God kväll Ola, I'm very much appreciated to continue our conversation held at the GRIFTEGÅRD gig in Leipzig last November. Did you arrive well at home after having finished the tour, hopefully without incidents?
“Thank you for asking, we got back home all right. Weather down to Germany was a nightmare though, storm and rain and apparently the Öresund bridge was closed right after we had passed it due to the winds.”
So you are lucky guys having arrived at home at all. But remembering the tour itself, you shared the stages with The Devil's Blood and Verdunkeln. For me it was kind of an unusual line-up, as Griftegard was the only Doom band. How did you experience that circumstance and the tour in whole?
“Sure, the line up might be considered as unusual, which in itself is a strength, I think, but let me assure you that to those involved it felt natural - we are all on the same label and have the same fantastic boss, Sveinn Dinnighof, who were with us all the way. Also we have one very crucial thing or aim in common, namely atmosphere, atmosphere and feeling above all. No contrived technicalities, no posing, just soulful, honest music. The tour as a whole was a very good experience, well organized, very good venues and sound systems. The Devil's Blood's sound man Daniel made our sound as well and did a fantastic job! Also we got along great with the other band members and our respect for each other grew day by day, at least that's how we felt, and I think this goes for the other bands as well.”
When coming to a GRIFTEGÅRD show I always have a feeling of attending divine service, that's mainly caused by your huge psalm-like epic sound and of cause Thomas Eriksson singing from that big pulpit in front of him. When and why did you decide to carry a pulpit around, as it's not handy at all?
“The pulpit and the lion banner are there to create a solemn, sacred and severe atmosphere around the performance, and apparently they do, at least for you and other receptive people, which is a pleasure for us to hear. The pulpit (and the banners) was first exposed on stage in time for our 4th gig at DOOM SHALL RISE on the 17th of April 2009.”
The tour was primarily to promote your actual full-length Album "Solemn, Sacred, Severe", recently released via Van Records/Nachtgnosis. How did you feel when playing the new material live for the German audience?
“Well, we had already played The Mire, Punishment & Ordeal and I Refuse These Ashes from the album to the German audience in Hamburg so the only really new song in the tour set was Wedded To Grief, which is to be featured on a split 7" vinyl with Count Raven. Anyway, it felt very good to play for the German audience again, of course. It is more rewarding to perform live in your country compared to Sweden, I must say, since I feel that you are more into it, meaning you are not afraid to show when you like a band. Perhaps I am unjust towards the Swedish audience, because after all, it might be a case of you being less introverted people - still this is my own, personal experience.”
Charles Taze Russel is a fantastic opener for the “Solemn, Sacred, Severe” album, but was already released on your Psalmbok EP back in 2007. In my opinion it was a good decision to reanimate the song. Why did you re-record it, as it already sounded awesome and who is this man called Charles Taze Russel?
“Yes, CTR was already on Psalmbok but we wanted to include it on our debut album since it is a song that really defines what we are about and where we come from. We felt we needed to re-record it so that the sound wouldn't differ from the rest of the songs on the album, and also we took the opportunity to correct a few flaws that the original recording had. Charles Taze Russell, with two l mind you, was an American early 20th century Christian restoration minister for the Bible student movement that laid the foundation of what later became the sect of the Jehovah’s Witnesses. The song deals in part with the end time paranoia that the JW's teachings instill in their members, something I have personal experience with, being born into the sect.”Is CTR your way settling old score with JW respectively the heavenly father?
“It is a way of settling the score with myself, at least who I was back when I was in the sect, I think. I don't believe one can settle the score with ones child hood demons/gods any other way than living the best possible life one can - in spite of ones early experiences.”
Then the whole album is no religious statement at all as it seemed to me, but somewhat like a reprocessing of the past? Why then did you choose those psalm-like lyric style and bible inspired titles like “Noah’s Hands”? Not to be misunderstood, it serves a really grand atmosphere together with the sound; it’s just to catch the context.
“GRIFTEGÅRD is not a religious band, we do not have a pro nor an anti-religious message in favour for, nor against, any particular belief, and none of the members confess to any established religious currents. What we try to do is investigate spirituality in general, to capture the essence, the inner core (of the soul), the eye of the storm, the inmost light, room, whatever you want to call it, in music and lyrics. To reach our goal it is convenient to use religious aesthetics, especially Christian, since it carries very powerful symbolism and archetypes that are thoroughly integrated in at least all western minds. Also, since I am solely responsible for the lyrics, bits and pieces of my personal religious experiences of the past play an important role. However I am not inclined towards polarizing these either, simply because I have realized that everything has at least two sides.”
Please tell me more about the background of the “Punishment & Ordeal”.
“The song title speaks for itself, I believe, but it deals with the suffering of man in general (the old and clichéd theodicy problem plays a role, although it is not the complete explanation) but it is also a tribute to Jens father’s personal suffering, which surely was huge. He passed away late last year and I am convinced it was a relief for him to leave his hell behind.”
“I Refuse These Ashes” is about alcoholism, have you ever made bad experiences with it?
“It is not about alcoholism per se, but about the weakness of the flesh in general, and more. It is the song on “Solemn, Sacred, Severe” that is closest to me, lyric wise. Lot’s of personal demons are examined in it and really, it is hard for me to give a detailed description about its actual meaning - hard to be objective here, hope you understand. Alcohol is a blessing and a curse for me, just like for the majority of people.”
With “The Mire” the today’s civilization is meant, right?
“Drunk With Wormwood” you say good bye to Jesus Christ at the end, kind of a very depressive final song - like realizing the end of a long and deep love?
“This text, like all my texts, contains several levels and the one you see in it is very relevant.”
You are responsible for the lyrics, but how is the sound of GRIFTEGÅRD evolving, the riffs and melodies?
Thomas’ vocal style really impresses me, but he told me never gotten at least one singing lesson. When did your ways cross?
“Our home town is not that big so everyone, who is in an even semi-serious band know of each other. We also shared rehearsal space with Thomas previous band, Bokor, prior to him becoming a member of GRIFTEGÅRD. Thomas knew we were looking for a singer and told us he'd like to give it a try. This was back in 2005, I think. Anyway, we knew he could sing before the audition, but personally I wasn't sure of how his voice would suit a Doom band of our kind. Naturally it didn't take many minutes for me and Per to realize how lucky we were to have a guy like Thomas willing to join us.”
We talked about the roots of Doom Metal, I still think the Blues is the major influence. Already the Afro-American slaves played and sung about god, grief and the burden of life, very Doom-like. Even Black Sabbath played the Blues before creating their genre defining style. Has GRIFTEGÅRD anything in common with the Blues as well?
I definitely missed you at Hammer Of Doom 3 Festival in Würzburg, why didn’t you play there as planned?
“We really would have loved to play there but unfortunately we couldn't afford to make the long trip. Also Jens father died at the end of last year so he had to deal with matters connected to this, which lead us having even less rehearsal possibilities than usual. We will play HoD 4 in October though, and we're looking forward to it a lot.”
I hope there are further gigs in Germany and a new release coming up soon, any plans yet?
“We will hopefully be able to play several German dates in connection to our gig at HoD in October. Additionally we are to release a split 7" vinyl containing one exclusive new song together with Count Raven some time in April. We are now working on several new songs simultaneously and aim to record our second album at the end of this year.”
What’s your personal favourite band/album at the moment?
“Bat For Lashes - Two Suns”
Thank you so much for “Solemn, Sacred, Severe” and for spending time to answer my questions. What is your last psalm for now?
“Thank you for your support, the interview and for buying the album. May all of you reach the inmost light.”
text & fotos: Mo)))urner
