finnish,
Swedish and "Saame", from Lapland. To be honest I can't speak Swedish
like I probably should, because I grew up in different Finnish speaking cities
and also because my parents divorced in 1973. So actually only Swedish thing about
me is my name. I moved to Holland in 1991/92. At that time I was living in
Zaandam, but soon after I moved to Amsterdam, where I still live. I had many
different reason's to move to Holland; first of all my girlfriend, who is
half-Dutch, started her studies in the University here. I also wanted to study
after working for 5 years on the one and same Radio-station - I got bored -. So
I also entered the University Of Amsterdam. As a third reason - and by no means
less important - I consider the fact that the record deal of my metal band
ended up. I had no interest of starting something new at that point, so I
decided to check out the scene in Holland and find a nice band. There are also
some other reason's, but I guess this already lightness the issue a bit. The
choice for Amsterdam was obvious; I had been here every summer from 1989 and I
totally adored the city. I wouldn't ever have chosen for another city in
Holland....
What was your first encounter with interesting music
(metal/punk/...), as a listener? Is there any band or even a record that really
made you think..."damn this is my cup of tea"...?
- I think the first aggressive music I really liked
were diverse Finnish HC-punk bands. I still listen to these bands sometimes
(like Lama, Appendix, Kaaos etc). Those were bands from early eighties and had
pure brutal aggression in their music, that was cool. When I really got into
music the first band I admired was Motörhead - I had everything of them! And
when I finally started playing music, the band which kicked my ass was
Metallica with "Metal Militia". That song probably changed my musical
direction. I really liked the band, so I went to every show possible in
Finland. I still remember the Summer Festival in the middle of Finland in 1986,
where I got a change to quickly salute these guys. It was by the way only
couple of days later that Cliff Burton lost his life in Sweden. I was in that
way one of the last witnesses of his awesome bass-solo....
There is no doubt that you are a musical talent of
immense grandeur!. What was your first music-instrument and when and why did
you decided to pick up a guitar and shoot some chords?
- At school everybody had to learn some instruments,
like that flute-thing and piano, but I guess guitar was from the very beginning
my instrument. I bought my first second hand electric guitar when I was 13
years old. Before that I already played some acoustic under supervision of a
local musician. The electric guitar I learned all by myself, just digging some
music and trying to play what I heard. A year later I had a school band and we
were very serious. We played in every school-party and so on. We also wrote our
own music from the beginning. The vocalist/bass-player In that band was a very
good friend of mine, whom somebody into speed-metal might still remember; Niko
Airaksinen from Tampere - based thrashers Dethrone.
You have quite an impressive résumé when it comes to
bands you've been playing' in. Your first band of importance was Prestige
right? So mate, crack another beer, light up the campfire and sing us some
songs! ...ehrm I mean, tell us all about this band!
- I had indeed already had some bands with demos and
stuff before joining Prestige in 1987. I knew the guys from different contexts,
mainly from parties and gigs. When I joined the band things really started to
roll. We recorded a 4- song demo in that year and early 1988 we got signed by
Poko Records, which was at that time quite major in Finland. It was time of
"Speed-metal- boom" in Finland - every major label had to have a
speed-metal band. We were the third band to get signed and the first in
Tampere. The label really invested in us. In that way we got the change to play
more gigs and also support bigger foreign names (like Nuclear Assault, Kreator
and so on). That was very cool. The first LP (later also on CD) "Attack
Against Gnomes" was released in 1988, the second "Selling The
Salvation" in 1990 and the third CD "Parasites in Paradise" in
1991. We also released couple of Eps and singles. I guess we were quite popular
in Finland being started already so early. Many of the bands who were signed
later didn't book much success, with some exceptions. I guess it was time of
finding an own scene for many fans and accepting that also Finnish bands could
do it. In that way we contributed a lot to the Finnish metal-heads.
At that time (when by the way?) you were also pretty
active in the underground-scene, so you told me. You even organized a
Darkthrone gig once, right?! (Tell us, for all our female readers, is Fenris
really that cute? haha!) How was the scene at those days, and what exactly did
you do? What Finnish bands were circulating around back then? Imp.Naz.?
Barathrum? Beherit? Amorphis? Tell us all about it!
Yes, I was really much into underground, I guess
during the whole time with Prestige. I felt that there were an international
"speed-metal- revolution" going on. And in some extent I think it was
going on. Speed/thrash - metal was the first revolution after punk, which
worked through individual underground contribution. It was like anti-reaction
against all those stupid poser bands. There were many underground mags, people organized
gigs by themselves, because official clubs didn't accept any speed metal. So
the do-it-self feeling was definitely there (unfortunately I had to realize
later that my ideology sucked sometimes). That's how I decided to help
underground bands by inviting them for gigs and so on. We could do that because
we had a lot of gigs. Dark Throne was one of these bands and probably nowadays
the most known. I organized four gigs for them in Finland. This was the first
time that they ever played outside of Norway. They were cool guys and I really
liked their music. Some shows they played as support for Prestige, some we
supported them. They also used our gear and stayed at Aku's place (our singer).
Most of the gigs were sold out, but I think not because of Dark Throne, but of
the total bill. Black Metal wasn't popular in those days in Finland (I guess it
was in May 1991). I also organizer small tours for other bands, like the Danish
death/thrashers Invocator. That band I also liked a lot. They played some 4
shows in Finland. Invocator invited us twice to Denmark. Second time we played
six gigs with them in Denmark. Other bands that I helped out were among others
Hysteriah GBC (Swe) and Fallen Angel (Swe). I kept contact with a lot of other
bands, trade CDs and demos. Some wished to come over (like Samael, Dead Head, Grave
etc.), but it didn't work out. In Finland there were a lot of good bands, but
those names you mentioned didn't exist (except Beherit). I.N came also a bit
later, like to most of the international names you might know (Sentenced,
Amorphis and so on). I still keep contact with the bands of those days, but I
have abandon underground as such. I don't have energy for that anymore and I
feel that my contribution is done. I will however always support underground in
another level and I wouldn't never refuse of an interview or chat - doesn't
matter how underground the mag is.
Then after you quit Prestige, what happened then? Was
it then that you joined the gothic rockers Two Witches? Or am I mistaken? How
was your period with this band?
Actually no-body ever quit Prestige. We decided to
have a break. Well, the break took a while as you know. We played
our last gig in a major rock-festival in 1992 (with bands like Nirvana). It was
our 150th gig and we thought - that's it, now we take a holiday. In fact we all
had lost the interest after these five years. We had played in every god
forgotten club in Finland and didn't want to do it for the tenth time again. I
wanted to discover other music. I already had a punk project with our singer
Aku, called "Heppihirviö" (something like "dick-monster" in
English) In that band we played everything from HC-punk to sixties pop. Real
crossover, man. We did a 16 track MC, which we sold out. I still play a gig
with them when I'm on a vacation in Finland. Two Witches I knew already many
years, because they were from the same city. That band always had problems
finding a steady line up and they had just lost their bass-player and were
about to record their debut CD "Vampire's Kiss". So they asked me. I
played the bass on the CD and also some small guitar shit. After that we played
a couple of gigs. They knew that I was about to move to Holland, so the deal
was that I only do these things. I really liked this band and would probably
have stayed 'till now if there would have been any other choice. Till today
they are one of my dearest friends and we always have a good time when we meet
each other. I will always support them anyway I can. The last time they were on
a European tour, I returned back to my underground innerself and organized a
gig for them here in Amsterdam.
Then, after Two Witches, you popped up in Lacrimosa,
If I'm not mistaken...when and how did you ended up in this band? What did you
achieve with these goth's? How was that chapter of your musical career...Again
this band wasn't that close to your door I presume, how did u managed that?
- This is a long one, huh. Well to start with, Anne
played in Two Witches when I was in the band. She joined Lacrimosa later, I
think in 1993. So I knew her very good. When Tilo wanted to change his concept
for the next Lacrimosa CD, he wanted it to be more heavy and "real".
I don't know if you know old Lacrimosa material, but it's with drumcomputer and
with "rock" guitar. Well anyway, Anne remembered me and invited me to
come over. So I traveled to Basel, where we three listened music, played some
and so on. Tilo liked my playing a lot and then we went to the studio. That's
how the CD "Inferno" was started. Even though I didn't write the
music, I really enjoyed it and I got free hands to arrange all the guitar parts
and stuff. So it was totally cool. We became very good friends during those
months in the studio. I felt the music in a very emotional way, which was for
me a new experience. For me this period meant a lot, because this was the
biggest (& most expensive) product I ever had worked for. After the CD we
also recorded a single and went on a tour. The tour was for me a true
experience, very fine organized, a LOT of fans, big festivals and so on. And
the album became very successful. We also released video-clips, played some
other festivals later and so on. However you would think that the music is not
my cup of tee, I think you're wrong, because I've always been able to adjust
myself to challenges I've been facing. I will always keep my "style",
but also try to fulfill the needs of the music in a creative way. So I could
manage fine...
Why did you leave Lacrimosa, or were you kicked out?
(-I hope this question isn't too spicey!-)
- There are many reasons and also many different ways
to look at this. I think from my side the music comes first. The reasons why I liked "Inferno" weren't
there anymore when we started to record "Stille". I wouldn't say that
I didn't like the music, it just didn't touch me on a same level
"Inferno" did. So I couldn't find myself in this. And of course that
had an effect on my performance, I didn't believe in it. Obviously Tilo didn't
like that either. On the other hand Tilo felt a deep pressure after
"Inferno" which was so successful. So the next record had to be much
better. This time he wrote all the guitar solos and melodies, all the drum
parts and so on. As a musician I felt like thrown in a corner, because my
creativity wasn't needed anymore, I just had to play 1 to 1 after what he
wrote. And maybe I also thought that I still had changes to be creative, but
the reality hit me. So all of the time I was pissed off and when I'm pissed off
he's pissed off and so on. We are just like little kids with this. I think my
fault was that I though we were a band, but Lacrimosa never have been a band.
Only this time I felt more than ever as a studio-musician, but also that I was
used. That's not what music is for me. That's why we decided together that it's
not worth of losing a very beautiful relationship through this kind of
bullshit. And I left. He was very sorry and tried still to convince me not to
do this, but I couldn't continue like this. However, I promised to help them
out if they were in trouble, which I also did by playing a couple of festivals
next summer and by recording one more video-clip "Stolzes Hertz" for
them in september 1996. So I think it's a bit complicated, but only through
different ways of looking at music. I guess we just had different needs and had
grown apart after four years together. Anyway, we're still very good friends
and an example of this was the A.R. gig in Zwitserland this tour, where Tilo
and Anne came to watch our show and have a couple of drinks with us...
Then, in 1997, you joined Ancient Rites, or am I
skipping a period and going too fast? (-If so, please inform us!) Same old
question here - how did you get in contact with Gunther, Walter & Boefje? Had you heard of
Ancient Rites before? How was the first meeting? I bet many alcohol was
consumed, haha! Or did you just plug in your guitar and did a solo with a
Coca-Cola-bottle, as it goes in the tv-spot, hehe?
- Yes in
1997 I joined Ancient Rites, but there were another band in between. Or
actually I already had this band during Lacrimosa years. The band was
called "Boobytrap" and we played kind of guitar- orientated
Gothic/Industrial. All the time I wasn't doing Lacrimosa I played gigs with
this band. We released a 4 song mini- CD "La Cura Della Follia" in
1996. I found this band very nice and I could do whatever I wanted. My work
with these guys ended when our singer had problems with his voice and wasn't
allowed to sing anymore. I found it a pity, because the guys were very good
friends. Well anyway I was forced to look for another band. This time I wanted
to go back to my roots; metal. I put an advertisement in a metal-mag. Many
bands reacted, but the most interesting was Erik. He also send me the material,
which I listened very carefully. One day he came to my place and we jammed the
whole evening at my small homestudio downstairs. I didn't know the band before,
but I liked the stuff and wanted to give it a go. So I learned to whole
set-list and went with Erik to Belgium. The first meeting was very cool, the
guys were very direct and honest and what is the best thing; they had a good
sense of humor. So after the first rehearsing (& couple of beers) I was a
full- member of the band. It all went down very easy and I think we liked each
other already from the first sight....
Isn't
the relative big distance (since you live in A'dam) a problem? Especially for
rehearsals and building up some kind of "band-mate-feeling"? By the
way, describe us a rehearse-session of Ancient Rites! Does it involve lots of
beer and partying around the clock or just discussing idea's?
- The
distance isn't nice, but it's not a problem either. Erik has fortunately a car,
so we can go together to the rehearsals. In the car we listen to lot of music,
talk and so on, so it's always a pleasure. I hope Erik also feels like this,
because he's driving, heh-hee. "Band- feeling" we get through
concerts and tours. Also some time guys come to here for a weekend, or
sometimes we stay with Erik the whole weekend in Belgium. Of course we don't
see each other every night, but it's not needed, we phone almost every day. At
the rehearsals we first build up our gear, have a beer and rehearse the
live-set two times. Some "problem" songs or parts maybe more often.
There is always beer involved, but we never get drunk or anything. We make
plans and stuff and discuss about options. What comes to songwriting, that we
don't do at the rehearsals. Everybody writes at home and normally Walter puts
the bits together.
What is
your favorite (except Fatherland) A.R. release (album/song)? Why?
- My
favorite song is "Death Messiah" from "The Diabolic
Serenades". I like this song because it's quite primitive, but catchy. It
also has a killer "machine-gun" double-bass work of Walter. I also
like the songs "Total Misanthropia" and "Saefthinge" from
"Blasfemia Eternal". Both songs include very nice guitar-riffs and
have more parts than other songs.
In my
personal (and very humble) opinion, I think/guess you personally have
contributed a lot to the Fatherland CD, and to the progression of A.R. (Not
that the others didn't contributed on that too, ofcourse) Am I right? Ofcourse,
modest as you are, you shall deny this! hehe But for instance, I don't think
the bombastic arrangements wouldn't be the same as we know it today... your
reaction please?!
- Yes I
guess you are right. I was very much involved with the songs and even more in the
studio. It's just work that fits me fine and what I really enjoy to do. I
always prefer to work on the background and see that the things get done.
Walter arranged most of the songs (I only wrote "Cain" &
"13th Of October 1307" by myself) with the riffs of Erik and me. So
Walter is responsible for that. Because our ex- keyboard player was a total
misfailure as a songwriter, I also wrote all the keyboards in the
pre-production. In the studio our producer helped me out and also added some
cool other stuff. The producer engineered and mixed the CD with us, I mastered
it in Hilversum with Peter Brussee. In co-operation with Walter and Gunther we
created the visual side of the CD, which I put together with the PC. In this
process I was actually responsible for the rest of the lay-out, which of course
was checked always by other members. The bombastic approach is something which
has become a kind of specialty for me, but also the producer, being very
talented keyboard player, had a huge role here. Don't get an idea that I run
the thing, everything is always checked by others and if I go too far, they'll
hit the breaks (and sometimes gas).
How was
the atmosphere in the studio? Did (m)any problems occur while recording or did
you ever felt like smashing the producer in a coma haha!?
- We
wanted to kill them all after two days, but it was better we didn't, heh. No,
it was quite relaxed, because we could stay as long as we were satisfied. So there was no
pressure with that. In the beginning we had some communication problems,
because they didn't actually understand a thing we were doing. We were the
first real metal band in their studio, so our way of getting things done was
very strange and new for them. Like we wrote and arranged lot of things in the
studio, meanwhile most of the bands do everything before and then just record
the stuff in the studio. Because we had time, we wanted to create the last
arrangements, some melodies and solos in the studio. That was surprising for
them. Like, I don't ever write any melodies before entering the studio. I have
some ideas, but the result you hear only after the recordings. Same goes for
Gunther, who creates all his singing- parts in the studio. He has the lyrics of
course, but when all the songs are recorded, he starts to arrange his singing.
This was also very new for these producers. But after a while we could
understand each other and we had lot of laughs. The studio itself had a good
equipment, but was located in the middle of nowhere, so you were totally
isolated. You could think it's very good for working and you're right, but
after six weeks it gets boring. You need some relaxation in such a long period
of time. I stayed almost the whole time there, Walter was there also very long
with Gunther, Erik less because of his work.
Now
talking about this subject...seen your immense experience (didn't you used to
work in a studio ? tell us 'bout it!) what quick hints/tips could you give new
bands, when they are about to enter a studio for the first time?
- Yes I
worked five years at a Radio- station and in a commercial advertisement studio.
The studio was build for the purpose of radio-advertisement. It was a small (16
track) but very cozy studio. I recorded lot of demo's there, also some bands,
made jingles and spots for different radio-stations. I also edited programs and
was responsible for technical stuff on the Radio-station. I liked the work and
I got a lot of experience about different editing programs, microphone technics
and all that stuff. I don't know if I can through this experience give any
advises, more through my own recordings with all those bands. New bands have
most of the time small budgets, so you really have to be ready! Even a small
pre-production helps a lot. Sometimes you can't hear all the things in a rehearsing-
room, so even if you make a cheap four- track recording, you'll hear if there
are some parts, which aren't 100% okay. It's better to check all this out
before you enter a "real" studio. It saves time and money.
I bet
you will say that you are satisfied with the endresult of Fatherland, but that
there are things that could have been better....(so the story always goes) what
exact things would that be ? (if there are any ofcourse , none in my opinion,
but I'm just a humble groupie haha!)
- To be
honest, I really don't think there are many things I would have done
differently. For me it's the best album I ever made. Maybe after an year I find
some things not so cool anymore, but at this moment I can't take a distance
from the CD and listen to it objectively. Like production-wise some parts could
have been mixed otherwise, but this is just a professional look at it and very
subjective opinion. I believe that what we created goes far beyond that what we
wished for. So in that way I'm very pleased and wouldn't change a thing.
There is
no need in asking how the audience & press reactions on the 'Fatherland'-CD
were, we've all witnessed that with our very own eyes: becoming CD of the month
in big magazines (Terrorizer, Mindview, ...), receiving topscores in most
'zines, teenage girls throwing themselves in front of the AR-tourbus etc
hahaa!! But there is only one rather 'bad' review I've seen...and ofcourse this
was in Nordic Metal (#12)(Branden zullen ze doen! hehe). Since this magazine is
quite known, we'd thought it would only be fair if you could give your
reactions on some weird stuff he wrote.... To each his own (tase and taste is
two), but this guy really pointed out some weird arguments!.... So,...full
force ahead, Jan!
"...I could not avoid focusing
on the horrible drumsound. So plastic and tic-tic. ... Oversynthetic."
"...'Fatherland' just feels too
passive and in many ways overproduced. It doens't feel honest in my ears, just
average and typical."
- Well,
what can I say. The first comment I can understand somehow, but the guy
obviously doesn't know a thing about how drums were (and are) recorded
nowadays. Those days are over when you put one accordion- microphone in the
toilet and hope that it's sounds really nice and realistic. We triggered the whole
drumkit. This gives you thousands of choices when you wanna create a
"drumkit". You can even change a snare or other drums while mixing.
In this way you have better options to create a "total sound". The
sounds are samples, but they are "real" samples. In this way you can
create an ideal drumkit. To his ears this sounds synthetic, which it can't be,
because the sounds are sounds of a real drumkit. If he means playing itself,
I'm glad that Walter can play so tight.. So to each his own...
About the second comment I can't but laugh; this guy thinks that the CD sounds
"typical". Against all those hundreds of other comments, who just
like the CD because it's so "original" and not "mainstream (read
Norwegian)" his comment sounds weird indeed. Has he listened to the CD?
Also I can't find any "passive" in it. Overproduced maybe, but coming
from a guy from this mag and area, with bands like Dimmu, Arcturus, Peccatum
and so on, I find the word overproduced quite ridiculous. But anyway, to
anybody but respect. I've read so many strange reviews in my life, that it
doesn't do anything to me. People decide, luckily.
Now for
something completely different: you are also involved in Danse Macabre, the
gothic project that started out with the god of war, Gunther (AR) together with
George (Necromantia, RAISM,....) and Sotiris (Septic Flesh) a few years ago.
Two songs for a 7", which are now as bonustracks on the excellent
'Totentanz' album, were recorded with that line up, but everything was put on
ice because of the Molon Lave failure, right? Now, how did you came up with the
idea of participating in the continuation of this "project". A
project now consisting of you and Gunther, filledup up with some
session-muscicians for live-situations, right?
- When I
joined Ancient Rites, Gunther also told me about this project and that he had a
deal for it. When he heard about my Gothic- past he right away asked me to do
Danse Macabre with him. I had already many songs ready and he liked them, so
here we go. The Molon Love had disappeared and Sotiris and George couldn't
continue, so everything was on Gunther and he had free hands with it. We
planned everything together and went in the studio in the end of 1997 in
Rotterdam. The production was on me and Hans Peeters, our producer. I did the
lay-out & artwork. We decided to pay respect to the beginnings of D.M. and
that's why we also added those two old songs as a bonus tracks on the CD.
Unfortunately there where no master tape available (it had disappeared with
Molon Love), so I had to use a C-tape, which we "cleaned up". That's
why the sound isn't ideal with these two songs. We've done couple of live-shows
and for these I have found some good friends of mine in Amsterdam, who help us
out. Live we use a real drummer (Merijn from Boobytrap) and not a drumcomputer.
I always prefer "a band" above half- playback. The gigs we do are
always special things and we won't be playing in every small cafe just for it.
The project is in this way very special for us.
Is it
fair to say that you composed most of the new songs? Or did Gunther wrote some
music as well? Also, how was the cooperation with Antoinette and Raf Corten
(quoting Gunther: "He is the laziest musician I've ever met")? And
how did the ex-Greek members react on the album?
- I wrote
all the songs, except "Megalomania", which Raf wrote in the first
place. The Raf's version wasn't actually a song, but just a riff, so I had to
write the whole thing again in the studio. So actually it's my thing, based on
Raf's riff. Gunther didn't write any song, but he wrote all the lyrics, which I
adore a lot. He's a helluva text-writer to my opinion. Antoinette is a very
dear friend of mine and she didn't hesitate a second to do "Decline Of
Romanticism". She performs also live with us en does much more, like lot
of background vocals and stuff. She's very cool and will certainly appear on
the next CD. And Raf...well I agree with Gunther. Raf stayed with us the whole
time in the studio but didn't do a thing. Actually he was supposed to be the
keyboard player, but again I ended up writing all the keyboards. The last day,
when everything was done and we had packed all our stuff he appears in the
mixing room with his keyboard and says, "OK now I'm ready, let's
start". Me and Gunther were like "what is this guy thinking?".
Anyway he did join us and that's why his photo is on the CD. We felt that
everybody who has been involved, should be mentioned, he too. It's only fair,
we're not mean you know. Now that he's out of A.R, he's also not in D.M. We
prefer to do it by ourselves, with a little help of our friends... About the
Greek guys, they didn't have anything to do with "Totentanz" or Danse
Macabre after the beginning, so they were no members. Anyway they are very good
friends of course, and that's why Gunther met them in Athens and gave them the
CDs. They were very surprised, but also happy, because they didn't expect those
songs ever to be released. I guess they wished Gunther a lot of luck with
this....
I know
you are working on new songs and a new albums shall be released (on Mascot)
this last year of this mortal millennium. Could you enlighten us a bit with
some revelations about it? How is it going to be evaluated compared to 'Totentanz'?
- Yes we
have now something like 20 songs more or less ready. I don't wanna force it, so
we just wait till we have enough great songs. I like the idea of having a lot
of stuff to choose from. Gunther has some lyrics ready, but we haven't decided any
songtitels yet. We don't know either when we hit the studio, because we are so
busy with Ancient Rites now. I guess somewhere end of summer. It depends also
from Mascot and their plans. The art-work is quite finished now. The material
continues from "Totentanz". I'll keep the same concept in mind; a lot
of different songs and different atmosphere's. Somehow I think that the songs
"rock" more and there are less metal- influences to be heard. More
"folk" I don't know yet, we'll see. Meanwhile we will play couple of
concerts and so on...
There
used to be vague plans of an Ancient Rites, entirely played with medieval
instruments etc,... Do you see these plans ever become reality? Or is it maybe
more fitting within the Danse Macabre-concept?
- I can
imagine something like this very well! We still think about it, but the problem
is when do we have enough time to make it real. With Danse Macabre we could do
something like that aswell, no problem. So don't worry, we haven't forgotten
this!
I
believe you are also involved with a punk-project, just as Gunther is, but in
Finlandia right? What about this? What are your favorite punk bands, by the
way?
- I
think I already answered to this one shortly. Indeed I have a project back in
Finland. It's very nice, because we are only three guys and we do everything!
Everybody sings (even me!), everybody plays drums, bass and guitar. We play a
real crossover, a bit of everything, but our hearts are buried in the HC-punk.
The tape we released back in 1992 is already long time ago sold out and one
small company (Darklands) from Finland is considering bringing the tape out on
CD. The company always tells us how "cult" some songs have become in
the SF- punk-underground. I want to believe that, but I'm not there. Anyway, if
they wanna release it, be my quest. Every summer we play two or three gigs in
Tampere, just for two crates of beer and for fun. I really enjoy it, it's just
change for a while and not too serious.
Now you
are also back of your latest European tour with Ancient Rites. I suppose you
have also toured before with your other bands. So, how do you look upon
tour-life? What's the weirdest thing you ever experienced on stage or while
being on tour? (except from Gunther showing his green combat-underwear! haha!)
- I've
been on many tours with a lot of different bands and of course the first shine
of the tour-life has been faded away a long time ago. Anyway I like being on
tour, even if sometimes it's very exhausting. Actually the strangest things
happen outside the stage. I don't know the weirdest, but I can tell you the
most difficult journey; we were in Denmark with Prestige and we had to head
back home to Finland. Ok, we had to take a ferry from Frederikshaven to
Gothenburg. We had a very strict timetable, because we had to catch a train to
Stockholm. Of course the ferry was late, so
we ordered extra taxis to take us to the railway station in Gothenburg.
Naturally when we arrived in Gothenburg, the customs took us (we were coming
from the drug-country Denmark); clothes off etc. Well, we missed the train.
With the next train we could just catch the ferry to Finland in Stockholm. We
took the train. In the middle of Sweden the train stops and everybody has to go
out; they're fixing the rails, so we have to take a bus. With the bus to the
next city and next train. In Stockholm it was 22.30, the ferry leaves at 23.00,
so we took a taxi to the terminal. The taxidriver drives rounds around the city
and we miss the ferry. Next ferry leaves at 09.00. We have no money, only one
bottle of vodka, which I of course drop. We saw a hotel by the terminal - let's
ask if we can stay in the aula; no way, we were thrown out. Only choice was to
sleep at a construction site nearby - in November. Finally at the ferry we were
so pissed off that we got drunk as hell and ended up in ferry's jail. In
Finland's side Police was waiting for us and we got a huge fine (after the
customs took us again, of course). This asks a bit dedication for the music,
don't you think.
This time with Ancient Rites the weirdest thing was the gig in Katowice,
Poland. It was a very small club of 600 people, but they sold 1000 tickets for
it! Backstage was of course downstairs, so you had to go on stage through this
mass of people. Unbelievable. After the gig, you couldn't get back through the
audience, so you had to get on the roof of the building and wait for everybody
to leave. And nobody left of course before 1 a.m.
What are
your most beautiful live-moments which will never slip your mind again? ("Anecdotes!
We want spicey anecdotes!!! hehe")
- There
many beautiful things I won't ever forget. With Prestige the last gig in that
big festival and the afterparty, where everybody was drunk like hell, with
Lacrimosa the last gig in Waregem, where we got champagne on stage and the
place was totally sold out. With this tour the greatest moment was the last gig
in Paris where the whole audience went mad. Also because it was the last gig,
we got special treatment from the stage-manager Big Daddy. He came on stage to
do very serious inside jokes. After two songs he started to "steal"
Walter's cymbals, so that in the end he only had a hi-hat. He also turned all
the toms upside down and all this. In my "beautiful" solo in
"Fatherland" he helped me out with my pedals by changing all the
programs in the wrong time. When Gunther starts the bass-line alone in
"Evil Prevails", Big Daddy came to play that part with very
interesting new accords, heh-hee. Also Domingo, our keyboard player, got his
share - Big Daddy decided to learn play keys in the quiet intro of
"Season's Change". That was cool. Erik gave him a bottle of Jack
Daniels for it. Really great end for the tour!!!
Now
let's play some stupid game in real Allo-stijl (Allo is a Flemish TV-dick).
Choose between these two options, and explain us, as extended as possible, why
you choose it.
FINLAND or HOLLAND ?
O- oo. What kind of a question is this? I like both countries
and happily I can have the best of both worlds. I really adore Finland's
Landscape and nature and I always go back in summertime. In winter it can be
beautiful, but also very cold. Sometimes I hate the narrow-minded people down
there, but I also have respect for their self-will and pride. In Holland I
don't like the Landscape (if there is any), but I like the open-minded people,
and in Amsterdam especially I like the culture and the atmosphere, where
no-body bothers you. You don't see violence on the streets like in Finland
sometimes. No-body cares about how you look like and you can do your own thing.
But if I have to choose I would go for Finland, because my roots are there. I
can be a metal ambassador of Finland in Holland, but I would never become a
metal ambassador of Holland in Finland.
LP'S or CD'S ?
- I go for CDs. I like them because they are easier to handle
and cheaper to send around. LPs I also like, because I think you get more for
you money, but they are more for the purists among us. With my work with music
I also go for the CDs, because I use a lot of samples and with LPs that's more
difficult and complicated.
FINNISH VODKA or BELGIAN BEER ?
- I'm a beer-drinker and Belgium is definitely my favorite
country when it comes to beer. If I drink spirits, I indeed prefer
"Finlandia" vodka above other vodka's, because it's pure and you
don't have to blend it. The taste is awesome! But like said, I go for the beer
this time. I don't feel like being patriotic on this issue, it's a matter of
taste. From Belgian beers I like Palm, Hoegaarden, Duvel and some
"Trappisten" beers.
BRUEGHEL (the elder) or RUBENS ?
- Pieter Brueghel The Elder for me please. He was honest and
did art not only for money, but also for his passion. I don't like Baroque, and
that's why also not Rubens. I like artists, who had their feet on the ground
and were closer to people. Brueghel had most of the time a moralistic warning
in his village- scenes, but that was part of the art of that time; art had a
meaning, usually religious. The allegorical or mythological work of Rubens
doesn't say much to me and it's too colorful. Most of all I prefer Dutch 17th
century artists, but Brueghel has a place here as a innovator...
ANCIENT RITES or DANSE MACABRE ? (oh! hard one hu!)
Well well. What do you suppose I would say? It's like
choosing between your two sons. You don't do that. I feel very strong about
both bands, but maybe for different reasons. Danse Macabre is for me a result
of songwriting of many years back, maybe even back to the late eighties. In
that way it will always be my first. But Ancient Rites is also my passion and I
feel very strong about it. I've had probably my best days with this band, not
to mention what there is to come. Danse Macabre stays as a very beautiful
project, meanwhile Ancient Rites will grow to something bigger. I would not
ever let anything to come between Ancient Rites and me and the other guys, not
even Danse Macabre. So the choice is impossible, but obvious.
Back to more interesting stuff... For the musicians between
our readers, let's discuss your equipment. I've noticed you use a Gibson Les
Paul, not that common in extreme metal. Why did you choose that classic? Could
you also be so kind to describe your full configuration in live situations
(brand/type of the amplifier, effects, ...)?
- I've used Gibsons since 1989. I like the instrument,
because it's heavy, you can play it very roughly and it suits to many different
styles and places (and I play many different things). It's not the
fastest guitar, but it's all-around. It has also a very typical sharp sound
which I like very much. And of course it's a very high- quality guitar. It
doesn't fail. Before that I played with Charvel model 5, which is one of the
earliest (middle of the eighties), USA hardware, Kahler tremolo, but Japan
made. I still have it and I use it sometimes for solo's and so on. Before that
I had a Japanese Fender strat, but I never liked it. In 1990 we had a deal with
Fernandez guitars and I used their flying V. That was heavy metal, man. I also
had an American Randy Rhodes Jackson in the studio, which I also liked a lot
(for ex. intro. of "Dying in the moment..."). But the best sound I
can get out of the Les Paul. Matter of taste I suppose. I have two of them; a
wine-red Gibson Les Paul Custom from 1975 and a black Gibson Les Paul Custom
from 1993. I use both live. My gear is; Rocktron Pro G.A.P pre-amp, Rocktron
Intelliflex - multieffect processor and Marshall 8008 power amp + Marshall
cabinet. I control everything through midi- footswitch. For me this
configuration works the best. I use to have Marshall JCM 900, but when I got
into bands where I had to be able to play distortion, clean, melodies with
different effects and other different things, I chose for Rocktron, which is my
favorite of the guitar rack- systems. I don't use any extra pedals, except
wah-wah sometimes. It's a quite compact and good working gear.
Is there any guitarplayer which has influenced you, or where
you just have enormous respect for?
- Not really, of course I could name some great guitar
players, but they haven't influenced my guitar playing, more my songwriting. A
guy to whom I do have respect is Zakk Wylde, but then again I wouldn't like to
do anything he does. He's just cool on stage and can play anything. From the
very start of my playing I learned everything by myself and never played after
other guitarists. I never read tabulators or that shit of other bands. I just
listened to the music, played on the top of it or created my own songs....
Actually I'm not even so interested in that stuff; guitar is for me just a tool
to express my feelings, not an specific instrument on it's own right. If I
could express myself better with a bass or keys, I would do that...
Let's talk about everyday life now. I believe you are a Drs
in Art-History right? This question might be weird, but what would YOU,
personally define as "ART"? Where's the limit? Do you see your music
as a form of "art"?
- Yes I got my degree of M.A. from the University lately. To
my opinion there is no definition to art. What we consider as art now is a
vision of this time. We think that art is something, which doesn't have precise
function, but is art at his own right. But on the opposite we consider
religious works from the 15th century as art, even though for those people it
wasn't art but devotional pictures or sculpture. It's a creative process which
counts. You can't force a creative process. When you talk about GREAT art,
there can be some definitions to that, but how do we measure that. If the
meaning of art is to wake emotions in people, it's great art when something
like that happens. We can measure the skill of the artist or materials of an
artwork, but if it doesn't do anything to us, is it still great art? And what
do we take as art, does a piece of work become art when somebody with a great
authority says it's great art, or do we consider it great art if it has a great
value in money?. It's not easy and I don't think there are absolute answers. If
people are touched by an artwork, I think that the purpose of an artwork is
fulfilled and this can certainly go for a good piece of music.
What do you do when not making music? I believe you are also
involved in the creation of an art-program on Dutch television right? Tell us
all about this! And what about the gothic-parties?
- I sleep. No, seriously, I am involved in different projects
on the art-field, but I don't have any steady job. I work on a freelance basis.
I worked lately for a documentation- film for Dutch television about Rembrandt.
My job was to take care of the set, like requisites and objects which were
needed for this. I was a kind of "expert" who advised the director
and the crew. I also did a small bit of acting on the background. It was very
nice job and the film will be also released on a video and it will be sold in
some Museums. I also have worked for redaction of an art-historical book about
Rembrandt and some other short things like this. The Gothic party which I
organize once a month in Amsterdam with some friends is called "The Cave
Of Satyr". It's a dance evening with DJs, decoration and so on. No bands (even
though I organize on 18.3 a party with two bands in another place and another
city under the same name). I though it would be great to have an alternative to
other parties in Amsterdam, which are quite big. At our place you can also
talk, play pool and so on, but of course also dance. We've had the party now
seven times and it's going fine. I think the reason is especially the fact that
we have a nice location very close to the center. The other parties are on the
industrial- buildings very far from the center.
How do you look upon the whole Internet-happening? - Are you
satisfied with the work Lugbúrz has done so far with the AR&DM-NetCave?
(Watch your words mr Yrlund hehehe:)
- Yes of course, it's great man!! I totally love internet! It
has make my life a lot easier. One example about this direct, fast media we
just saw on the tour; we were sitting in an internet cafe in Ljublana
(Slovenia) and we checked our homepage out. To our surprise there were already
photos from the second gig of the tour on-line! Great! Also there were a lot of
comments about the gigs in the questbook etc. I love it. Nowadays I do
everything through internet & e-mail; all booklet designs, all correspond
etc. You can be very creative with internet, as we have seen from Lugbúrz!!
(was this slimy enough??) [you did very well! hehe -B.]
This interview is almost comming to an end (finally), but
before we close down... Can you tell us what's going next on the AR and DM
agenda? Can we expect a video soon?
- We have lot of gigs with AR, something like 15 I suppose.
We go back to Spain for two gigs and to Portugal for one gig. We play of course
in Dynamo Open Air, which will be totally great. We will record a video-clip
down there aswell. In June we go to check our wings in Columbia for couple of
days. July and August we're free and after the summer we'll do a headline tour
through Europe. With DM we try to hit the studio as soon as possible to get the
CD out before autumn. That's about it, we're very busy as you can see...
Well that's about it, Örkki.
Thanks for your immense patience and your effort of answering these dubious
questions! haha! Is there anything left you wanna tell our readers, then say it
now!
- Thank you Bram for this
interview, it was my pleasure. Don't make any megagigathings like this anymore,
it's too much (heh). Dubious or not, you at least know what you are talking
about, that's cool. I wish all the luck to all the people who read this and
special thanx to those who came to see us live & who have enjoyed "Fatherland".
Keep The Black Flame Burning.
Interview by
BrambioriX on behalf of Lugbúrz - March 1999