Hi! Let's get into a serious conversation. When did you start writing or producing music, and who or what were your early passions and influences?
My first memory of writing music is me, my guitar, and a tape recorder at the age of 11-12. It wasn’t very polished, but it was definitely a start! I was inspired by the music I loved at the time, and I remember being fascinated by how songs could evoke such strong emotions. I wasn’t concerned with making perfect music—I just wanted to create something that felt real.
What do you consider to be the most significant moments in your artistic work or career?
Every new release feels like a milestone for me—it captures a specific moment in time, reflecting where I am both personally and creatively. Each one marks a progression in my journey as an artist. Another significant moment was when me and my former band played at Metal Town Festival in Gothenburg in 2011. It was surreal to play on one of Sweden’s biggest metal stages, and it truly felt like a dream come true. That moment solidified for me that all the hard work was worth it.
What are your main compositional and production challenges currently?
With every new release, writing becomes a bit harder because there’s always this pressure to outdo yourself. I’m always striving to improve, constantly pushing the limits of what I can create. As for production, mixing and mastering is still the area where we as a band prefer to get outside help. It’s not that we can’t do it ourselves, but there’s something reassuring about having someone else’s fresh ears on it. Otherwise, I’d probably find myself tweaking until the reaper comes for me! Having an external perspective helps bring out things we might miss, and it makes the whole process feel more complete.
What do you usually begin with when starting a new piece?
It’s all about the riff for me! I’ll pick up the guitar and just start noodling until something clicks. Sometimes, I can hear a riff or a full song in my head, and I’ll bring it to life on the guitar. Other times, a wicked song title will spark the idea, and I’ll build the music around that. I always go for something that excites me and has that energy I’m looking for—it’s like chasing a feeling.
How strictly do you differentiate between improvisation and composition?
I’ve never been much of an improviser. I prefer to plan everything out in solitude so I can really focus and refine my ideas. There’s something about having the time to shape everything the way I hear it in my head. That said, sometimes we do jam in the rehearsal space, but it’s usually more about experimenting with ideas rather than spontaneous improvisation.
How do you view the relationship between sound, space, and composition?
I think all aspects are important. I am very invested in how everything sounds from guitars, bass, drums and vocals. I always have a vision in my head how I want it to sound. I am extra nerdy when it comes to guitars, pickups, different mods, amps and speakers. I always experiment and try new stuff. When it comes to space, I think a mix should feel dynamic and immersive, with every instrument sitting in the right place to enhance the composition. Although it is always a compromise in dense metal mixes.
Do you think it's important for the audience to be able to discern the processes and ideas behind a work purely through the music? If so, how do you make them transparent?
I believe it is important, yes. My music is quite direct, and I always strive to match the energy of the song with the lyrics. When everything aligns, that’s perfection in my book. I use dynamics, contrasts, and instrumentation to reinforce the message—whether it’s through aggressive riffs, melancholic melodies, or shifts in intensity.
Even though a song has a specific meaning to me, I know that listeners will interpret it in their own way, and that’s something I embrace. If they connect with the emotion behind it, even if they don’t fully grasp my original intent, then I’ve done my job.
To what extent do you feel that creative decisions are influenced by cultural differences, and vice versa, how is the perception of sound shaped by cultural differences?
The metal community is a subculture in itself, and that’s what I love about it. It transcends national borders—where you’re from doesn’t matter; just raise your horns and bang your head. Metal is universal.
That being said, I do think cultural and environmental factors influence creative decisions. For example, the cold and dark winters in the north might inspire heavier, more melancholic music. Scandinavia has a strong tradition of death and black metal, which often reflects themes of isolation, darkness, and nature.
At the same time, the perception of sound differs depending on cultural background. What sounds aggressive or chaotic in one culture might be seen as powerful and expressive in another. That’s part of what makes music so fascinating—it’s both deeply personal and shaped by the world around us.
The relationship between music and other art forms such as painting, video art, and cinema has become increasingly significant. How do you view this relationship, and to what extent does music relate to other senses beyond hearing alone?
It is very important. I spend a lot of time thinking about artwork and music videos because I believe visuals can enhance the emotional impact of music. Sometimes you have to work with what is within your means, but creativity is key in making the most of it.
I also get a lot of inspiration from movies and video games, especially in terms of atmosphere and storytelling. Music is not just about sound—it can evoke mental images, physical sensations, and even emotions tied to memories. The right combination of sound and visuals can create a truly immersive experience, engaging more than just the sense of hearing.
There seem to be two fundamental tendencies in music today: the complete virtualization of tracks and albums released as digital files, and the even closer integration of music, artwork, packaging, and physical presentation. Where do you stand between these two poles?
I engage with both. I subscribe to streaming services for convenience, but I also buy vinyl, CDs, action figures, t-shirts, and other merch to support the artists I love. While streaming makes music more accessible, I think the physical aspect—artwork, packaging, and collectibles—adds a deeper connection to the music.
I do wish artists received better revenue from streaming, but it is what it is. That’s why I appreciate bands that make an effort to create special physical editions of their albums. There’s something irreplaceable about holding a vinyl record, looking at the artwork, and experiencing the music as a full package.
What changes would you like to see in the music industry to enable you to make a living from your music?
Well, as I mentioned earlier, better revenue from streaming. I don’t understand how streaming services can make millions while artists make coffee money. I get that the industry was desperate when piracy was at its peak, but they struck a bad deal with streaming platforms.
Beyond that, I think society as a whole needs to start valuing culture more. Music and entertainment are constants in our lives, yet people often don’t want to pay for them. Can you imagine a life without music? I surely can’t.
I’d love to see new models where independent artists have more control over their income, whether that’s through better streaming rates, fan-driven platforms like Patreon, or government-backed support for musicians the way some countries fund other art forms. The more we value music, the better the industry will be for artists
The role of an artist is always subject to change. What is your perspective on the (e.g., political, social, creative) tasks of artists today, and how do you try to meet these goals in your work?
Someone once said: an artist’s duty is to reflect the times we are living in. I strongly believe that. I want my music to make people think, both through the lyrics and the music itself. While I don’t want to impose political views on the listener, I’m not afraid to tackle social issues that affect us all.
To me, it’s important that people find themselves as individuals. In a world where everyone tells you who you’re supposed to be, I want to inspire individuality and freedom. Whether it’s through intense, aggressive riffs that channel frustration or introspective lyrics that challenge norms, my goal is to create music that resonates on a deeper level.
Music-sharing sites and blogs, as well as the abundance of releases in general, pose challenging questions for both listeners and artists. What is your view on the value of music today, and how does the abundance of music change our perception of it?
I think the abundance of music forces us to work harder, and that’s not entirely a bad thing. The problem today isn’t necessarily quality, but rather knowing how to play the game – and the game is always changing.
One downside is that when music is so easily accessible, it can sometimes feel disposable. People binge through albums like they scroll through social media, which makes it harder for music to truly sink in. That’s why I think it’s important to create something meaningful, something that sticks.
I can’t say I always enjoy spending time on social media, crafting content just to stay relevant. I want to create music and play shows! But if playing the game leads to that, then I’ll do it.
How do you think non-mainstream forms of music could reach wider audiences?
To be honest, I don’t want it to. That’s why it’s not mainstream. Metal isn’t for everyone, and that’s part of what makes it special. I want people who truly connect with this music to find it on their own, rather than having it pushed onto a mass audience that might not appreciate it.
When I was younger, I fantasized about making it big and winning everyone’s affection. But that doesn’t matter to me anymore. Whether it’s 10,000 people or 1,000,000, as long as they genuinely love what I do, I’m happy.
For metal to reach the mainstream, it usually has to make compromises—and I don’t compromise with my music. That said, I do believe that platforms like streaming services, live performances, and passionate communities can help metal reach more of the right people without diluting what makes it great.
It is generally considered that it is the artist's job to win over an audience. However, listening is also an active rather than a passive process. How do you view the role of the listener in the musical communication process?
I think the role of the listener is just as important as the artist's in the communication process. While it’s true that an artist has to create something that resonates with the audience, the listener plays an active role in how they interpret and experience the music. Music isn’t just something that’s consumed passively; it’s an experience that evolves based on the listener’s emotions, state of mind, and perspective.
For me, music is a conversation. The artist puts their thoughts, emotions, and vision into the music, but it’s up to the listener to really connect with it, to dive into it and find their own meaning. That’s what makes music so personal—different people hear the same song and take something completely different from it
Reaching audiences usually involves reaching out to the press and possibly working with a PR company. What is your perspective on the promo system, and in what ways do music journalism and PR companies change the public's perception of music?
I think the promo system is a necessary part of getting music out there, but it’s a double-edged sword. On one hand, working with a PR company and reaching out to the press can help an artist gain visibility, which is crucial in today’s oversaturated market. Without it, it’s hard to cut through the noise. But on the other hand, there’s a risk that the music gets shaped or marketed in a way that doesn’t fully reflect the artist’s true vision. PR and music journalism have the power to influence the public's perception, sometimes even before the listener has had a chance to form their own opinion.
Sometimes music is hyped up by a PR team or praised by critics, which can build an image of the artist or the music that might not match the reality. That can be both a good and bad thing—it can create excitement and buzz, but it can also create unrealistic expectations. Ultimately, I think the most important thing is for the artist to stay true to their vision, and for the audience to experience the music for what it is, not just based on the press surrounding it.
Can you recommend two artists to our readers that you think deserve their attention?
I have to mention Threat Signal, one of my biggest influences. They’re criminally underrated in my opinion, and their mix of thrash, modern metal, and technical precision is something everyone should hear.
I also want to shout out our Gotlandic colleagues in Nårdegaist. They’re doing something really unique in the black metal scene, and their sound is fresh and different, which makes them stand out."