Dødheimsgard: "I am black metal, not the genre, but the actual story"

Mastermind Vicotnik in a torrential interview around the amazing "Black Medium Current", inspiration and composition, philosophy, the upcoming shows in Greece, but also the burden of proof

Από τον Αποστόλη Ζαμπάρα, 13/04/2023 @ 17:35

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Every album by Dødheimsgard is an event. The Norwegian avant-garde black metallers are a band that has its own, alive and distinct, chapter in the history of extreme music. Eight years after the colossal "A Umbra Omega", one of the best albums of the previous decade for us here in Rocking.gr, the group returned with one of the most-awaited albums of the year. "Black Medium Current" has arrived and it is staggering. The band has met the immense, at the point of exaggeration, expectations, and despite the fact that this time it didn’t open a new portal in the map of extreme music, it created a black hole that managed to include everything inside it.

Mastermind of the band, the guitarist, composer, and now vocalist, Vicotnik, is a rare case of a creator. An interesting, witty and brilliant person, not afraid to express his opinions, throughout, but not exclusively, his art. So, reaching out to communicate with him, for the second time after 2015, was a justified move that became reality. The "architect of darkness", was revealing, and overtly analytical. He introduced us in the world of the labyrinthine new album, explaining many strands of it, elaborating on the sources of inspiration as well as how he approached the compositions and the vocals.

He didn’t skip of course, to talk about the upcoming shows of Dødheimsgard in our country, or the other bands that he is a part of. Finally, Vicotnik accepted to also justify extensively aspects of his worldview around matters that are neither easy nor obvious. With "Black Medium Current" being just around the corner via Peaceville Records, being an album that certainly will interest every person willing to explore the thresholds of extreme music, Vicotnik welcomes us in his world, in a conversation that I hope that’ll provide a more complete picture around the mythical entity of Dødheimsgard. Happy (and critical) reading!

 Dødheimsgard

Greetings, I am Apostolis and I welcome you again in Rocking.gr! First of all, congratulations on your new record, it’s amazing! "Black Medium Current" is your first album after eight years! While you were never a band that often released new records, I have to ask why it took you this long..!

Thank you very much.

We always go through several metamorphosises upon exiting a release. So, dial back 2015 and the last album. Then some touring followed 2016. Line-up changes followed shortly after that. Then I was trying to figure out where to go next artistically. When I had a clear idea, then it was time to pursue the content. Which is a bit hit and miss.

All the while, I do also share my time between all three bands I am currently active with, all three also being active on the live circuit. Some guest appearances here and there, and also a few much needed breaks once in a while, then here we are, 8 years later. I never intended to use this many years, but circumstances wanted it so. Foe the future though, I hope I can cut those 8 years in half. At least.

The song "architect of darkness" from "A Umbra Omega", gave me a loose idea which rabbit-hole to commit to

The LP seems like an evolution on the groundwork of "A Umbra Omega". How difficult was it to find a new "personal" sound in this record?

Well, one needs patience. I usually spend a long initial phase just thinking. Through this thinking a foggy picture slowly emerges, the thinking also sets the groundwork for concepts I want to visit, which in turn helps structuring both my reading and my writing. I also had sort of a great pow this time, as the song "Architect Of Darkness" from "A Umbra Omega", gave me a loose idea which rabbit-hole to commit to.

"But I am not a philosopher, I am an artist, so I am not trying to paint a dogmatic world view."

"Black Medium Current" expands on some epistemological themes that were already somewhat present on "A Umbra Omega". What drew you into the nature of science and human behavior and made you explore it artistically?

Well, I guess it is to an extent an interest I have besides music. Existential metaphysics, fused with abstract ideas, set in several scenes of experiental rendering. Of course existential philosophy encompasses a cast area of subjects, so I guess my central tenets somewhat, even though not solely, centers around personal freedom (and if there is any), adversity and responsibility, existential angst, as means of the pursuit of self-discovery. I often also tend to focus on issues in dualistic measures in a world where there is no justification to warrant a god.

So, reducing god to abstract, how does that effect certain other perspectives pertaining to behavior and the constructs we have found labels for, like reality, love, morals etc. But I am not a philosopher, I am an artist, so I am not trying to paint a dogmatic world view, I am presenting issues I consider universal in a sense. Like existential angst, it’s not that important for me that you understand my experience specifically, because you will probably have your own subjective notions to fit into the subject-boxes I am presenting.

DHG released our EP "Satanic art" in 1997 and then "666 International" in 1999. So, DMH centered around the year 1998

While "Black Medium Current" is almost 70 minutes full of excellent material, there are also Doedsmaghird, an entity that you regard as "the ultimate response to DHG's continued journey into the unknown", and has released a new song via the new Peaceville compilation. Would you mind telling more about this project?

Doedsmaghird allows me to go in both directions simultaneously. I can move forward with DHG to wherever, whatever and whenever, and at the same time DMH gives me the opportunity to focus more directly on, let’s call it, more specific artistic virtues. The concept for the DMH album started as an idea. DHG released our EP "Satanic art" in 1997 and then "666 International" in 1999. So, DMH centered around the year 1998. What could a potential album have sounded like if there ever was one in 1998.

The studio environment was much different place in the 90s then it is now days. So I had to figure out a method in which to make up for the differences that between then and now. My approach ended up being not over-thinking nor over-working the product. For the music and the lyrics, I didn’t pre-prepare anything. I just made up the content on the fly while in the studio, just sort of channeling what felt innate in the moment. This also pertains to say guitar-takes and what not. Just knocking it out and not focusing in on small mistakes. Letting the blemishes being part of its beauty.

So in many ways, both the DHG and DMH album is made on basically the same gear around the same time, but using two very different methods. When Cam jumped on the boat eventually, I also tried to relay and convey the idea to approach to him for the making of his content. I am very happy with the result. Two very different beasts from the same parent that both contrast and mirror each other.

 Dødheimsgard

We like to think we are in 100 percent control over our identities even though we experience them shatter multiple times during our lifetimes

If I’ve noticed correctly, the concept of "identities" is prevalent in the new record. Is this, in any way, a commentary on the way people construct theirs in their lifetime?

Identity is a complex matter. Human beings tend to think in narrative and we all suffer more or less from leading man/woman syndrome. I think we like to think we are in 100 percent control over our identities even though we experience them shatter multiple times during our lifetimes. We also tend to identify ourselves by picking personal attributes that don’t necessarily correlate with our actual nature. At the bottom of all this dwells the existential angst we talked a bit about earlier.

I guess to sum it up in a sense one can pose the question; in pursuit of truth, it might be more honest to challenge your existential angst, instead of making excuses or remedies to ensure the false narratives’ further assistance and existence. This can pertain to a vast number of different aspects, but for me particularly I focus on belief, and to what extent different beliefs are warranted.

If someone makes a claim about me, then that person has the burden of presenting proof and making his/her case

Furthermore, speaking of identities, there was a conversation a couple weeks ago in your social media about some comments you made in a sense of humor, regarding your travel in Mexico. Is ethnic identity, by default, an adequate argument/sanctuary about someone’s opinion on social matters?

(I am not 100 percent sure I understand your question, but here comes my reply):

It depends on the case, if the accusing claim is unwarranted and/or fallacious, my ethnicity as a counter argument is more than adequate enough, because I wasn’t warranted to give them any argument. But since I did, when is one argument more viable than another argument? Because, there is no such thing as 100 percent certainty, but when are you content that the question has been sufficiently answered or answered to where one can reach the most probable conclusion?

If you say to me, "I saw you with a questionable t-shirt 10 years ago", I suspect you have racist tendencies. In this case, which is a very weak case I might add, I would say that my ethnicity is good enough to be part of the retortional case for why this initial claim is preposterous. On the other hand, if there was an actual case against me pertaining to the same subject? Say I ran a blog which praised Trump and people like Nick Fuentes, in this case presenting my ethnicity as proof for not having racist tendencies would be a pretty weak counter argument. Let’s face it, different cases warrant different burdens of proof. If you told me you have a dog, I wouldn’t warrant proof to believe you, even if it turned out to be untrue. If you said you had a flying dog however, now that would warrant serious proof for me to believe it, even so if it turned out to be true.

Which brings us to the joke (e.c., the question refers to a Vicotnik’s humor attempt regarding an upcoming DHG live show in Mexico), what proof on the contrary does a claim of racism pertain to a joke that had no allusion to race? And when people start making shit up, it’s really not my responsibility to prove a negative. If someone makes a claim about me, then that person has the burden of presenting proof and making his/her case. Someone’s fallacious interpretation and or reasoning is not enough to warrant accountability. I might have some fun in indulging in these discussions because I am interested in topics of this kind, but let’s face it, claims without proof can be dismissed without proof.

It also makes me a bit furious in the sense that I have experienced racism throughout my life, and saw my father go through tons of it, so for these morons to think it is ok to go around falsely accusing people for terrible things with nothing more to go on than personal interpretations and faulty reasoning is disgusting. In my opinion they are almost doing the same amount of damage to the cause as the far right. So it is important to speak up against it.

Avant-Garde is one of these terms that attempts to fill multiple gaps

Do you consider yourselves a black metal band and how do you feel about the term "avant-garde"?

Yes, I come from the space and time of black metal, I am black metal, not the genre, but the actual story. What opinion some dipshit from another space and time might have about true black metal entiles, is of no concern of mine.

Avant-Garde is one of these terms that attempts to fill multiple gaps. Similarly to the word "spiritual", it ends up conveying little meaning on its own.
I do appreciate it though, because the term is given to us out of love and respect.

Why did you pick as the first single of the album, "Abyss Perihelion Transit"?

There are several reasons. To crave patience from the consumer. If they cannot commit, they can move on. Also I might have tried to defy expectations a bit. What someone might expect is not my template in regards to creativity. Another reason that made sense to me was that this was the first whole song I created after "A Umbra Omega", so in a way I am offering the listener the same experience as I had. The next track we will be presenting (referring to "Det Tomme Kalde Mørke" that was just released) will be the last track I made for "Black Medium Current". So conveyed between these two songs resides the whole process. In many ways, these two songs are also the two tracks furthest apart on the record and the rest of the album is something in between.

 Dødheimsgard

The album cover is really eye-catching. Would you like to explain to us how it connects with the concepts of the record? I’ve even seen comparisons to the one of the "Dark Side of the Moon"! Really, did Pink Floyd or ‘70s progressive/kraut rock in general, influence the record?

I actually had other 80s covers in mind when putting it together in my mind, but sure, I see the comparison. The idea was for the spectral lines to represent the physical plane on which we live, and for the empty space to represent the potential of everything that can be. The Spectrum is also a representation of light and the empty space the opposite, a play on known and unknowns. The moon depicted is called Europa, the smallest of the four Galilean moons orbiting Jupiter. My favorite moon. Which is a world to its own, it suspected to harbor more ocean than earth. Which is pretty fascinating.

The use of electronics and piano in the album is really intriguing. In a way, I feel that "Black Medium Current" is a direct follow up to "666 International". How did you approach matters of contemporary and/or classical music?

I never thought of it as a follow up to "666", in that regard, I feel it is more closely related to "A Umbra Omega", in particular the song "Architect Of Darkness". That was my starting point this time round. I really felt there was a lot more to explore there both regards to sonics and concept. I love the art of music, in all its forms, so it’s only natural for me that some other impulses sneak in on my records.

Death is my only true ownership

In "Voyager", you mention that "death is all I have, death is all I need". How did the concept of death, spiritual or natural, shape the new record?

Well, from my perspective, death is my only true ownership, and acknowledging this, it in return really implies how important this life is. Not only the importance of life itself, but which aspects of it that truly matters. Death being our only true ownership, gives us many clues pertaining to behavior and what we often base false assertions on.

I actually started working on my vocals for the purpose of doing DHG prior to joining Dold

How compelling was the tracking of the vocals for the album? Did your experience with Dold Vorde Ens Navn play any role on the vocal deliveries?

Dold album gave me training and some experience doing whole albums, which I had never done before. But I actually started working on my vocals for the purpose of doing DHG prior to joining Dold. That Dold came along was a great coincidence that I am sure influenced and benefited my delivery in DHG.

 Dødheimsgard

I find the universe to be an intriguingly mystical experience

Another topic that is prevalent in the record, is that one of the subjective perception of reality, versus the objectivity of the causal effects. As a mathematician, I’ve found myself many times to dwell into this dualism. Were there any events or personal experiences that moved you towards this stream of thoughts, and, would it be possible to share any?

Well, I like philosophical content. Also been spending a lot of time reading/watching/hearing content from Dillahunty, Harris, Dennet among others.

This content mix with own perceptions.

Yes, I had a few personal experiences, but I don’t really think its necessary to dwell on this in particular to paint the general picture. The paradox of free will might be that for the mind to even be able to conceive the notion of being free, the universe has to be deterministic. Seeing that a random universe cause and effect would have no contingency, it would be impossible for us to be having this conversation right now.

There are many existential properties on this album, and I don’t think I answer any questions. But posing these questions and thinking around them, I am touching on something true for all of us. Something universal that I invite you to approach on your own terms. But yes, its not only the topics themselves, these topics are experiental driven from my point of view. I find the universe to be an intriguingly mystical experience, so I don’t want to write about dogma or fairy-tales, I think that only cheapens the true story.

We are in the process of creating a new record (with Ved Buens Ende)

I know this is a long shot, but are there any news from Ved Buens Ende?

Yes, we are in the process of creating a new record, so lets see if we still manage to do so. Its easy to just put your logo on the cover right, but the most important factor is that content correlates with what was. Especially in this instance where there is a gap spinning over decades.

I am really unhappy about my last performance in Athens. It is a bitter pill to swallow

Final question, and I would like to thank you for your time! You are about to return to Greece for a live show in September. What should we expect from Dodheimsgard in a live setting, and in the future in general?

I am really unhappy about my last performance in Athens. It is a bitter pill to swallow, and maybe more so due to Athens being one of the most important places for me. In many ways Greece is my ground zero, for some reason or another. It is important the respect given to you is returned in equal measures. And I am sorry to say, that on my last trip over, I didn’t give you what you deserve. So you can expect me doing all in within my power and ability to rectify this fact.

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