Welcome to the Moonsorrow Interviews Compilation!
Here you will find more than one hundred Moonsorrow interviews, many of which have already disappeared from where they were originally posted. Check the Index and Contact pages above and the notes in the left column for more info.

Sunday, July 8, 2018

Impact Metal Channel / April 2016


23 · IV · 2018
Barba Negra Club, Budapest, Hungary



Tuesday, May 1, 2018

Metalcry / April 2016



SOURCE






MOONSORROW regresan a las primeras páginas con un nuevo disco después de cinco años de silencio discográfico ¿De verdad pensábais que íbamos a dejar pasar la oportunidad de charlar un rato? Aquí tenéis nuestra entrevista con el guitarrista y cantante Mitja Harvilahti:

“Jumalten Aika” sale hoy 1 de Abril ¿Qué podems esperar de este nuevo disco?

Bueno, es más variado en muchos aspectos. Más Black Metal, más influencias tradicionales escandinavas, con más riffs también. No es tan directo como nuestros dos últimos discos en lo que se refiere a las estructuras.

¿Cómo va a ser diferente de “Varjoina Kuljemme Kuolleiden Maasa”?

Bueno, musicalmente queríamos crear algo con más giros que antes. Es decir, aún es muy “épico” en todos los aspectos pero esta vez hay más interludios acústicos y cambios repentinos en comparación con VKKM. El sonido también es algo diferente con más espacio para los elementos acústicos ¡No es tan rompedor pero es más canalla!

Este va a ser vuestro séptimo LP en una carrera que ya dura más de 20 años ¿Cómo conseguís manteneros frescos sin perder vuesto distintivo sonido?

¡Buena pregunta! En realidad, nosotros hacemos discos cuando tenemos algo que decir. Esa es una de las razones por las que ha pasado tanto tiempo desde VKKM. Llevó bastante tiempo para que realmente tuviéramos material lo suficientemente bueno como para poder defenderlo ¡Si no encontráramos la música lo suficientemente interesante o buena nos separaríamos o quizás hubiéramos esperado otros cinco años!

Hasta ahora habíamos visto un par de teasers y el video single de “Suden Tunti“ ¿Qué me puedes contar del último?

“Suden Tunti“ es la canción más corta del disco y el tema que toda es muy bueno para un vídeo musical. Hemos trabajado con un magnífico equipo servio para hacerlo. Sabíamos que la animación era la única forma de contar la historia y pensamos que el resultado es todo un éxito.

Parece que tenéis una relación especial con las canciones largas, dado que podemos encontrar cuatro temas por encima de los diez minutos en este disco ¿Es algo que buscáis cuando componéis o simplemente sale así?

Supongo que a estas alturas de nuestra carrera podemos decir que los temas por encima de los diez minutos son la norma para nosotros. La longitud no es importante en si m isma pero si queires crear música épica, hace falta construir los temas. En realidad queríamos escribir temas más cortos esta vez, pero no salió.

“Jumalten Aika” se traduce como “The Age Of Gods” ¿Puedes contarnos algo del contenido lírico del disco?

Claro, con este disco queríamos retomar los temas mitológicos. Básicamente el disco empieza en el tiempo que la gente empezó a crear religiones y creencias para darle sentido al universo. Crearon los dioses para que la gente pudiera creer en algo más grande.

Este va a ser vuestro primer disco con Century media ¿Cómo os sentís con el sello de momento? ¿Por qué os decidisteis por ellos?

Estamos realmente satisfechos con Century Media. Son muy profesionales y no están ahí solo para hacer negocio sino porque aman la música. Esa es la principal razón por la que queríamos firmar con ellos. Sentimos que realmente se preocupan por lo que hacemos. Nosotros ponemos todo lo que podemos para hacer un buen disco así que es muy satisfactorio trabajar con alguien con la misma pasión.

Si un fan entrara en una tienda y tuviera que elegir entre “Jumalten Aika” o cualquier otro lanzamiento ¿por qué deberá escoger el vuestro?

Hmm… Bueno, creo que si el o ella lo escucha, no se abrirá completamente la primera vez. Puedes escucharlo muchas veces y seguir encontrado cosas nuevas cada vez.

Estáis a punto de salir de gira ¿Qué expectativas tienes de estas fechas?

Ha pasado demasiado tiempo desde nuestro último tour europeo, así que estamos muy excitados de poder tocar en esos locales otra vez. Especialmente ahora que tenemos un nuevo disco. Girar normalmente supone grandes momentos en todos los sentidos, así que sienta genial salir a la carretera de nuevo.

El 13 y 14 de Abril tocaréis en Madrid y Barcelona junto a KORPIKLAANI ¿Qué pueden esperar los fans de estos conciertos?

¡Creo que sera un gran concierto! Nos encanta tocar para los fans en Madrid y Barceloa así que espero que sean dos de los conciertos más salvajes de esta gira.

El año pasado fue vuestro veinte aniversario como banda ¿Tenéis planeado algo especial para celebrarlo?

¡Sí! Este álbum nos ha costado cinco años ¡No podría haber mejor celebración que un nuevo disco!

Vuestros discos están claramente diseñados para escucharse como un todo. Teniendo eso en consideración ¿Cómo te sientes acerca de plataformas como Spotify, iTunes o Youtube que, en cierto modo, promueven una forma de escuchar música orientada al single?

Realmente no lo acabo de entender. Desde luego yo también escucho música así, pero no lo disfruto igual. Aún quiero mis discos como un todo. No tengo nada contra estas plataformas, que tienen su lugar y las utilizo todas, pero desde el punto de vista de artista deberían ser más justas de lo que han sido. Aún estamos viviendo un cruce caminos con la industria musical: aferrarse a todo lo que se construyó para los lanzamientos físicos o aceptar que la forma de consumir música ya ha cambiado.

Por último, me gustaría agradecerte tu tiempo y dejarte este espacio para decir lo que te apetezca a vuestros fans:

Al fin tenemos un nuevo álbum ¡y estamos muy orgullosos de él! ¡Así que echadle un vistazo y venid a vernos a los conciertos!

Rafa Basa / February 2016



SOURCE





Entrevista con el bajista y cantante Ville Sorvali de MOONSORROW.

Aprovechando la próxima salida de su nuevo álbum ‘Jumalten Aika’ – que significa ‘The Age Of Gods’ en inglés, a través de Century Media, pudimos hablar con el bajista y cantante Ville Sorvali de MOONSORROW. Esta fue la corta charla:
– El 1 de abril del 2016 editaréis vuestro séptimo álbum de estudio bajo el título ‘Jumalten Aika’ – que significa ‘The Age Of Gods’ en inglés, a través de Century Media Records. Vamos a hablar del disco y más cosas…
Misterio, brujería, oscuridad profunda,  leyendas relacionadas con los Dioses del norte… ¿Hay todo eso y más en el nuevo álbum?
Ville.- En general, para el nuevo disco queríamos hacer algo que sonara más crudo y energético que nuestro anterior material. Queríamos tener un sonido que de alguna manera fuera antiguo y primitivo, y además de eso, queríamos contar historias basadas en épocas pasadas hace mucho tiempo. Nos hemos inspirado en la mitología pero no queríamos contar otra vez las mismas historias, queríamos inventarnos nuestros propios relatos. “The Age Of Gods” está básicamente situado en la época en la que la gente comenzó a crear sus sistemas de creencias.
MOONSORROW
– Para hablar sobre estas cosas, me imagino que te inspirarás en algo… ¿Libros, experiencias propias?
Ville.- Bueno, esta vez principalmente ha sido la mitología finlandesa y escandinava. Quería dar nueva vida a historias que se contaban hace muchos, muchos siglos pero con mi propia perspectiva.
– ¿Cómo están repartidas las influencias folk con el metal en el álbum? Sois metal, folk, Pagan Metal… ¿Qué definición hay para tu banda en la actualidad?
Ville.- Bueno, sin duda somos una banda de metal, pero la música Folk es una influencia muy importante. Esta vez hemos querido aclarar un poco el sonido añadiendo algo más de Folk acompañando al metal. Creo que esto ha tenido una gran influencia en el sonido a la hora de hacerlo más antiguo y primitivo.
– ¿Cómo explicarías que de repente, en los últimos años el Pagan Metal esté tan en boga? ¿Cuál crees que es el gancho para que cada vez haya más fans que demanda este estilo?
Ville.- Creo que está muy bien que la gente se interese en este tipo de música porque al menos habrá algunas personas que se metan en las cosas sobre las que cantamos. Me da la sensación de que hoy en día hay más gente interesada en sus ancestros, más gente preocupada por sus raíces y por escuchar historias antiguas y su sabiduría. Quieren aprender más y mejorar su comprensión de la naturaleza por ejemplo, una parte muy importante de la vida de todos. La gente tiene que entender que si la naturaleza no va bien, nosotros tampoco.
No sé si esto responde a la pregunta sobre la popularidad del Pagan Metal, pero la verdad es que no me preocupa si nuestra música es popular, simplemente es la música que queremos tocar. Por supuesto me alegra que la gente compre los discos porque con eso nos ganamos la confianza y la financiación de nuestro sello para poder seguir haciendo lo que nos gusta.
MOONSORROW
– ¿Cómo es este disco en comparación con anteriores álbumes vuestros? ¿Qué similitudes estilísticas existen y que diferencias entre otros?
Ville.- Creo que los álbumes anteriores eran discos conceptuales muy cerrados, con las canciones conectadas entre sí tanto a nivel de letras como de música, pero esta vez queríamos un disco en el que de verdad se pudiera separar un tema de otro. Canciones que pudieran disfrutarse por separado. Creo que esa es la mayor diferencia.
– Háblame de algunas canciones concretas. Elige las que quieras, las más significativas y cuéntanos de que hablan y como son musicalmente.
Ville.- Bueno, para mí esa pregunta es que como si te dicen que elijas a uno de tus hijos. Me gustan todas (risas).
– El álbum incluye las versiones de “Soulless” (versión de GRAVE) y “Non Serviam” (versión de ROTTING CHRIST) ¿Por qué habéis elegido éstas?
Ville.- Los dos temas originales son una parte muy importante de nuestro desarrollo musical, y nos han influenciado mucho a nivel personal. Creo que a todo el mundo en el grupo le gustan mucho estos dos temas, y queríamos darles un toque de MOONSORROW.
MOONSORROW
– KORPIKLAANI y MOONSORROW tocaréis juntos en abril en Madrid y Barcelona. ¿Cómo serán los conciertos?
Ville.- Estamos muy emocionados con la gira, todavía no tenemos preparado el repertorio pero por supuesto habrá material nuevo. También tenemos muchas ganas de volver a España porque el público está loco y eso nos encanta.
– ¿Cómo quieres despedir tú mismo la entrevista?
Ville.- Muchas gracias. Pedir perdón a los fans por tardar cinco años en sacar un nuevo disco, pero a veces las cosas buenas llevan tiempo y agradezco que hayan sido pacientes. Definitivamente seréis recompensados cuando salga el disco.
Rafa Basa

Saturday, March 17, 2018

The Metal Circus / April 2016



SOURCE



Mitja Harvilahti (guitarra y coros) nos recibe en el backstage de Razzmatazz 2, y nos sentamos a charlar en la hora y pico que queda antes del bolo. Quizá fuera porque venía entusiasmado por el buen tiempo que hace en la ciudad condal, tan distinto de su natal Finlandia, porque llegaba enamorado de la Barceloneta, o porque justo había descubierto los mojitos del Born, pero nos explicó detalles del nuevo álbum, su viaje personal por la trayectoria del grupo, el motivo del nombre “Finnish Folk Metal Mafia”, novedades sobre "Lakupaavi", y hasta una historia sobre cómo fueron víctimas de una investigación del FBI.
Este jueves, Barcelona era asaltada por la Finnish Folk Metal Mafia, o lo que es lo mismo, las bandas finlandesas de folk metal Korpiklaani y Moonsorrow. Aprovechamos para hablar con los segundos, que es apenas la segunda vez que visitan nuestro país en sus veinte años de trayectoria, y que recientemente han sacado su séptimo álbum, “Jumalten Aika“.

Mitja Harvilahti (guitarra y coros) nos recibe en el backstage de Razzmatazz 2, y nos sentamos a charlar en la hora y pico que queda antes del bolo. Quizá fuera porque venía entusiasmado por el buen tiempo que hace en la ciudad condal, tan distinto de su natal Finlandia, porque llegaba enamorado de la Barceloneta, o porque justo había descubierto los mojitos del Born, pero nos explicó detalles del nuevo álbum, su viaje personal por la trayectoria del grupo, el motivo del nombre “Finnish Folk Metal Mafia”, novedades sobre “Lakupaavi“, y hasta una historia sobre cómo fueron víctimas de una investigación del FBI.

Empezamos hablando del nuevo álbum, que llegó a las tiendas a principios de este mes, después de levantar gran expectación por las redes y cosechar excelentes notas entre las publicaciones especializadas. En palabras de Mitja, “mezcla elementos nuevos y viejos, como el folk escandinavo, pero a la vez también tiene una atmósfera muy oscura”. Nos cuenta que están especialmente satisfechos porque han logrado un álbum muy sólido, “que funciona como una pieza” pero que, a la vez, “tiene muchas variaciones interiores, especialmente con la instrumentación”, y que eso es algo que llevaban mucho tiempo queriendo conseguir.

Las letras del álbum tratan de la mitología y el nacimiento de las religiones: “Empieza cuando la gente está creando la fe, para poder explicar sus propias vidas, y luego caen en creer que los dioses los crearon a ellos”, y acaba formando una narrativa circular, pues “en la última canción [“Ihmisen aika“], los hombres han abandonado a los dioses y sólo se mueven por la avaricia y el dinero”. Pero no se trata enteramente de un álbum conceptual, como ya habían hecho anteriormente, si no que “sigue una historia, pero no completamente. No todas las canciones están conectadas directamente las unas a las otras, si no que sólo se relacionan porque tratan el tema de la mitología.” Debido a esto, Mitja opina que, en “Jumalten Aika“, las canciones “no están muy conectadas las unas a las otras, son más individuales”, pero que tampoco se han alejado mucho del estilo de Moonsorrow, y que “nunca seríamos capaces de escribir un álbum que fuera sólo un puñado de canciones”. En general, Mitja reconoce la influencia de la cultura escandinava en los temas que trata el grupo – concretamente, destaca las Edda, y aunque le gustaría que pudieran tratar más el Kalevala (su leyenda favorita, sobre el asalto de unos héroes a otro país, pertenece a este recopilatorio), bromea sobre que Amorphis ya se encarga de esto.

Una de las cosas que más ríos de tinta han hecho brotar sobre Moonsorrow es la longitud de sus canciones, que pueden cómodamente alargarse hasta el cuarto de hora. Escoger cuándo se acaba una canción “es muy difícil; podemos empezar con una idea, pero luego tenemos que probarlo todo”, nos confiesa, y nos cuenta que “no escribimos de principio a fin de golpe, si no que escribimos algo para el principio, algo para el medio, y luego algo para el final, y empezamos a mezclarlo.” Es algo que, según Mitja, tiene que ver con la forma cómo crean el concepto de las canciones, con una fuerte estructura de motivos recurrentes, pues, “cuando tienes motivos fuertes, se acaban volviendo a entremezclar al final, [aunque] cuando empezamos a escribir un tema no siempre lo tenemos planeado, pero siempre acaba siendo la mejor forma. La forma con la que Moonsorrow funciona”.

Mitja nos relata que, con este nuevo álbum, han tenido especiales problemas para delimitar el contenido de los temas (“No sé por qué, ¡pero fue muy difícil! ¡Teníamos que probarlo todo!”), y que, por ejemplo, con la segunda canción [“Ruttolehto“] “justo un día antes de entrar al estudio, Henri cambió la estructura completamente, y nosotros nos quedamos como “¿y ahora qué coño es esto? ¡No podemos hacerlo!”, pero, por suerte, mantuvimos los cambios”, desembucha entre risas.

Hablando de Henri Sorvali [guitarra, teclados, voz y compositor principal], Mitja nos confirma que tampoco le veremos girar en esta ocasión debido a los motivos que él mismo mencionó en su blog, pero le pedimos que le haga llegar los mejores deseos de todos los fans hispanohablantes y que, aunque entendemos la situación, sería bonito algún día ver llegar a nuestras costas a la banda completa.

Son ya más de veinte años en activo, y con siete trabajos bajo el brazo, puede resultar complejo para los novatos orientarse y escoger con qué álbum empezar a adentrarse en el mundo de Moonsorrow. Mitja os recomendaría enfrentaros a ellos en estricto orden cronológico, para ver la evolución de la banda – “No me gustaría escuchar “Suden Uni” (2001) después de “Hävittety”(2007)” -, una evolución de la que a él le gusta destacar el giro hacia un estilo más intimista y “realista, práctico y humilde”. Señala “Verisäkeet” (2005) como el punto de inflexión donde se dieron cuenta de que no necesitaban tantos elementos sinfónicos, “que en “Kivenkantaja” (2003) nos llegamos a ahogar entre tanta orquestración y arreglos”, y que ellos debían hacer lo opuesto a grupos como Nightwish (en ese momento, en pleno despegue).

Y otro de los puntos clave de su carrera que escoge destacar es el lanzamiento de “Hävittety”, por el hecho de que se trataba de un álbum que contenía sólo dos canciones (de media hora de duración cada una.) “Es el epítome de cuán épicos podemos llegar a querer ser, porque no creo que nunca hagamos algo más grande que aquello”. Pero, ¿fue complicado para la discográfica -que tiene que pensar en la viabilidad económica de las propuestas- aceptar algo tan atípico? “¡Tuvieron que hacerlo!”, exclama Mitja entre risas, para después ponerse serio: “No pueden controlar qué escribimos. No somos un producto, somos artistas. Y si no podemos hacer lo que deseamos hacer, realmente no hay ningún motivo para sacar trabajos.” Por suerte, la crítica y el público les dio la razón, valorando el álbum muy positivamente, aunque Mitja advierte que “es algo complicado de escuchar, requiere mucha energía”.

Recientemente, Moonsorrow ha llegado de una gira por China bastante ambiciosa, con apenas un par de días en Helsinki para descansar antes de enfrentarse a la rama europea de la promoción. Aunque no tienen ningún ritual concreto para encarar los bolos, “sólo un par de birras y ya” (y en este punto de la entrevista ya va por la segunda), Mitja reconoce la labor del personal técnico, que “hacen un gran trabajo, muy profesional, para que no nos tengamos que preocupar de la logística y nos podamos enfocar sólo en tocar”.

Llama la atención que, cuando giran con Korpiklaani, los dos grupos se hacen llamar Finnish Folk Metal Mafia. Justo en el momento de hacer la pregunta, un roadie entra en la sala y los dos se miran significativamente sin apenas poder aguantar la risa. Esto huele a buena historia. “Estábamos en una gira junto con unos otros grupos alemanes y, bueno, nos lo estábamos pasando bien, estábamos ya algo borrachos, y decidimos empezar a robar el bote de los alemanes, y llegó el punto en que nos hicimos llamar Finnish Folk Metal Mafia. ¡Hasta nos hicimos unos tatuajes a juego!”, y nos muestra un tatuaje en su muñeca, donde pone FFMM en tipografía rúnica. “Nos todos lo tenemos, pero algunos sí que nos atrevimos”.

Ahora que ya hemos dejado atrás la parte más técnica de la entrevista, parece el momento de preguntar por “Lakupaavi“, un proyecto en broma con el que Moonsorrow hizo perder la fe por unos instantes a todos sus fans. Ahora que ya han pasado diez años de la aventura, ¿cómo se ve des de la distancia? “Sigue siendo pura mierda”, bromea Mitja. “No, ahora en serio, creo que fue algo genial, muy espontáneo.” Y nos sorprende confesando que “habrá más noticias de “Lakupaavi“, sólo que no sé cuando, y esta vez no tendrá nada que ver directamente con Moonsorrow. De hecho, hasta tenemos ya una canción”.

El sentido del humor es algo que caracteriza a los integrantes de Moonsorrow. De “Lakupaavi” ya hace diez años, pero apenas hará un año, Henri puso patas arriba la comunidad metalera a costa de la marca de ropa H&M. Mitja tampoco acaba de entender cómo fue que todo se salió de madre tan rápidamente – “Empezó como una cosa de Facebook y de golpe la gente se empezó a unir (no puedo decir quiénes eran, pero había más de 40 personas implicadas), y en un día ya había el sello discográfico, las canciones, las portadas, las páginas web…”. El problema, según él lo ve, llegó con las webs americanas, “que malinterpretaron el asunto. Si todo el mundo hubiera entendido que era una broma, no habría llegado a ningún sitio, pero se pensaron que iba en serio, y en dos horas ya se había compartido millones de veces.” Nada que decir, pero, contra el público americano, del que destaca que son “muy amables”, aunque, por supuesto, también hay una historia que contar detrás de su primera gira al otro lado del charco, con implicación del FBI incluida: “La primera vez que tocamos allí fue en un lugar que estaba como conectado a un hotel [cuyo huéspedes da a entender que debían ser gente muy religiosa], y se quejaron, y unos días más tarde, el FBI empezó una investigación y hasta preguntaron a los organizadores si habíamos sacrificado algún animal o algo así.”

“Creo que todo el mundo quiere creer en algo”, nos cuenta Mitja, ahora que hemos decidido hablar un poco de religión. “La gente crecemos y no tenemos una madre que nos siga cuidando, y acaba siendo necesario creer en algún tipo de dios. No importa si es o no es [el] Dios [cristiano], pero se necesita creer en algo, algún tipo de marco que ayude a entender qué somos, de dónde venimos, o qué es sagrado para nosotros”. Unas reflexiones interesantes, provenientes de una banda cuyo miembros se identifica como ateos o paganos.

Para Mitja, algo muy importante (quizá hasta cercano a lo sagrado) es la naturaleza. Nos cuenta que intenta preservarla, que da dinero a diferentes organizaciones y está reduciendo su consumo de carne, pero que por encima de todo es realista (“no me puedo considerar vegetariano”), e intenta no ser hipócrita: “No puedo decir que sea un santo, pero por lo menos intento ser lo más honesto posible. Creo que daño al mundo más que la gente normal porque estoy volando todo el tiempo, y la contaminación que sale de todos los aviones que usan las bandas cuando giran no puede ser ecológica de ninguna manera.”

Finlandia tiene la peculiaridad de que la tierra se regula según los derechos tradicionales de acceso, es decir, así por encima, que cualquiera puede pasear libremente por el bosque y recolectar bayas, setas, u cualquier otro recurso natural, aunque dicho bosque pertenezca a un territorio con propietario. “Simplemente, es de buena educación no acercarse a los edificios donde vive la gente”. Sin embargo, recientemente se dijo que el gobierno finlandés había propuesto una ley que permitiría la privatización de los bosques por parte de las empresas. Mitja nos actualiza y nos cuenta que esta ley ha sido, tristemente, aceptada, y que “realmente es muy jodido. No sé exactamente cuáles van a ser les consecuencias, pero es ridículo. Quién quiera que esté al mando de esto…” Lejos del paraíso natural que pueda parecer, Finlandia está forcejeando con varias problemas referentes al ecosistema, “como los lobos. Apenas hay 100 lobos en todo el país, y podría haber más, pero están dando permisos para matarlos.”

Mitja no lo ve muy claro: “Creo que van a haber manifestaciones. Pero los finlandeses no somos muy buenos con las manifestaciones, somos demasiado amables, y vagos”. Mejor no se fijen en nuestro estilo, de mucho ruido y pocas nueces.

El reloj nos avisa de que queda ya poco para dar inicio al bolo, y dejamos que Mitja vaya a asaltar el catering – nos parece ver restos de paella – y coger energías para darnos un concierto que, seguramente, será inolvidable.

Wednesday, January 10, 2018

Necromancer's Crypt / September 2017 (Lunar Womb)



SOURCE


Hi Henri,
This interview is a retrospective discussion with one of the pioneers of the DS genre or Hernri Sovali (instrumentalist, sound engineer, composer producer and a member of Moonsorrow and Finntroll, he has been working in the game industry as musician since 2004.
I must say that I run into your music exploring the network with the intent of expanding my DS music culture. The Lunar Wombs are one of the groups that not only hit me but also gave me the feeling of the group that puts a solid stylistic brick in the genre.


Thank you! When we (as Lunar Womb was first a collaboration between three people) started the project in 1994 we were mostly inspired by bands such as Tangerine Dream and Burzum. When the other people left the project after the first demo I wanted to bring more of my other influences to the project, namely the folk- and middle- age- elements combined with the ritualistic and meditative approach of the first demo.

There weren´t many bands of the genre at the time in the “Dungeon Synth”- scene albeit from Mortiis and the sporadic Norwegian offshoots (Wongraven, Neptune Towers, etc) , but I was heavily into projects such as Endvra, Puissance, Elend and Pazuzu which were a huge source of inspiration to me among classical, medieval and folk music in general. I guess that all molded Lunar Womb´s sound what it was to become before going much more folky and melodic in the last demo.




Ok then,
the Lunar Womb project was born in 1995 but only in 2015 it has been resurrected and remastered, in your bandcamp there is written that resembling it gave you the impression that it was dated , but I had the impression  that did not but that is only good music ...


It took me longer than I expected to finish “The Sleeping Green” and when I finally had got the last mixes ready in 2001 or so, I already felt the project sounding a bit too “outdated”, and our cassette label which was supposed to release it was already laid to rest a couple of years before. I was also quite busy with both Moonsorrow and Finntroll and decided to leave the album unreleased “until I think otherwise”.

Fast- forwarding to 2015, I accidentally stumbled across the original recordings again and thought that underneath the bad sound is still beating a strong vision which should be dug out. And that I should give the album it´s last rites, remaster it for good and let it rest eternally. After all, I had put very much effort and soul to it and I felt it still contained the same spirit that was burning (and still is) inside me years ago.
As we had now things like Bandcamp, Youtube and many others and I knew I wasn´t going to need any publisher anymore, I spent several full days decluttering the sound, restoring lost dynamics and fixing horrible engineering mistakes I had foolishly done fifteen years ago until I knew I couldn´t make it any better.

What has convinced you to remasterize "The Sleeping Green" and above all you can talk about your great musical passion that you have ? Can be considered a great relief even at a psychological level?

  <a href="http://worldoftrollhorn.bandcamp.com/album/the-sleeping-green">The Sleeping Green by Lunar Womb</a>


First of all I thought the album should be finally released to the public due to the abovementioned things in the previous answer, but as I had greatly improved in my technical skills during the years I thought I could also take it as a “technical challenge”. My passion for music that awakens feelings and paints pictures unseen is very deep, and as I had conjured everything from my mind back then I also hoped to evoke such visions within the listener´s mind.
I wanted the music to take me somewhere I felt I belonged, and I wanted to show people where that place was. In that sense, it was also a relief to finally show the possible listeners the map there. If the listener finds the same imageries, landscapes and long lost ages that I did, I feel I have succeeded on my humble task.

Does your job at Rovio Entertainment (if you still work with that company) have a lot of influence on your musician's creativity or is it the reverse?

It´s a double- edged sword, really. I have been working as a composer in the games industry since 2004 but I have always had some spare time to waste at work than after joining the Angry Birds, which is much more demanding job. I have worked there since 2013, and while I have become much more professional composer and music producer during the time, it also has sometimes negatively effected my workflow for what it comes to more “spiritual” compositional outbursts on my spare time due to exhaustion. (which also could be explained that during this time I have also started a small freelance mixing service and got two more kids, hah!) 
While doing music at Rovio, I find it very important to still make music which contains something else than just notes in certain order, which is sometimes consuming, as we´re speaking of creative work being done on constant schedules. However, I feel like working in such professional atmosphere feeds my creativity at the same time and pushes me to try different new things and techniques which I wouldn´t even dream of 4-5 years ago. And while I do that, I try to make sure there´s never a moment I couldn´t put a lot of my own touch to everything- for example, on the last soundtrack I made, I included influences from Burzum and Danzig to the package, haha!


Does music in the video game world have something special that can not be transmitted in the same way in DS ?

Absolutely not, if you ask me. There´s a lot video game music hugely resemblant to DS genre, and in fact I´ve been saying for years that some day I´ll write a lenghty essay on the topic pointing out parallels between the two musical forms, haha! To tear it down a bit, both genres are heavily drawing from the ambient genre, are basically existing to evoke feelings and tend to be repetitive and hypnotic on their roots- not so far away from early electronic and ambient music. And New Age too, if you prefer, which is just basically a (poor) spiritual attempt on both.

On the other hand, if we´re taking game music´s most known examples- be it either hanszimmeresque corny movie soundtrack style (CoD, I´m looking at you) or the classic 8/16- bit stuff, I can understand why comparisons to the feelings the DS genre may evoke within the listeners which game music cannot are rather justified. There is a lot of game music which can transmit the same sort of emotions a DS album can at it´s best, and I´d strongly suggest you to check out soundtracks from such classic games as “Myst”, “Diablo II”, “The Dig” and “Fallout II” to get a glimpse of game music in more DS/ dark ambient style, and Brothers: A Tale of Two Sons which combines the same elements Lunar Womb´s “Sleeping Green” is full of- only ten times better!

To be honest, I think it´s a shame that the mainstream game music in the 2010´s doesn´t necessarily bring forth such a strong atmosphere it used to do 10-15 years ago due to hollywoodizing/ “playing it safe”- reasons, but if you wander to the more indie side of things, there´s a lot of good things happening on the musical side which you could enjoy. Then again, isn´t this the case with everything, heh?

I do not really like video games and/or various fantasy stories etc. But...
Do you believe that the video games audience has a different, (I would say more superficial, approach) to the music ? or there are sensitive ears between game players that listen with  passion the music that accompanies the game itself?



I pity the fool who cannot surrender to the immersive grasp of fantasy world- after all, that´s what the whole DS genre is all about! ;)  What our societies have forgotten during the constant growth in both technology and efficiency is the art of storytelling and spirituality. Our roots are torn apart and replaced with fast food, homogenic cultures, reality TV and Cosmopolitan. Fantasy literature, movies and games are all part of the same revival as is the DS- genre: not only pure entertainment per se, but a clear indicator that the western society- no matter how well it works otherwise- has forgotten it´s own roots.

For some, it starts from Game of Thrones and for some the glimpse is revealed by a role- playing game while someone wants to understand Deathspell Omega´s lyrics better. But this all is a clear indicator that our world is lacking the depth it once had, and every day more and more people are starting to realize this. Our job as musicians is to take part of that call and strengthen the signal when it´s needed.

When you think about the music used in these forms of art, I believe it´s very much dependant on the game genre, though. It´s really hard to believe someone fully embracing any spirituality or superficiality in Mick Gordon´s (par excellent, mind you) Doom 2016 soundtrack, but am most certain that the more (medieval) fantasy- based the game is, the more it draws in certain types of people who are also much more sensitive to the music than, say, people who are more into Counter- Strike.
 

What do you think about the current development of the DS scene?
Is there any group you like in a particular way?

My knowledge of this lately- resurrected scene is rather minimal at the moment, though I am extremely pleased on the revival of these soundscapes. It seems that the Americans are mostly to be thanked for this, as I haven´t really been exposed on any European people doing this particular style lately...and with lately I mean the last 15 years, haha! For what it comes to any particular groups, Druadan Forest (though having been around since the 90´s), has made an awesome new DS- album which I had the opportunity to master at my studio just recently. It should be out on Werewolf Records soon, and I highly recommend to check it out when it´s released!

The biggest challenge in the whole DS- genre revival in my opinion comes from the fact that as these soundscapes were originally a product of the 90´s, it´s very hard to get the same hardware and sound over 20 years later. Nowadays you can get almost any instrument sampled digitally, but the more common late 80’s/ early 90’s hardware synths from Roland, Korg and Ensoniq are completely deglected as there is no demand for their cheap digital sounds which were popular back then. They aren´t too good to be “retro” but not too good to be useful either for most of the people, thus they are not available in various sample formats for now. But maybe times change in the future?

The computer and sample- based production of the 2010´s has surely brought us a lot of opportunities to use same sort of sounds digitally, but if they were used the exact same way that they were done in the 90´s, the sound would also be dull, outdated and quite poor. It is certainly pure art to balance the old and the new together in a way that is still respectful to the genre, yet with the worst technical flaws defeated.
And we also need to consider the fact that these original soundscapes weren´t necessarily the best of the best at the time- usually they were cheap digital synths with very synthetic- sounding imitations of real instruments and I´m certain the artists would had used more realistic- sounding and generally better- quality sounds if they had the opportunity to do it. Had the scene evolved and continued, who knows how the original concept of e.g. Mortiis would had sounded with today´s technology!


If the Lunar Womb project was continued as you think it would have evolved?

I believe it would had become something very Wardruna- like, yet not as warlike and ritualistic. Immersive soundscapes combined with traditional instruments, samples of nature and a ton of choirs. But definitely more into the dreamy and spiritual side of the bone, though. Lunar Womb was (is?) always about a lonely and long journey instead of a horde of barbarians chanting war hymns....Not that there´s anything wrong with that either, hah!

Are you satisfied with the re-issue of Lunar Womb  “Planets / The Astral Grief” by the Hollow Myths label?


I wasn´t planning to release the re- issue at all and it took quite a many persuading emails from them to finally get my acceptance on the matter. I was willing to do it in the end because I heard there were so many people asking for it in CD form and I wanted to give them the chance to get the music on CD instead of a random Youtube- link which they didn´t want. We have agreed that the initial amount will be 100 pieces and no more shall be printed ever again.



Are you also into techno music?

Among many other music styles- absolutely yes, and if counting ambient out of the context, my particular favourite subgenre is Goa Trance (and some Psytrance). It has the same element in common than in many other music genres I enjoy, which is meditative and hypnotic, slowly evolving minimalism. On top of that it´s also very atmospheric for what it comes to the production and has usually very widely utilized stereo image which drowns you to the soundscapes, resembling a lot of genres from ambient to even black metal.


The artwork from Rudolf Koivuof  of“The Sleeping Green ” is great … Are there other artists and illustrators whom you particularly like their work?


This couldn´t be an interview about 90´s Dungeon Synth without mentioning Theodor Kittelsen and John Bauer, haha! Especially Bauer´s work on Trolls has been a huge influence for me throughout the times. But for Finnish painters more than just Rudolf Koivu, I need definitely to mention Akseli Gallen- Kallela and Hugo Simberg as well. Especially Gallen- Kallela´s works have been heavily utilized in the Finnish metal scene since the 90´s in various demos, magazines and flyers. For what it comes to (painted) art in general, I have obviously always tended to be more drawn into the national- romantic era and find many particularly inspiring pieces from there despite of the identity of the artist.


Recently some musicians are rediscovering the sounds of the old synths of the 90s, of course technologies allow all this, according to you in this genre of music, how important is the atmosphere and the sound, compared to the musical ideas that are actually written?


As mentioned earlier, the technological possibilities of recreating the exact sound of a particular era has been around for some time already, and it may be a tempting idea for a young composer to pick up a sound and start mimicking. But with great power comes indeed a great responsibility, and without first understanding the form of art we are trying to create it is impossible to create nothing a but a bland shadow of it.

When you are creating something completely new or perhaps combining two things together (isn´t the early DS basically just “medieval ambient”, if you think about it?) for the first time, there are basically no rules. But if you´re trying to stay true to an original musical artform, be it anything from classical music to death metal, you need to first have an understanding of the basic characteristics of the genre. A skilled musician can arrange and produce any song into another style with stunning (and sometimes very amusing) results, but without first understanding what he is doing it´s impossible to convince anyone, leaving but a sour taste in mouth afterwards.

Be it any musical genre, both musical and production values are very important, and usually the more “strictly defined” the genre´s characteristical sound is, the more pinned down those values are.

Hollywood Metal / May 2016 (Lunar Womb)



SOURCE

Unearthed Arcana: Henri Sorvali and Forgotten Dungeon Synth

There are a billion things I could have asked Henri Sorvali. His work in Moonsorrow and Fintroll is usually a start but so is his work in video game composition or his enthusiasm for gaming. Additionally, I could have asked him about his role in the H&M clothing troll which overtook metal media a few years back. There are a billion things I want to ask Mr. Sorvali but since we has so few moments together, I might as well concetrate mostly on his dungeon synth project. I mean, would you expect anything less from me?
As reported in the last Dungeon Synth Digest, Lunar Womb was a dark ambient / medieval project created by Henri Sorvali and a few associates in the late 90’s. The project was never completed and sat on hard drives collecting digital dust. However, this year it was completed and released to a new generation which found an appreciation for the sound. The Sleeping Green not only represents a seminal project finally completed, but also an unsuspecting artifact of dungeon synth history in which the creator was surprised to learn that many people not only knew about, but were eager to celebrate. Henri was kind enough to make his way to our small hamlet and over pipes and cups of ale we were able to discuss music from ages past and dungeons of today.


You no longer play live with Moonsorrow. Was that a decision made because of your commitment to other projects?
Not just because of that. My personal life and other music- related timesinks are keeping me extremely busy, but as I have written in my blog in August 2015, the decision was not only due to commitments to other projects but mostly because of my mental health. I have been suffering from depression since the late 90´s and touring makes it uncontrollable in a way that I have had to step out from those activities. If you´re interested to read more about the matter and my decisions leading to the situation, surf into here.
I initially reached out to you regarding Lunar Womb which was an electronic/ambient/synth project began in 1995. Who was involved with this project?
It all started with me, my cousin Ville and our mutual friend Kharadrai back in 1994, all of us being fans of ambient and electronic music. After releasing our (horrible) first cassette demo, “Planets”, we decided to split up, everyone concentrating on their own styles as we were all having a different ideas how to evolve. While Ville never continued his visions, Kharadrai made some very succesful and oppressing- sounding industrial/ ambient demos in the late 90´s and I continued with Lunar Womb alone until 1999. The second demo I made alone in 1997 wasn’t particularly very good due to a complete lack of equipment, but with Sleeping Green I had finally got a proper synth with proper sounds to materialize my visions the way I wanted to.
Your material from this project was made in the late 90’s but got archived until last year. What was your reaction when unearthing this project?
Going through my backups in early 2015, I stumbled upon the tracks, wondering if they still sound as outdated as I remembered. For my surprise, I realized that with a proper re- mastering these could actually be interesting to listen to….at least for myself, so I decided to give it a chance. I still find the vocals quite horrible and for what it comes to the production it´s definitely not matching the standards of today, but underneath the clumsiness there´s clearly an idea about what I was trying to achieve. If nothing else, I consider it as an important part of my musical history combined with my ideologies. I wasn´t planning to publish those, but when discussing about the tracks with comrade Velkaarn from Asmodian Coven- website, he insisted me to do so, so here we are over 15 years later, haha!
The sounds and melodies on The Sleeping Green are a combination of both work in the late 90’s but also finished and polished more recently. Was it easier to work on Lunar Womb with the recent technology as oppose to the late 90’s?
To correct the assumptions a bit, nothing has been re- recorded or musically modified from the original tracks. Everything you hear is recorded and mixed in 1999! The only thing done again was the mastering, which is basically the “last polishing” of the sound. It took me several weeks and countless hours to restore the music into a state it was possible to master again, and I doubt it could had never been done 15 years ago in a way it was done now- undoing a lot of earlier mistakes in the sound processing (e.g. stereo image overwidened into a phase cancellation, artificially too boosted hi and low frequencies) and trying to get some of the dynamics back with careful automation hell.
Could you give us some insight into the world of dark synth music made by metal musicians in the late 90’s? Were you aware of things like Burzum, Depressive Silence, Mortiis, and what seems like a bevy of musicians making dark synthscapes?
I first stumbled into Burzum´s synth pieces in 1994 but the real breakthrough for myself was Mortiis´ “Keiser av den Dimensjon Ukjent” a year later. I used to (and still do) listen to Cold Meat Industry- released albums as well, ranging from Aghast to Mortho(u)nd to Arcana and back and a lot of “real” ambient artists such as Steve Roach and Brian Eno, but the more medieval and national-romantic fantasy- themed style was definitely my cup of tea and that seemed to be also the case for many other metal musicians.
At some point in ´96/97 the “ambient side project”- thing got really popular, as every second black metal musician was announcing his new upcoming Casio project to be the most dark/ atmospheric/ conanthebarbarian around and there were countless of bad releases to try to avoid. Many of them were quickly forgotten, but some became gems that are still standing against time in their own uniqueness and feeling, of which a great example is the superb “Fjelltronen” of Wongraven, a.k.a Satyr. I find many parallels between ambient/ synth music and 2nd wave of black metal, both relying often on hypnotic soundscapes and otherworldy atmospheric layers of sonic mass- and many bands have already included those similar synth elements to their albums in a form of intros and interludes since the dawn of that 2nd wave of black metal. And as the metal audience is generally more keen into fantasy pop culture and even classical national- romantic themes than e.g. dubstep or reggae audience, it´s easy to see why the seemingly very different- sounding music has found a place in their hearts as well.
What was your reaction when you learned about the recent development in dungeon synth and a whole new generation of people following the paths made by solo musicians in the 90s? Did you ever think it would be a thing in 2016?
You know that warm, fuzzy feeling when you thought you had lost something dear, finding it again years later? That! But it´s not only nostalgia- tinted glasses, as I really love that sound. What really made me glad was that while the technical limitations are not hindering the productions like they used to do, the music I encountered was still made with a great respect to the genre´s original sound combined with the more modern possibilities. And for many things I could had predicted from the metal (and related) scene, I have to admit that the return of DUNGEON SYNTH wasn´t on that list, haha!
Have you had any recent favorite dungeon synth albums or artists?
As the whole re- movement of the genre was flying completely under the radar for me, I only have catched a small part of the new artists as we speak. From your blog, Faery Ring was really catching my attention, though!
Aside from Moonsorrow and Finntroll as well as being a music producer for Rovio Entertainment, you have recently opened up a mixing / Mastering operation called Trollhouse Audio. Who is the audience for this service?
More extreme black and death metal bands and projects who are interested on getting a proper, yet nasty and organic sound for their products- be it mixing, mastering or even both! The more evil the source material, the better, heh! I opened the service “unofficially” in April 2016 and have recently worked with a couple of Finnish black metal projects, and right now I´m mixing a full- length album of currently unannounced band to be released later this year.
I´m also very experienced on mixing on synth/ ambient/ neoclassical music, so if anyone reading this becomes interested, don´t hesitate to catch me on Twitter @trollhornmusic– I´m not that expensive, as it´s more of a very dear side- project for me among everything else, haha!
Do you have anymore freetime left? Do you like to pass that little bit you have with games or books? If so what has been keeping your interest lately?
Being a father of three kids, the concept of “free time” is rather unknown term for me, haha! While I´m not taking care of the more mundane things such as de- infecting a moldy woodshed or picking up small people from kindergarten after work, I still have some time for myself every now and then. Most of that I either spend in my studio room, playing computer games, writing and drawing while listening to music, building and modding computers and reading either about music production, philosophy/ psychology or fantasy literature. I do spend a lot of time in the nature in contrary to all the tech surrounding me, but I always take my family with me.
Just like every gamer who is a parent, I have a ton of unplayed or unfinished games in my shelf and on my Steam and GoG- accounts. Lately I´ve been playing..uh, a certain “older” version of World of Warcraft, Heroes of Might and Magic III, Day of the Tentacle remaster, Psychonauts and Hearthstone. I tend also to play with my kids as much as possible, and we just finished Curse of Monkey Island with my son, who thought it was the best game ever, heh!
Let us say I am starting a new longterm campaign for a tabletop RPG. Could be D&D, Pathfinder, or any other system and you are playing in my game. What type of character are you making. What should I expect during our games? Are you our fighter or are you casting spells in the back?
I´ve always been drawn more into the caster types. Basic swordfighting is so boring that I at least need to be a thief then, haha! For (A)D&D, I´d probably settle for a chaotic neutral Illusionist. Being a bit unstable, I´d love to do the unpredictable and amuse myself in expense of practicality. Not to mention the certain “unrelialibity” as a party member as well- a kind of D&D- version of good old Loke, if you prefer mythology, haha! Last time we played D&D, we used pre- defined sheets and I ended up getting a lawful good human mage. Yuck! It was so boring to be in character I started drinking heavily IRL and demanded my character to be an alcoholic so I could tweak my own gameplay even a bit more interesting.
I ask this to every dungeon synth creator but seeing how Lunar Womb just came out with a record, it would be natural for that entity to tour. What are your thoughts on a festival with this type of music. Could you see an interest in having a festival of all ambient synths?
There are a lot of festivals already dedicated to music which isn´t necessarily loud and overhyped, and I could easily see e.g. a stage or a tent dedicated to this type of music only in Wave Gothic Treffen or M´era Luna Festival. Ambient music festivals are existing, but for a festival solely dedicated to this subgenre, it would be quite hard to find bigger names every year to draw interest, as the scene is so small.
But who knows? Maybe some day there will be Dark Dungeons Open Air in a nice southern German field with live action roleplaying and mazes built from inflatable stone walls to solve and go through? Damn, the more I think it, someone has to do this!!!!

Tuesday, October 3, 2017

Vice / March 2015 (Strong Scene Productions)



SOURCE



We Spoke to the Guy Who Tricked the World Into Thinking That H&M Were Selling Neo-Nazi Metal T-Shirts

Henri Sorvali helped create an ingenious fake campaign poking fun at how metal subcultures are mass marketed.

So, the last 24 hours have been fucking weird. When I woke up this morning, it looked as though everyone's favorite source of cheap belts, H&M, had been sussed out for creating online profiles for a load of fake metal bands, peppered with the occasional bit of neo-nazi imagary, all in the interest of flogging some t-shirts.

In a news story that originally appeared on Metal Injection, and has since been reported by Fact, Complex and innumerable other sites, H&M had come under fire for potentially unleashing "one of the more ill-advised marketing campaigns in recent history."

They reported that H&M are currently selling a series of t-shirts with the logos of what appeared to be obscure metal bands on. However when you looked up the bands, they could all be traced back to a collective called Strong Scene Productions. If you visit their Facebook page, you do indeed see the band names from the shirts (MORTUS, MOTMROS, LANY, MYSTIC TRIANGLE et al) littered everywhere, alongside gig posters ($250-300 for an underground one day festival), biographies ("The purpose of Mortus is to serve the almighty Sathanas and spread the black semen of the holy goat onto all lands") and artwork that features a goth'd up version of the models featured above. But all of this was created en masse within the last week.

Metal Injection reported that some of these invented bands had ties with the National Socalist Black Metal scene—that is, to put it bluntly, raving neo-nazis. So, if this was all a marketing ploy by H&M, then somebody really, really fucked it. However, given that this time last year, H&M were forced to withdraw a line of vests featuring the Star of David with a skull in the middle following accusations of anti-semitism, the idea that someone from marketing sacked off the research aspect of their job once again didn't seem all that unlikely. Even so, something about it all didn't quite add up.
In now turns out, H&M had absolutely nothing to do with the making of these bands whatsoever. It was all a giant parody by those behind Strong Scene Productions who are, essentially, genuine metal fans who took one look at H&M's most recent “metal-inspired” items of clothing—complete with fake bands and patches that work from a brief of “generic heavy metal imagery”—and thought, "I'm done with high street chains badly commodifying my music." They decided to play a deep and brilliant joke on H&M, by actually creating the "bands," making them really right wing and then spreading them across the internet for the world to join the dots.

Henri Sorvali of Finnish metal band Moonsorrow/Finntroll is one of the people behind the idea. So, I got in touch to chat with him about the marvellous media shitstorm he helped create for one of the world's biggest retail outlets.


(Some very legit artwork for a totally real band, taken from Strong Scene Productions' Facebook page)

Noisey: OK real talk, Henri—do any of the bands on Strong Scene Productions actually exist?
Henri:
No. Every single band was created on the basis of the patches in the H&M spring collection clothes.

Is this a backlash against the commodification of metal by mainstream retailers?
Partially, yes. But we also wanted to point out the fact that you cannot commercialize a subculture without actually knowing all the different aspects of it. Knowledge on your product is essential in marketing, and Strong Scene supports self-awareness and education for everyone on the matter. And no, I also haven't been hired for a job by H&M either, which the wildest rumors claimed!

This all seems like a lot of effort just to troll H&M. So the real question is, why bother?
The purpose of the group (consisting of literally tens of people from different areas of music and media around Scandinavia) was to create discussion on the fact that metal culture is more than just "cool" looking logos on fashionable clothes, and has many more aesthetic and ideological aspects in different subgenres than what some corporations are trying to express. The metal scene is varied, controversial and a sort of a wolf you can't chain into a leash and expect it to behave on your terms like a dog. Strong Scene as a collective has absolutely no political nor ideological intentions, and is only bringing the conversation to the level it should be discussed at. Think of us as the one-time "Yes Men" of metal music.

You're in a metal band yourself—Finntroll. Any connection between the subject matter on the albums (battling trolls etc) and the online trolling we see today?
While this would be a rather clever place to actually drum for Finntroll´s media publicity, this has nothing to do with that. You call this trolling, we call it cultural jamming. And Finntroll just kicks out the jams in other things!

Thanks Henri!