Inferno Magazine 2024

DIMMU BORGIR BACK ON TRACK TO HELL AND BACK KAMPFAR

DIMMU BORGIR BACK ON TRACK TO HELL AND BACK KAMPFAR

AT THE GATES FIRED UP AND READY TO GO

AT THE GATES FIRED UP AND READY TO GO

EXTREME BLACK METAL, FIRE AND HELL

EXTREME BLACK METAL, FIRE AND HELL

NORDJEVEL

NORDJEVEL

VLTIMAS HEAVY METAL EDGE

VLTIMAS HEAVY METAL EDGE

CONFERENCE – HOTEL – ARTISTS – TATTOO FAIR – SIDESHOWS

ORDEN OGAN NEAERA WHITECHAPEL ROTTING CHRIST DELAIN THE BLACK DAHLIA MURDER ASPHYX MADBALL AFTER THE BURIAL CULT OF FIRE CALLEJON BLIND CHANNEL BROTHERS OF METAL WARKINGS MEGAHERZ BURNING WITCHES NACHTBLUT PALEFACE SWISS UNEARTH CRYPTA TEN56. EVIL INVADERS BODYSNATCHER BOKASSA FUTURE PALACE MENTAL CRUELTY THE BUTCHER SISTERS OUR PROMISE SIAMESE HERETOIR JESUS PIECE SVALBARD NECROTTED TENSIDE DYMYTRY GUILT TRIP FIXATION MOON SHOT VOODOO KISS ...and many more!

ticketsrunninglow!

INFERNO METAL FESTIVAL

Oslo, Norway

28. – 31. March, 2024

Rockefeller / John Dee / Kniven / Rock In / Vaterland / Brewgata / Vega / Goldie

TICKETS (including ticket fees):

4-day festival pass NOK 3500

One day tickets NOK 990 (Saturday sold out!)

Inferno Music Conference NOK 700

Black Metal Bus Sightseeing NOK 795

Unleash Your Inner Demons NOK 280

Void ov Voice/Nosferatu NOK 330

Age limit: 18 years.

Bring your ID to avoid disappointment.

Tickets available at ticketmaster.no or tickets.infernofestival.net

INFERNO MAGAZINE 2024

Editor: Runar Pettersen

Writers: Jorge Patacas, Roy Kristensen, Gunnar Sauermann, Aleksandra Stasiak and Runar Pettersen.

Proof reading: Jan-Martin Jensen, Runar Pettersen and Diana Blajan.

Design and layout:

MultiMono, azgr@online.no

Advertising, distribution, and publishing: Inferno Metal Festival www.infernofestival.net

It’s a great pleasure to wish you welcome to the Inferno Metal Festival! The festival stands as a formidable beacon for metal enthusiasts and disciples of extreme music from all over the world. Inferno Metal Festival is not merely an event; it is a congregation of some of the most influential and cutting-edge bands in the global metal scene – featuring iconic legends and rising stars alike. From black metal's frostbitten landscapes to death metal's relentless brutality to the sludgy world of doom metal – and even some outlaw country music. Inferno Metal Festival embraces the entire spectrum of extreme music. With 60 concerts playing in 2024 it is among the most diverse line-up we ever had.

But Inferno Metal Festival is not just about the music – as always, we offer so much more. Movies, tattoos, art exhibits, instrument clinics, debate panels, sightseeing tours, history lessons and a social gathering of friends with the same music taste from all around the globe.

So, brace yourself for a journey into the depths of metal culture at its finest. Inferno Metal Festival awaits, where the communion of fans and bands creates an atmosphere that resonates with the very soul of metal itself. And more importantly; have fun, enjoy the good music, and hang out with old and new friends. That’s what festivals are all about!

Cheers, Runar Pettersen

THURSDAY MARCH 28TH

ROCKEFELLER

KONVENT (DK) 16.30

After Konvent's amazing debut at Inferno Metal Festival in 2022 – where they took the entire festival – we are happy to have them back with us in 2024. Critically acclaimed Danish blackened death doom outfit Konvent will this time get the honour of opening the festival at our main stage.

KEEP OF KALESSIN (NO) 18.00

Keep of Kalessin is an extreme metal band from Trondheim, Norway, formed in 1993. Known for their melodic sound and virtuosic playing ability, the band took black metal to a new level. Keep of Kalessin released their new album “Katharsis” in 2023 after eight years since the last album.

NORDJEVEL (NO) 19.30

Nordjevel is a Norwegian black metal band that emerged in 2015. With members from established Norwegian acts like Ragnarok, Odium and Doedsvangr, Nordjevel is a force that knows their business well. Known for their captivating stage presence and relentless energy, Nordjevel has solidified their place in the contemporary black metal scene, carrying forward the legacy of Norwegian extreme metal with a fierce and intense approach.

CANDLEMASS (SE) 21.15

Candlemass is a renowned Swedish band that has left an indelible mark on the world of doom metal. Formed in Stockholm in 1984, the band is often credited with pioneering the genre of epic doom metal, characterized by its slow, heavy riffs and emotionally charged lyrics. With their distinct sound and unwavering commitment to their artistic vision, Candlemass stands as a legendary figure in the realm of heavy metal. That can still be heard on their latest effort, the 2022 album “Sweet Evil Sun”.

KAMPFAR (NO) 23.30

The Norwegian black metal band started in 1994 and has since released a total of nine albums and two EPs. This means that Kampfar can celebrate a full 30-year fantastic career at Inferno in 2024. Especially in recent years, the band has established itself as one of the truly strong Norwegian acts both on record and live. In 2022, they played a fantastic concert at Inferno Metal Festival, and it’s delightful to have them back with us in 2024.

JOHN DEE

NAKKEKNAEKKER (DK) 17.15

Nakkeknaekker consists of five young guys from Denmark who play brutal death metal. Their love for the genre shines through everything they do. Although their age only spans between 16 and 20 years of age,

this is in no way a setback for them. They have already reach Inferno without even an album out.

ORM (DK) 18.45

Orm is a black metal band from Denmark. So far, the band has released three albums to great acclaim. This will be Orm's first concert at Inferno Metal Festival!

CRYPTA (BR) 20.30

Crypta is a Brazilian death metal band formed in São Paulo in 2019 after a split in the thrash metal band Nervosa. This time the ladies went for more of a death metal sound. And it sounds good! Be sure to see them at their first gig at Inferno Metal Festival!

CATTLE DECAPITATION (US) 22.30

Cattle Decapitation is an American extreme metal band hailing from San Diego, California. Formed in 1996, the band has risen to become one of the most prominent and influential acts in the realms of grindcore and death metal. Their newest album, “Terrasite”, was released in 2023, making another great chapter in the band’s history. The album has received great reviews and we are excited to see Cattle Decapitation bring it to the stage at Inferno Metal Festival 2024!

GOLDIE

VOMIT FORTH (US) 13.00

Vomit Forth is a brutal death metal band from Connecticut in the United States. The band released their debut album “Seething Malevolence” in 2022 to great acclaim. This will be Vomit Forth first performance in Norway.

200 STAB WOUNDS (US) 13.45

200 Stab Wounds is an American death metal band known for their brutal and unrelenting approach to extreme music. Their music is characterized by a fusion of traditional death metal elements with technicality, precision, and a touch of eerie ambiance, creating a visceral and haunting listening experience. 200 Stab Wounds’ debut album “Slave to the Scalpel” was released in 2019 and we can’t wait to get more music from this death metal band.

SIGNS OF THE SWARM (US) 14.45

Signs of the Swarm is an American deathcore band that has been making waves in the heavy music scene. Renowned for their crushing and intense sound, the band has quickly gained recognition for their brutal approach to deathcore, combining ferocious instrumentation with guttural vocals and relentless aggression. In 2016, the band released their debut full-length album, “Senseless Order” which laid the groundwork for their signature sound. Their live shows are known for their energy and intensity.

cattle decapitation keep of kalessin crypta candlemass

VATERLAND

H.P. DOOMCRAFT (NO/RO) 15.00

H.P. Doomcraft is the collaboration between storyteller/visual artist Kim Diaz Holm and musician Costin Chioreanu, translating four of the least known tales of the father of cosmic horror, H.P. Lovecraft, into a unique audio-visual experience. The prose-poems “Nyarlathotep”, “What the Moon Brings”, “Memory”, and “Ex-Oblivione” were all directly inspired by Lovecraft’s powerful dreams, and Holm's haunting narration and art combined with Chioreanu’s otherworldly music will bring it to nightmarish new life.

BREWGATA

FORCEFED HORSEHEAD (NO) 15.00

Norwegian Forcefed Horsehead has been serving Oslo audiences with groove death metal since 2011. In 2015, the band’s debut album ”Hunting Witches” showed a group hungry to spread brutal rhythms with deep death growls. After a vocalist change and more, the band is back with the followup ”Monoceros,” released earlier this year. Therefore, Forcefed Horsehead is set to perform at Inferno Metal Festival 2024.

FRIDAY MARCH 29TH

ROCKEFELLER

ARTHUR BROWN (UK) 16.30

We are going back to 1967 when this British guy started a band called The Crazy World of Arthur Brown and soon after released a single called “Fire”. On stage he would wear a helmet on fire and use extreme make-up – pre-dating both Alice Cooper and Kiss. Being so early he is of course one of the most important figures in what was to come later on. The legend still lives on and still performs in all his craziness! See Arthur Brown at Inferno Metal Festival for the very first time!

VLTIMAS (US/NO/CA) 18.00

Vltimas is a formidable metal super-group that brings together a trio of renowned musicians, each with their own legacy in the extreme metal scene. The band’s line-up comprises David Vincent (former Morbid Angel) on vocals, Rune “Blasphemer” Eriksen (ex-Mayhem) on guitar, and Flo Mounier (Cryptopsy) on drums. This convergence of talent from different corners of the metal world has resulted in a distinctive and powerful sonic offering.

CARPATHIAN FOREST (NO) 19.30

Carpathian Forest is a renowned Norwegian black metal band that has left an indelible mark on the metal scene since its inception in 1992. The band released their first demo, “Bloodlust and Perversion,” in 1992, which immediately garnered attention within the underground black metal scene.

Carpathian Forest unleashed their debut album, “Black Shining Leather,” in 1998, solidifying their place in the black metal pantheon. Over the years, Carpathian Forest has faced several line-up changes and tumultuous periods, but their music remained steadfast and captivating. Their contributions to the genre have solidified their place as pioneers of Norwegian black metal.

SÓLSTAFIR (IS) 21.15

Icelandic post metal legends Sólstafir are now ready to return to Inferno Metal Festival. Their last performance at Inferno was ten years ago and we can't wait to have this amazing band at our stage again.

gorgoroth (no) 23.30

Gorgoroth is a Norwegian black metal band that emerged from the Norwegian black metal scene in the early 1990s. Gorgoroth gained notoriety not only for their musical contributions but also due to various controversies surrounding their provocative imagery and stage acts. Their discography includes influential albums such as “Pentagram,” “Antichrist,” and “Under the Sign of Hell,” which have solidified their place as one of the pioneering acts in the black metal genre. Gorgoroth continues to be a force in the black metal scene. We are happy to have them back with us at Inferno Metal Festival 2024!

JOHN DEE

VORGA (DE) 17.15

Vorga is a German black metal band from Karlsruhe. The band released their debut album “Striving Toward Oblivion” in 2022 to great acclaim. With their wonderfully driving, majestic, atmospherically dense, and melodic black metal, you shouldn’t miss the debut show of the Germans in Oslo! This concert is presented by Summer Breeze Open Air.

UMBRA CONSCIENTIA (CR/DE) 18.45

From Costa Rica and Germany, the black metal band Umbra Conscientia, returns to Norway after holding their very first gig at Beyond the Gates in Bergen in 2022. Their second album, “Nigredine Mundi”, yet again released by Terratur Possessions, came out the same year. The band swiftly gained a following with superb feedback all around. The band has yet again delivered an aggressive, heavy, hard-hitting, pitch-black metal album and there’s no holding back.

EXTERMINATION DISMEMBERMENT (BY) 20.30

Extermination Dismemberment is a Slamming Brutal Death Metal band from Minsk, Belarus. The band was founded in 2009 and their debut album “Butcher Basement” came in 2010. Their third album came in 2023 and the band are now ready for Norway for the first time.

MANTAR (DE) 22.30

Mantar is a German duo consisting of drummer Erinç Sakarya and guitarist Hanno Klänhard. They were inspired by bands like Melvins, Darkthrone, and Motörhead when they formed Mantar, resulting in unique music that blends sludge metal, rock ‘n’ roll and black metal. Since their inception in 2012, they have released five albums. Their latest work is titled “Pain Is Forever and This Is the End,” which has received glowing reviews.

VATERLAND

DECEPTION (NO) 14.00

The symphonic death metal band Deception hails from the west coast of Norway and formerly went by the name Art of Deception. They released an EP and two albums before shortening their name to Deception in 2018. Since then, the band has released another EP and an album titled ”The Mire,” incorporating symphonic elements into their death metal. Deception includes members from Blood Red Throne, Celestial Scourge, Lysjakt, Vorbid, and Todesking. The band has previously performed at festivals like Karmøygeddon, By:Larm, and Bloodstock, and now it’s time to bring them to Inferno Metal Festival.

CELESTIAL SCOURGE (NO) 15.00

Celestial Scourge is a relatively new death metal band from various locations in Norway. Last year,

arthur brown

SÓLSTAFIR

CARPATHIAN FOREST

they released the single ”Elliptical Orbit,” and earlier this year, the EP ”Dimensions Unfurled” came out. They describe their music as a mix of cosmic, brutal technical death metal. The band consists of members from Blood Red Throne, Filthdigger, Ruun, Vorbid, Deception and You Suffer.

ROCK IN

VISEGARD (NO) 14.00

Visegard hails from Telemark and plays old-school black metal, reminiscent of the kind we all loved in the 90s. They released a fantastic debut album in 2014, and since then, we’ve been eagerly awaiting a follow-up. We got a taste in 2021 when they released a split album with Kirkebrann – and it left us craving more. So, we are thrilled to have the band at Inferno for the very first time.

BREWGATA

AUTOMATON (GR) 15.00

Automaton is a psychedelic drone doom black metal band from Greece that started in 2011. Since then, the band has released two EPs and an album. They have never played in the Nordic region before, so we look forward to having the Greeks on Norwegian soil for the first time.

THE HUB

DEATHBARREL (NO) 01.00

Deathbarrel were spawned in a Norwegian prison back in 2012. Naturally we`re talking about outlaw country music. Deathbarrel is a moving, living, fornicating, hard drinking foot stomping shindig of a band, feasting on harsh winters, harsher women and lethal amounts of bourbon. After a few successful gigs in 2023 we are happy to have Deathbarrel back in 2024.

SATURDAY MARCH 30TH

ROCKEFELLER

SAOR (UK) 16.30

Saor is the brainchild by sole member Andy Marshall. As a lone wanderer proudly shouting the tales and myths of his people, his culture and his region from the tops of misty Caledonian mountains. This musician delivers his profoundly atmospheric hybrid of black and folk metal, peculiarly described as Caledonian metal.

ORBIT CULTURE (SE) 18.00

Orbit Culture is a Swedish melodic death metal band that was founded in 2013. The band has released three EPs and four albums so far. Their latest album, ”Descent,” was released this year and has received praise from fans and critics alike. The band last played in Norway as a support act for In Flames. Now, when they return to Norwegian soil, it will be at the Inferno Metal Festival for the first time.

ME AND THAT MAN (PL) 19.30

Dark folk-rock, country, and gothic blues – probably not what you expected at Inferno! But that’s exactly what you’ll get when Me and That Man take the stage at Rockefeller during Easter 2024. And maybe it’s not such a surprise when you know that the mastermind behind this project is none other than Adam “Nergal” Darski from Behemoth! On their three released albums so far, he has been joined by guests like Gary Holt, Abbath, Blaze Bayley, Alissa White-Gluz, Corey Taylor, Ihsahn, David Vincent, and many more.

BORKNAGAR (NO) 21.15

Borknagar is a Norwegian progressive metal band founded in 1995 in Bergen. The band's style combines black metal and folk metal with progressive and melodic elements. Borknagar's lyrics often deal with philosophy, paganism, nature and the cosmos. Borknagar performed on the first edition of Inferno in 2001 and we are happy to have them back with us in 2024.

DIMMU BORGIR (NO) 23.30

Dimmu Borgir is one of the most renowned bands in Norway, transcending genres, and has sold millions of albums. Through thick and thin, they

have steadfastly stood their ground, unswayed by trends or criticism. Dimmu Borgir is an institution in Norwegian music, delivering classics like ”Progenies of the Great Apocalypse,” ”Mourning Palace,” ”Puritania,” ”Gateways,” ”Dimmu Borgir,” ”Spellbound (by the Devil),” ”Interdimensional Summit”. Dimmu Borgir first graced the Inferno Metal Festival stage in 2002, and it is always a grand event when they take the stage at Rockefeller. It will be no different when they do so in 2024!

JOHN DEE

TILINTETGJORT (NO) 17.15

Tilintetgjort’s Avant-garde Black Metal finds its inspiration in ’90’s Black Metal, along with ’70’s Prog, and a variety of other experimental genres, and by melding them together and adding their own, personal touches, the band creates a nightmarish vision of madness and arcane mysteries that blur the line between insanity and reality, filling the listener with dread.

IN TWILIGHT'S EMBRACE (PL) 18.45

Polish metal band In Twilight’s Embrace has been a force in the extreme music scene since their formation in 2003. With a style that seamlessly blends elements of death metal and black metal, their music is a dark and intense journey through aggressive riffs, blistering drum work, and emotionally charged vocals. This will be In Twilight’s Embrace first concert in Oslo.

JO QUAIL (UK) 20.30

Jo Quail is an internationally acclaimed composer and virtuoso cellist from London. Her lively performances have won hearts in the contemporary classical world and among enthusiasts of progressive music, post rock, metal, and electronica. This will be Jo Quail’s first appearance at Inferno Metal Festival.

KHOLD (NO) 22.30

Khold is a Norwegian black metal band formed in Oslo in 2000 after the split-up of Tulus. After eight years Khold release a new album in 2022 and are back at Inferno Metal Festival!

VATERLAND

DWAAL (NO) 14.00

Dwaal is a Norwegian sludge metal band formed in 2014. In 2020, they received acclaim for their debut album ”Gospel of the Vile.” The band recently released the follow-up, ”Never Enough,” which is even heavier and more doomish. Dwaal is returning to Inferno Metal Festival after a successful performance at Inferno 2023.

MADDER MORTEM (NO) 15.00

Madder Mortem began as Mystery Tribe in 1993 and was one of the early bands from the modern Norwegian

metal scene to break away from established genre boundaries. The band started in the doom metal genre but has evolved with each album, becoming a more experimental and diverse progressive band over the years. Five years after the release of their previous album, ”Marrow,” Madder Mortem is ready to unveil their eighth studio album. ”Old Eyes, New Heart” is scheduled for release on Dark Essence Records early in 2024. We eagerly await the return of one of Norway’s most interesting metal bands, led by one of the genre’s greatest and most unique voices.

ROCK IN

BEFOULED (NO) 14.00

Østfold is not far from Sweden, so it’s perhaps not surprising that the death metal band Befouled is one of Norway’s most avid users of Boss HM-2 pedals. If you want that buzzsaw sound in your death metal, Befouled is the band to reckon with. They have released two albums of old-school death metal so far. We look forward to having the band with us at Inferno Metal Festival 2024.

KNIVEN

HORRIFIER (NO) 14.00

Horrifier is a Norwegian death metal that released their debut album, “Horrid Resurrection”, in2023. We are looking forward to having this newcomers with us at Inferno 2024!

IMBALANCE (NO) 15.15

Norwegian thrash metal band Imbalance started under the moniker Frost in 1996. In 2004 they changed their name to Imbalance and their debut album “Period Three Implies Chaos” came in 2010! After several years in the den the band are now back!

BREWGATA SHAVING THE WEREWOLF (NO) 15.00

Norwegian Shaving the Werewolf has been active since 2010. The band plays hardcore and is known for delivering intense, unrestrained performances. The band is intense, sweaty, and raucous. Get ready for an unforgettable concert experience when they come to the Inferno Metal Festival 2024.

THE HUB

DEATHBARREL (NO) 01.00

Deathbarrel returns for another night of outlaw country!

VEGA

VOID OV VOICES (HU) 14.30

We welcome you to a silent film concert where Attila Csihar’s Void ov Voices will create the music for the classic German horror film ”Nosferatu” from 1922. The silent film concert will take place at the cinema Vega Scene on Saturday, March 30th, at daytime during Inferno Metal Festival 2024. Separate tickets will be available for this performance.

BORKNAGAR

SUNDAY MARCH 31ST

ROCKEFELLER

MISÞYRMING (IS) 16.30

Misþyrming is a black metal band from Reykjavík, Iceland. The band formed in June 2013 and released their debut studio album “Söngvar elds og óreiðu” in 2015 to widespread critical acclaim. The band have since toured Europe and the United States, performed at Eistnaflug, and were named an 'artist in residence' at the famous Roadburn Festival in 2016.

WINTERFYLLETH (UK) 18.00

Winterfylleth is a prominent metal band hailing from the United Kingdom, known for their compelling blend of black metal with an atmospheric and folkinspired touch. At the core of Winterfylleth’s sound is a captivating juxtaposition of ferocious black metal elements and a profound connection to their cultural and historical roots. Their live performances are known for their intensity and the band’s ability to recreate the atmospheres they evoke on their albums. So, we can’t wait to have Winterfylleth perform at Inferno Metal Festival for the first time!

CYNIC (US) 19.30

Cynic is an American progressive rock band. Starting as a thrash metal band in 1987, they transitioned into a more progressive direction, incorporating various styles into their music, resulting in the album ”Focus” in 1993. After a hiatus, they reunited in 2006, releasing ”Traced in Air” in 2008. Following ”Kindly Bent to Free Us” in 2014, there was another brief break. In 2021, their latest release, ”Ascension Codes,” came out as a pure progressive rock album. Despite having been in Norway only a few times before, they are now ready for their first appearance at Inferno Metal Festival.

FINNTROLL (FI) 21.15

Finntroll is a Finnish metal band from Helsinki that combines elements of black metal and folk metal. Get your drinking horn ready – for these Finns know how to throw a party!

TAAKE (NO) 23.30

Taake can celebrate thirty years of Norwegian black metal. Taake has always maintained the banner of Norwegian black metal high and stayed true to their style. While faithful to the true spirit of black metal, Taake has never been afraid to surprise and incorporate new elements into their music. Frontman Hoest is accompanied by a group of talented musicians when the band plays live, making Taake an excellent live act that always delivers solid performances. This will be Taake’s sixth appearance at the Inferno Metal Festival, and we look forward to having them back on our stage.

JOHN DEE

DÖDSRIT (SE) 17.15

The Swedish black metal band Dödsrit released their debut album in 2017 and has since released two more

records. The band has garnered positive reviews over the years and is one of the most exciting Swedish black metal bands in recent times. Dödsrit has never played in Norway before, and we look forward to having them with us at Inferno Metal Festival 2024.

PHANTOM FIRE (NO) 18.45

Phantom Fire emerges as a captivating and ferocious force as one of the newer metal bands Norway has to offer. Hailing from Bergen, this band has rapidly carved a niche for themselves with their unique blend of speed metal and black metal. Phantom Fire consists of band members from such bands as Aeternus, Gaahls Wyrd, Gravdal, Malignant Eternal and Kraków. The band has just released their new album “Eminente Lucifer Libertad “ to great acclaim! Phantom Fire is undoubtedly a band to watch as they rise from the metal underground. It is time to bring Phantom Fire to Inferno Metal Festival!

BELL WITCH (US) 20.30

Formed in Seattle, Washington, in 2010, the duo of Dylan Desmond (bass and vocals) and Jesse Shreibman (drums and vocals) has forged a unique path within the world of funeral doom metal called Bell Witch. Bell Witch’s music is characterized by its excruciatingly slow tempos, crushing heaviness, and a profound sense of melancholy. Bell Witch’s fourth LP was released in 2023 via Profound Lore and contains one continuous 83-minute piece unfolding as a single track. Exactly the same length as on “Mirror Reaper” from 2017. This will be Bell Witch’s first show at Inferno Metal Festival.

KOLDBRANN (NO) 22.30

Founded in 2001 in Drammen, Norway, Koldbrann emerged during a time when the Norwegian black metal scene was already firmly established, but they managed to carve out their own unique niche in the genre. Their commitment to black metal’s core principles while pushing the boundaries of the genre demonstrates their enduring influence and importance in the global black metal community. Koldbrann last performed at Inferno Metal Festival in 2009 and it is time to bring them back to our stage!

VATERLAND

BLODKVALT (NO) 14.00

Blodkvalt offers chaotic extreme metal played by the new generation of Oslo rockers. With references to genres like black metal, grindcore, punk, and noise, the band delivers extreme metal with a raw sound. The band released their debut album, ”Algor Mortis”, in 2022, receiving positive reviews both in Norway and on the continent.

SELVFORAKT (NO) 15.00

Selvforakt delivers a powerful blend of black metal, sludge metal and Crust Punk. The Tromsø-based band has found their unique sound through a shared

taake

passion for extreme music, cultivated in the skateboarding community. Rooted in Northern Norway, Selvforakt has created a sonic landscape that mirrors the harsh and unforgiving nature of the region. The band debuted with their self-titled album earlier this year, gaining recognition in underground circles.

ROCK IN

ZUSTAND NULL (NO) 14.00

Oslo-based band Zustand Null has built a solid reputation in the metal underground since their formation in 2016, initially going by the name Ignotus for a few years. Finally, in 2023, their debut album “Beyond the Limit of Sanity” was released, and it was definitely worth the wait. The result is solid black metal of the finest kind. The band is already back in the studio working on their follow-up, so we can look forward to their next release and, of course, their performance at Inferno Metal Festival 2024.

KNIVEN

TERMINAL (NO) 14.00

Terminal is a new band from Oslo and released their debut album ”R.A.T.S.” earlier this year. The band consists of Pål Salvesen and Jake Ralph, who have together crafted something that can be described as dark industrial music. But it’s challenging to pigeonhole the duo into a specific genre as Terminal sets no boundaries for themselves. This must be experienced when they perform live at Inferno Metal Festival for the first time.

INCHOATION (NO) 15.15

Inchoation is a new Norwegian death metal band. They have not released any music so far, but those fortunate enough to have seen the band live can attest that this is promising material.

BREWGATA

TUSMØRKE (NO) 15.00

Tusmørke is a Norwegian psychedelic prog-rock band, often with occult themes of witchcraft and sorcery. The band has released a total of eleven albums so far. The latest, ”Hestehoven,” was released this year and has received much acclaim. You can experience the band’s unique music live for the first time at Inferno Metal Festival 2024.

- TO HELL AND BACK! - TO HELL AND BACK!

KAMPFAR KAMPFAR

KAMPFAR WILL RETURN ONCE MORE TO THE ANNUAL HIGH MASS OF BLACK METAL IN OSLO AND FOR THE 2024 EDITION THEY ARE ANNOUNCED AS ONE OF THE HEADLINERS ON TOP OF THE BILLING. WELL, HOW DID THEY GET THERE?

KAMPFAR WILL RETURN ONCE MORE TO THE ANNUAL HIGH MASS OF BLACK METAL IN OSLO AND FOR THE 2024 EDITION THEY ARE ANNOUNCED AS ONE OF THE HEADLINERS ON TOP OF THE BILLING. WELL, HOW DID THEY GET THERE?

By: Gunnar Sauermann

Metallum nigrum, quo vadis?

There is not a shred of doubt that Norway has by far the best known and strongest black metal scene on this planet. This rather long, but not small Nordic country spawned most of the great pioneering bands that shaped the still enduring style of the so-called ‘second wave’ such as Mayhem, Emperor, Darkthrone, and Immortal. These acts have become synonymous with black metal even though they built upon the legacy of Venom, Bathory, and Celtic Frost that originally gave rise to the genre in the early 80s, which were posthumously declared to constitute the “first wave”.

Yet, the strength of the Norwegian scene also rests on the many important acts that were inspired by the growing influence of the early adopters. Names such as Gorgoroth, Taake, 1349, Tsjuder, Gehenna, Urgehal, Trelldom, Dødheimsgard, Solefald, In the Woods …, and many more also come with at least massive underground credibility or an already achieved legendary status – and in the case of Dimmu Borgir for example with commercial success and cover story status in international music press on top.

It is probably fair to say that Norwegian black metal has largely stagnated on a very high level – at least during the last decade. The scene has not stopped being productive and has continued to spew out third, fourth, and probably already fifth generation bands. Yet although many of them have something interesting and new to offer, and the standard remains above average, the revolutionary fury and creative wildfire of the early years appears to have fizzled out.

The current scene seems to resemble a frozen landscape where the primordial giants still reside on top of the mountain, although, with the notable exception of Mayhem as the primus inter pares, most have moved on to different stylistic pastures or basically split up while enjoying a sporadic existence as a live act. Yet under the ice, there is movement. At this point of the black metal story, Kampfar have risen to challenge the status quo.

Somewhere in Time

A not so small part of Norwegian black metal has been about places. Musicians waxing on about taking inspiration from the deep dark fjords, the

majestic, rugged mountains, and the ominous coniferous forests are commonplace. Some call this tedious or stereotypical but an actual visit to any of Norway’s most impressive natural locations can cure such misconceptions in an instant.

The ancient rivalry between the modern capital Oslo and Bergen, the old centre along the way to the North, has been continued in a sometimes serious but often rather tongue-in-cheek manner by certain black metal artists. It should be noted that quite a few bands are attributed to one of the two cities mostly for convenience’s sake as places like Jessheim, Kolbotn or Haugesund, to which the musicians came from or still consider their home, are hardly known outside of Norway.

Apart from these two major scenes, the renowned Nidrosian black underground of Trondheim and the somewhat special outlier of the Sognefjord region also should be mentioned at least in passing. And of course, there are also bands in many other places such as Kristiansand, Notodden or Tromsø. In short: in Norway, black metal is nearly everywhere.

Trying to pin down Kampfar to just one place is impossible: “I am originally from Fredrikstad to the

“WE SPEND OUR WHOLE FEE ON PYROS AND ALTHOUGH OUR MONEY WENT UP IN FLAMES, WE HAVE NEVER REGRETTED DOING IT.”

“WE SPEND OUR WHOLE FEE ON PYROS AND ALTHOUGH OUR MONEY WENT UP IN FLAMES, WE HAVE NEVER REGRETTED DOING IT.”

– DOLK

– DOLK

southwest of Oslo where our bass player Jon still lives”, frontman Dolk explains. “Quite many years ago, I moved across the Oslofjord to Larvik. Our drummer Ask used to have his home close to Drammen but now he resides in Jæren, which is close to Stavanger.” Another point on the map is added by Ole Hartvigsen. “I come from Luster in the Sognefjord”, the guitarist winks with a smile and adds with subtle and well-deserved pride: “That area is quite a world of its own in Norwegian metal.” When the man of strings joined Kampfar, he had already been a member of Mistur for some years, which alongside Cor Scorpii is one of the so-called Sognametal bands, which have all been inspired by the legendary Windir.

As if living physically across the southern half of Norway was not complex enough, Kampfar also have a spiritual centre: “Our base of comfort has always been Hemsedal in the old district of Hallingdal”, Dolk points out. “Everyone of us is connected to the place. For me personally, this goes back to the time when I was only six years old. I have always seen it as my second home.” This comes as a surprise. Hemsedal might be one of the few places in Norway with at least no obvious connection to black metal. Instead, this narrow valley along one of the possible routes from Oslo to Bergen is best known as one of the prime ski resorts of the country.

“Hemsedal has been the cradle of Kampfar”, the singer objects. “I have been there with my parents and grandparents, who build a cabin in the valley when I was six. Up there, I recorded my first demo. Whenever my life has hit a dark period, I have been running off to Hemsedal as soon as

possible. It has made us different, too. Kampfar are not from the Bergen scene, the Telemark scene, the Oslo scene or wherever else. We have always stood a little aside from them all.”

Ole, being the ‘new’ guy in the band, who has ‘only’ been a member of Kampfar for by now more than 13 years and possibly spoiled by the spectacular landscapes of the Sognefjord has his own perspective on Hemsedal: “It has been a vital meeting point for us – although we do not read much into it on a conscious level”, the guitarist elaborates. “The mountain ranges in the middle of Southern Norway seem to clash together in the Hallingdal region and this creates a special atmosphere that is different from the fjords of the west. Everything there is unlike other places, and even the weather and the elements seem to come together for a fight there.”

With the importance that the two members of Kampfar attribute to Hemsedal, it is hardly surprising that this spiritual connection to the land has found an artistic reflection in their work and in particular on the latest full-length ‘Til klovers takt’ (“To the Beat of Cloven Hooves”). This was, according to Ole, massively influenced by “the place, the history, and the old stories as well as the spirit of Hemsedal”.

The Dark Watershed

When ‘Til klovers takt’ came out in 2022 it lived up to the high expectations and the standard set by its predecessor ‘Ofidians manifest’. With that 2019-release, Kampfar had reached a new level. Then, three years later they proved most convincingly that were not only willing but also well able to hold on to their musical gains. In hindsight it is

always easier to declare an album to be the breakthrough of a band in one way or the other. What made it even more difficult to initially grasp the full glory of ‘Ofidians manifest’ was the fact the musical changes were rather subtle and only revealed themselves through a diligent listening experience.

Looking back, Kampfar had always delivered quality albums, starting with their debut ‘Mellom skogkledde aaser’, which was released in 1997 – just three years after Dolk founded the band. Over the next two decades, the Norwegians continued to climb up on festival billings and the pecking order of touring. It takes dedication and a strong will to go through the often-tedious grind of the music business. Kampfar possessed both virtues as they worked very hard on their way from the raw underground to bigger labels and venues.

Then came ‘Ofidians manifest’ and it changed the game. The big question is, how and why?

“Black metal has always been something very personal for me”, Dolk sets out to provide an explanation. “When we did ‘Ofidians manifest’, I had hit rock bottom. I have already talked about it, so I can do it again although it feels hard now. I was so down; I was even ready to leave this life. People around me where worried what I might do to myself. Everything had turned dark. We had also not spoken to each other in Kampfar for about a year as we were all tired of the whole thing.” It takes an expert to make proper diagnosis, but Dolk’s words sound very much as if he was bitten by that most evil black dog called ‘Depression’. This still underestimated illness that strikes artists

more commonly than gets noticed by the public, is dangerous and deadly. Victims of this perfidious beast even have a hard time to ask for or seek out the help that they so desperately need.

Before things came to the worst, Dolk found salvation in Kampfar. He had travelled to his refuge in Hemsedal and was joined there by Ole. Talking and making music became a cathartic process, a remedy for the curse. Yet he was not the only one hit by a dark personal time. While stuck in the cabin during a snowstorm, the guitarist received a phone call that his father had learned, he would pass away in only a few months. Creating music became a lifeline. “In hindsight, it feels strange that we even managed to start working on an album”, Ole reflects. “Yet there we were, making music. The process turned into something like a therapy. We poured all the darkness that was around and inside of us into these songs. Some of the material even seemed to write itself. It just clicked. This album will always be special to us.” Dolk experienced a similar epiphany. “I did not think about the outcome, while lyrics and vocal lines just erupted from the deepest hiding places of my heart”, the singer recalls. “It is the most personal album that we have ever done and because of this, everything changed.” Thus, a black metal masterpiece was forged from heart’s blood in a red-hot crucible filled to the brim with darkness, pain, sorrow, and suffering. It is truly not a gentle form of art.

Infernal Ceremonies

“Through immense pain and outstanding artistic achievement” seems to be the answer to the opening question about how Kampfar became headliners at Inferno. For Dolk the downward trajectory finally reversed and his personal road began to lead from rock bottom all the way to the top of the Inferno Festival – despite the pandemic doing its worst to throw another spanner into the works of the Norwegians. As it turns out, in its own way the annual black gathering in Oslo over the Easter weekend is another magic place for both musicians: “When I think about the Inferno Festival the first thing that crosses my mind is the location”, Dolk announces. “When black metal became a thing in Norway during the early 90s, it was anything but usual to see those bands playing a venue as big as Rockefeller. I grew up in Frederikstad, which for me meant 1,5 hours of travelling to Oslo to see all the metal bands that came to Norway and played in Rockefeller. This place feels like kind of a cradle for me in becoming a musician. Then in 2001 it finally happened: Norwegian black metal bands entered this temple of music and claimed it as their own.”

Kampfar had to wait until the ninth edition before being invited to the Inferno Festival, but Ole already came to see the legendary Windir show in 2002 – which probably every single metalhead to be found in the Sognefjord region did at the time. “That is really a special memory”, the guitarist admits. “We waited down there in John Dee for over an hour because we knew that it was going to be crazy and packed. As soon as

Windir started their first song, the barriers just burst, people were crowd-surfing, and we were nearly ended up standing on the stage. This gig was something else.” When it was finally Kampfar’s turn in the year 2009, the band had already become so well established that they started out at the main stage in Rockefeller instead of having to undergo the ‘traditional’ first show down in the cellar of John Dee. “It was a remarkable moment to stand on that very same stage on which I had seen my favourite bands perform”, Dolk smiles at the memory. “It suddenly struck me that this is actually a quite small space. At that time, we had already performed all over the world and at big festivals. In my mind Rockefeller had always appeared so big, which just shows how strong its impact was on me. We spend our whole fee on pyros and although our money went up in flames, we have never regretted doing it. We just had to show the world that we were serious.”

It has been a long road, but finally Kampfar are going to perform as the headliner on Thursday. Even though the Norwegians are veterans by now, this still seems to mean a lot to them. “Of course, this festival and the Rockefeller have an important place in the heart of any band from Norway”, the guitarist responds. “Although I had moved to Trondheim, I kept coming back to Inferno through all the early years. It was also exciting when the time came for the bands to be announced at the ‘Kick-off’. Everybody was anticipating and speculating which bands were going to be on top and who was moving up or down.

It was the cradle of judging.” Dolk points out that especially for musicians, there was something else going on than ‘just’ a music festival. “At times, it felt as if the Inferno Festival were the Black Metal Olympics”, the vocalist bursts out laughing. “It was always important to be seen at this Black Metal World Cup and it is still the place to make connections and meet interesting people. For the Norwegian black metal scene, this is a most important, massive event.”

It is hardly an exaggeration that the Inferno Festival is not just Oslo’s main black metal celebration attended by locals but it is also the dream event for hundreds of visitors from around the globe. Many save up for years to make coming to Oslo true at one fine day. If 2024 is your year: welcome! Consider yourself lucky as among many other amazing bands your will get to see Kampfar – a band that has only performed at Inferno in 2009, 2015, and last in 2022. Even better, as ‘Til klovers takt’ was released much later in November 2022, it also means that the 2024 show will also mark the premiere for this excellent latest record at the festival. With the setlist and show still held secret, we will only find out at on Maundy Thursday that Easter weekend what exactly is going to happen. Yet everyone, who has ever seen Kampfar live on stage already knows: it will be a fiery and stellar performance!

Kampfar performs at Rockefeller stage Thursday 28th of March 23.30.

“IT WAS A REMARKABLE MOMENT TO STAND ON THAT VERY SAME STAGE ON WHICH I HAD SEEN MY FAVOURITE BANDS PERFORM.”

“IT WAS A REMARKABLE MOMENT TO STAND ON THAT VERY SAME STAGE ON WHICH I HAD SEEN MY FAVOURITE BANDS PERFORM.”

– DOLK

– DOLK

Rock & Metal

15. & 16. Nov 2024

JOTRON ARENA - HOFFSGATE 6 - LARVIK

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TBA

FESTIVAL PASs 1349,- day pass 749.-

20 year limit - fee of NOK 100 when buying at the door

By: Roy Kristensen

DIMMU BORGIR DIMMU BORGIR

FIVE YEARS HAVE PASSED SINCE THE NORWEGIANS RELEASED “ENONIAN”. BUT THEY HAVEN’T RESTED ON THEIR LAURELS. MEANWHILE THEY HAVE UNLEASHED THEIR FIFTH ALBUM ONCE AGAIN, AN ALBUM WITH COVER TRACKS HAVE BEEN SERVED TO THEIR FANS AND THEY DID THEIR ONLY SHOW IN 2023 AT BEYOND THE GATES. THAT SHOW ALSO MARKED THE BANDS 30TH YEAR OF EXISTENCE. SILENOZ AND SHAGRATH WILL GUIDE

FIVE YEARS HAVE PASSED SINCE THE NORWEGIANS RELEASED “ENONIAN”. BUT THEY HAVEN’T RESTED ON THEIR LAURELS. MEANWHILE THEY HAVE UNLEASHED THEIR FIFTH ALBUM ONCE AGAIN, AN ALBUM WITH COVER TRACKS HAVE BEEN SERVED TO THEIR FANS AND THEY DID THEIR ONLY SHOW IN 2023 AT BEYOND THE GATES. THAT SHOW ALSO MARKED THE BANDS 30TH YEAR OF EXISTENCE. SILENOZ AND SHAGRATH WILL GUIDE

US THROUGH THEIR HISTORY, THE SAID COVER ALBUM AND WE WILL ALSO LOOK FORWARD TO THE UPCOMING INFERNO FESTIVAL.

US THROUGH THEIR HISTORY, THE SAID COVER ALBUM AND WE WILL ALSO LOOK FORWARD TO THE UPCOMING INFERNO FESTIVAL.

Part 1: Silenoz guides us through the past and ends up in recent days

Prior to “For All Tid” Dimmu Borgir did a few rehearsals and demos. What happened before you eventually became Dimmu Borgir? I guess you were affected by the turn of events in Oslo at the time … - We used to go into town one Saturday each month. We liked Darkthrone a lot before they changed their style, and I remember we were fans of Minas Tirith, which were a local band. I guess they were the only band in the area that were a bit known, and they did a gig at Folkets Hus in Nannestad in 1991. The walking distance to the venue was favourable, but we had already watched them a few times in Jessheim and other places prior to the gig in Nannestad. The event was called Nightmare On Elm Street. I got to know Jostein Sandaker and the guys in Testimony in January 1992, when they played together with Red Harvest and Igneous in Jessheim. I turned 15 that year and things were in motion. Jostein and I spoke a lot together, something that went smooth since we spoke the same dialect. We spent a few hours on the phone, to put it like that. You know, old-school phones, obviously. We figured out that we ought to do Nightmare 2 with my band Dechristianize, Testimony and Igneous. So, it was spoken, so it was done, and from our point of view we thought it became a success. When you’re just a teenager, Folkets Hus looks quite big, but today it doesn’t look much bigger than the room we’re

having this conversation in.

Ha ha, so 20 people in the audience and packed…

- I guess there were like 50 people in there. Low ceiling, people went nuts and the way I remember it, it was all bananas. If memory serves me right, this was back in April ’92. I guess that was the first time I met Shagrath.

You were more into death metal from the beginning?

- Yes, you’re right, but I have always been a fan of extreme music. The logo for Dechristianize had upside down cross, a few 6s, a pentagram and stuff. We changed into Malefix later on, but we didn’t do any gigs even though we steadily got better musicians all the time.

I haven’t heard any of the rehearsals you did with Dimmu Borgir, but I have of course heard the EP “Inn I Evighetens Mørke”. Was there a transition from death to black metal in this band’s case?

- No, we just did our own form of black metal right from the start. We had already began to play together when we were in high school and when we met at the rehearsal place, we did covers of bands like Mayhem and Tormentor. In fact, I think I have something on tape somewhere … But we never did full covers, and it didn’t take long before we began to do our own material.

I remember that sometimes Shagrath brought his Boombox to the rehearsals, other times I had some equipment brought along so that we could record our rehearsals. We did this so that we could remember the tracks, learn them, and improve them as we grew better. Back in those days tape-trading was the shit, so we had to add something extra when we traded. And there

you go, realizing that trading rehearsals meant spreading the rehearsals all over the globe.

Ah yeah, return my stamps and what have you?

- Those were the days, glorious days. You bought a vinyl every now and then, when you had some money in your pocket, but most of the time you were eagerly awaiting a package from Peru or Poland and so on. You got something new, and you never knew what you would get. It was like Christmas Eve twice a week. You know, back in those days most of what you got was something noteworthy, something cool. I remember when we visited Helvete, then Euronymous always said “you need this, you have to listen to that” and he was right hundred out of hundred times. He showed me Samael, Rotting Christ and those early black metal bands. “Worship Him” (Samael) is after all one of the first Norwegian black metal albums released 11 months prior to “A Blaze In The Northern Sky”. And Samael were and still are Swiss.

Dimmu Borgir’s debut “For All Tid» came a few years later, and the tempo on that album is quite slow, actually.

- Yes, you’re right. Most of the time Shagrath, Tjodalv and I did the music. Tjodalv hadn’t begun doing drums properly, so basically it was Shagrath who did those on our debut album. It just happened by accident. We even borrowed the drums at the place where we recorded the album. Tjodalv did first do the drums in Old Man’s Child before he took over the sticks in Dimmu Borgir as well. There is one track on “For All Tid” where the two of them changed position. You can

hear that Tjodalv plays the drums on “Glittertid”, since there are double bass drums on that one.

Did you decide to go for a slower approach, or …?

- We basically just met in the rehearsal place and checked out the various riffs we had. Then we tested things and tried to make things fit together somehow.

Isn’t it strange to think that you were quite young at the time and having your development in mind, there are probably people out there who have “For All Tid” or “Stormblåst” as their favourite Dimmu Borgir album?

- Yeah, but you always have the first charm and nostalgia in the equation. If I should try to look at this from a fan’s perspective, I do respect this. It is of course difficult to view the music in this way when I have been a part in the making. A lot of the music is rather banal, and as teenagers we didn’t have much clue about what we did.

Do you have bands where you think the same?

I mean, Iron Maiden and Judas Priest have also released their debut albums …

- When you mention Judas Priest, there’s always “Rocka Rolla”. It didn’t turn out the way they intended, to put it like that. The music feels a bit slow and sloppy, it’s not tough in any way. But the demo version of the album, which you probably can find on YouTube, is rougher and closer to what Judas Priest turned into. I think a lot of this has to do with the production. We didn’t have any money, so we had to do the recording at Stovner Rockefabrikk, because we could more or less afford it. “For All Tid” wasn’t meant to be an album. Actually, it was supposed to be a demo. We shipped away a few advance tapes with the first songs, and the response was surprisingly well. So, we got motivated and decided to record a few more songs. We got another technician at Stovner Rockefabrikk, so that’s the reason the album sounds a bit … mixed up. Silenoz laughs. The album was released by the interpersonal No Colours Records.

- Yes, he had a concept he stuck to (for a while). The releases had to be in black and white. We didn’t know about the reputation that came to the surface slowly but safely, we just thought it was cool that the album

was released in black and white.

But I remember that there were colours…

- That was the rerelease by Nuclear Blast. There was a CD version by No Colours as well, but we learnt in retrospect that there were probably way more copies printed than we were told by the label. The Nuclear Blast version that came a couple of years later turned out to be all wrong. The cover is orange and lilac, and the combinations were all fucked up. When we got a few copies ourselves we didn’t understand anything. It should’ve been only black and white, right?

Yeah, Marduk wasn’t all too pleased with the first pink edition of “Those Of The Unlight” and I remember there were some fuzz about the first edition of the horror unleashed by Mayhem.

- You give something to someone you think are experts, and well … And then there’s nothing you can do about it, ha ha.

“Stormblåst” was released again, and even rerecorded, nine years after the initial release. Looking at it now, do you think the material was strong enough to justify the 2005 release?

- I sure do. You can hear the new edition and you’ll see that there is some good stuff on the album. The production is also stronger, there’s more power behind the music. We thought that it was closer to what we were aiming for with the original version. If you listen to some tracks on “Enthrone Darkness Triumphant”, you can hear that “Stormblåst” was a natural predecessor. But due to the sound, it is much easier to listen to the new version.

Yeah, the production on the original is nothing much to write home about.

- There you have another story. We liked the “Aspera Hiems Symfonia” album by Arcturus quite a lot. It was recorded in Endless Sound Productions in the old town of Oslo. We had just begun to experiment with synths, so we thought that it would be worthwhile to record there. We booked time in the studio, but when we came there, we had got the dates wrong. With our equipment in our hands, we had to turn around. So, at the right date we did went back. But we didn’t get the

technician we asked for. The one we ended up with didn’t know metal at all, he came from a more punkish scene. Well, we didn’t have much money, so we thought we just had to do our best and hope for the same. Since we knew that the studio was told to be better, we thought that it would be fine anyway. It is a bit better than the debut, but it sounds too cosy, the sound is too soft. Some think it’s charming and like it the way it was, preferring it before the “Stormblåst MMV” release. I do respect that, of course. I don’t like the rerecording of “Stay Hungry”, the one that is called “Still Hungry”. I have managed to listen to it a couple times, but that’s more than enough, so I better stick with the original.

How inspiring was it to see the other guys releasing albums, drinking beers and do concerts? I guess you didn’t think that you had to be bigger than those bands, when you bought albums by Burzum, Darkthrone, Immortal and the rest of the wild bunch?

- I guess it’s like with most bands starting up – there’s no masterplan about being big and known. You meet up, you try to find something in common, and you begin to make music together. You may feel like an outsider, but that’s often what you want to be. Not to forget all the music you’ve listened to and that you draw so much inspiration from. And there were also albums that you knew were in the making. A year or so before “De Mysteriis Dom. Sathanas” was released you’d heard the music par vocals. That was amazing, and I feel honoured to have been a part of this upbringing, if you can put it like that. I don’t feel that we think about success even today. We know that we’ve reached a certain level, of course, but that’s not where our focus lies.

But with that certain level of success, I guess you’ve made a few dollars more?

- Yes, that’s what we thought as well. There’s a reason “Enthrone Darkness Triumphant” is green, you know? We were very green when we signed the contract with Nuclear Blast. When we did the first real tour as support to Cradle Of Filth at the end of 1997, we sold

a lot of merch. I remember an employee from the label came and picked up a lot of merch and we saw a lot of cashflow. Cool, right? Now we made money, right? But no, not at all. According to the contract they owned all the rights to the merchandise.

Silenoz laughs when I wondered if they didn’t make any money at all on the first album they did for Nuclear Blast. His respond made me ask about how many albums they were stupid enough to sign for?

- We got us some kind of management at the time, and they told the company that if the band should continue to exist, we had to take a closer look at the contract again. If Nuclear Blast hadn’t realized that we couldn’t play for nickels and dimes, I guess that would be the end of Dimmu Borgir.

Perhaps Century Media would’ve been bigger?

Anyway, I guess being with Nuclear Blast meant that you were given certain opportunities?

- Yes, we got the opportunity to go to Peter Tägtgren’s The Abyss to record “Enthrone Darkness Triumphant”. To record our album there … We liked Hypocrisy’s “Abducted” and Dark Funeral’s “The Secrets Of The Black Arts” and we thought that these albums were noteworthy. Peter had got a copy of “Stormblåst” and thought: “What the fuck? Shall I record an album with these knuckleheads? Oh my …”.

Silenoz laughs.

- He told us that later. We came there in the wintertime, and he was in doubt about what we could do. But when he heard the songs and the way they grew during the studio time, he had to eat his words. He got a real kick from working with us and he became inspired. The recording process went really well after this. He told me a few years ago that he still uses the “Enthrone …” album as a kind of reference when he’s adjusting certain frequencies during the mixing process.

I guess you had an idea of how you wanted the result to be when you went to Sweden. Was the music as filled with keyboards from the start or did it happen during the studio time?

- We rehearsed quite a lot at the time, using keyboards all the time. Nagash was also a member of the band in those days, and he did keyboards as well. So, we were well prepared when we went to The Abyss. A couple of tracks weren’t completed before we left, but there was a lot of keyboards in the music, yes.

Was “Raabjørn Speiler Draugheimens Skodde” meant to be a part of the album already from the start?

- Yes, we were going to rerecord it. We did “Hunnerkongens Sorgsvarte Ferd Over Steppene» as well, but they were supposed to be on “Godless Savage Garden”. “Raabjørn …” was included in the Japan-edition as well as the digi-pack version. There is one version of the album where the track is included but excluded from the track list though. When Astennu came into the band we recorded two new tracks for “Godless …”.

“Enthrone Darkness Triumphant” became quite a success. Did you focus on everything become bigger and better, or …?

- Yes, we wanted to go further, and we began to focus more on the arrangements instead of just putting some cool riffs together and hope for the best. The development is probably a natural thing, but we got more and more critical towards our new material. We tried to avoid going too far, because then things would probably just have ended there and then. We wanted a

natural development from the production of “Enthrone …”, but perhaps we went a bit too far with “Spiritual Black Dimensions”.

Do you think it’s strange that people have that album as their favourite?

- Nah. Everybody has their own reason for whatever album remains the favourite one.

Was Vortex already in the band, or was he just guesting a bit?

- He became a full member of the band on the follower. When we recorded “Spiritual …” we were in touch with Carl McCoy. He wanted to do a part on the album. If memory serves me right it was “The Insight And The Catharsis”, where we’d written a section with him in mind. Time was ticking and we wanted him to go to Sweden, but he declined. So, same idea, new wrapping. Vortex was one suggestion, and he was ready to give it a shot when we got in touch with him. He came to The Abyss and did the track. We though it sounded so good that we thought we could try his vocals on one more song. In the end he guested on four songs.

Didn’t Shagrath want to give it a try at all?

- No, we didn’t think about that at all, actually. We were focused on Carl, but I do understand that he didn’t have time or wanted to fly to Sweden and head deep into the forest to do a few vocal lines that he could just as well do back home in England. We wanted to be with him when he was supposed to record because we had some ideas we wanted to try out. But that story never happened.

Well, in retrospect it turned out to be a lucky shot, right?

- Nagash told us during the recording sessions that he wanted to prioritize Covenant. We had set up a tour already. Then we got in mind that Vortex also played the bass, and if he wanted to play with us, we killed two birds with one stone. He wasn’t a member of the band, but during that tour he became one.

Was it due to his work with Arcturus, where “Chaos Path” did impress quite a lot of people?

- No, we knew him from Lamented Souls. But “La Masquerade Infernale” was already a year old when we recorded “Spiritual Black Dimensions”, so I guess we weren’t unaffected.

Mustis was playing on “Spiritual …”, but it was with “Puritanical Euphoric Misanthropia” that things got more orchestral and less synthic (if that’s a word), right?

- Gaute Storås transcribed notes for us, which made it more orchestral. Gaute comes from an orchestral frame of mind. But we didn’t make use of a full orchestra yet.

How has the feedback been to the rerelease that came in 2022?

- This version is not a rerecording like the one we did for “Stormblåst”, but it is remixed and remastered. A lot of people like both versions. The original will of course always be the original, but there many elements that come to the surface in the new version. It doesn’t have to do with making some extra money on the fans.

But these first five albums, how do you relate to them now in 2023? Proud, or do you have the musician syndrome of “everything could’ve been better had we recorded them today”?

- If you had asked me like 10-15 years ago it would probably have been different, but today I can see that a lot of the material is pretty good. When we try out songs we haven’t played live before, or some that we haven't performed for many years, I do realize that the

songs are actually quite ok. Of course, some tracks have sections that are cringe and banal, but I have to realize that this goes for basically every favourite bands’ first few albums.

Except for Darkthrone. The cringe thing came later.

- Yeah, the first period of Darkthrone is pure black gold.

When you did “Death Cult Armageddon”, everything became even more orchestral. It was more is more, but when you then did “In Sorte Diaboli”, you went for less is more. What happened?

- We had proven to ourselves that we could take things as far as we did with “Death Cult …”, so we wanted to try something else again. I feel that “In Sorte …” is a more occult kind of album. I think that there are songs on that album that are really great, but they haven’t really been appreciated the way they should’ve been. When I look at setlists from that time, we did quite a few songs from the album, and that’s great. The album was a bit more spontaneous in the expression, and Mustis did keyboards. We didn’t make use of any orchestra for that one. Hellhammer did the drums for that one as well, already having done drums for the “Stormblåst XXV”.

The drum sound doesn’t sound exactly like the one on Mayhem’s “Ordo Ad Chao”? We laugh.

- The drum sound is loud enough on “In Sorte …” and I have to say that there are several goosebumps parts on the album.

From my point of view, it seems like people talk less about this album, perhaps because they were baffled by the lack of the bigger-and-better aspect?

- Yeah, but we did go for a lesser impression on purpose. You know when you reach the terrible twos …

The difficulties you experienced in the line-up at the time, were those something that affected the album, or did it come later?

- Actually, they didn’t really show themselves until we had toured for the release. The final concert with that line-up was …, hmm, I’m not really sure when that was, but there was a lot going on at the time. Hellhammer played live with us in the beginning of the tour before Tony Laureano took over.

Wasn’t there something after “Death Cult Armageddon” as well, with Hellhammer taking over for Nick Barker?

- Actually, there was a Danish drummer that helped us out. Reno [Hilligsø Kiilerich] did actually drive his motorcycle from Denmark to rehearse with us in Kolbotn, right outside Oslo. He rehearsed with us, slept at the rehearsal place, and drove back home again when we were done. But five days before Ozzfest, Reno managed to fuck things up with his visa. So, there we were with no drummer and like 40 concerts planned over there. Stressful days, and we were depended on getting a drummer that needed no visa and that could somehow rehearse our songs in a swift. I had some knowledge about a guy named Tony and that he was up to par. We were supposed to do a few concerts in between the half hour slots we got a Ozzfest, so we had 13 songs ready. He told us that he’d do his best. So, we arranged plane tickets for him and sent him the setlist. He went through the songs in his mind while travelling to meet us, and then we had to rush through the songs together as many times as possible. We were of course sceptic and didn’t have any big plans on writing home about the success, ha ha. But it did really work out and it

worked out well. We did the tour, the full concerts we had booked ourselves and we could actually write home about it! Coincidences? Well, I don’t know what to think about this, but sometime things really add up.

Damn, if you had to drop out of the Ozzfest-thing?

- Yeah, and “Death Cult Armageddon” had already sold quite well in the States before we went. I guess we’d turned sour and moaned about it for ages if we hadn’t done the tour.

We talked about Ozzfest a few years ago, and I remember that you said it was quite a success.

- By all means. We did play quite early at the main stage, around 6 pm and broad daylight, ha ha. I guess our fans weren’t the ones with the biggest pockets, so they were placed at some lawn in the distance instead of in front of the scene. I guess those bringing binoculars got most value for the money, ha ha. But there were still quite a lot of people there. Some days there were 15-20.000, other days more than 50. And the lineup was gigantic.

If memory serves me right, you’ve told me that you sold more than 100.000 copies of the album in the States?

- Yes, we did. “Death Cult …” reached those numbers, but also “Puritanical …” sold more than 100.000. I don’t know the numbers now, but many years have passed since “Death Cult …” passed 150.000 copies.

Do the old albums sell regularly? I guess you get some money every now and then…

- Yes, we get some money a couple of times each year. During the pandemic the streaming numbers increased a lot, since people spent time at home. So, some income from that as well, but nothing like when we do concerts. And various people involved have to get their share, and then you have taxes. So, we need to do more concerts, I guess.

Puritanical …” and “Death Cult …” were released in 2001 and 2003. There are a lot of albums that haven’t stood the test of time, but I dare say that these two do. “Death Cult …” is an album that I listen to regularly. It is surely very symphonic, but it is probably the most brutal Dimmu Borgir-album as well.

- I think it’s more brutal than people think, yes. Our brutality is of course wrapped up in loads of melodies. We are, after all, Dimmu Borgir and we’re known for melodies. With “Death Cult Armageddon” though I think variation is the main ingredient and what first meets the eye.

I agree.

- “Progenies Of The Great Apocalypse” is perhaps what people think of as our pop-track if we can put it like that. We can’t stay clear of that one when we put together our setlists. We have tested, but we got no accolades for leaving that one out. We have even tested ending our shows with that track, but it seems like we’re more or less stuck with “Mourning Palace” as our grand finale.

Back in 2012, I remember that you opened with “Mourning …” since you played the whole “Enthrone Darkness Triumphant”.

You’re had your share of ups and downs these 30 years? - And flights. We’ve had our share of flights. And many changes in the line-up. You and Shagrath have been there from the beginning, and Galder has been there for quite many years by now. I guess this topic has been discussed repeatedly, so let me instead ask you about songs. Do you have songs that you hope you never get to hear again?

- Yes, that’s right. But it didn’t take too many concerts before we realized that we had to alter the setlist and put “Mourning Palace” towards the end again. I think we began with the track back in 1997 when we did a mini tour together with Dissection, Cradle Of Filth and In Flames.

“WELL, A FEW OF THE OLDER TRACKS STILL HAVE A PLACE IN A SETLIST, ESPECIALLY WHEN WE PLAY FOR MORE THAN AN HOUR.”

– SILENOZ

- Yes, but it’s easier to just displace those songs that haven’t stood the test of time at all. The band is 30 years now, so I guess we have enough of the good stuff to choose from. We can pick and choose when we make our setlists, and we can even include songs we’ve rarely performed. You never really know if a song works live before you play it a few nights in a row. On the latest album there’s this track “I Am Sovereign”. It has a great many hits, and a lot of people gives it thumbs up. When we’ve played it live the atmosphere has been kind of dead. Perhaps we expected too much from it with people going nuts, but it could be that people listen carefully instead. You can’t expect that people go nuts every second during a concert. A lot has to do with the dynamics between the band and the audience. I do notice this myself when I go to see a band. I don’t go nuts the same I did when I was 22, to put it like that. I don’t think I have any favourite tracks to do when we play live, I just enjoy being on stage and perform our music.

When you play live, do you have the technical aspect of it in mind, or do you manage to reflect on the song itself?

- Both, actually. It is always enjoyable to play “Mourning Palace”. It is not a perfectly arranged song, but the fans riot and there are many cool riffs there. It is in fact a bit challenging to do it, even today.

The song lasts more than five minutes, and there’s a lot going on in there.

- It is a signature song to us, obviously. I also like to do “Ætheric”, which is cool and have a lot of changes in the tempo. “Council of Wolves and Snakes” is also great to do live.

I love the last song you mention, but isn’t it a bit boring with the middle section where you have to do … nothing?

- Hah, you can say that again. And I do understand that you ask about this. But fact is that we have added quite a lot to the live version compared to the album version. Is it still in question to do songs from the first album, now close to 30 years later?

- Well, a few of the older tracks still have a place in a setlist, especially when we play for more than an hour. “Raabjørn Speiler Draugheimens Skodde” is a track we do regularly.

Do you rearrange the older songs now?

- Is this a trick question?

No, absolutely not. I just wonder how you think when

you have these older songs in an updated sound picture? Perhaps the occasional weak arrangements shine through too much?

- We try to stick to the original versions. But as you point out, the songs will have a different sound, obviously. I think it’s important to not alter the songs too much. What is the point if you change them so that they come closer to the songs we make today? We want the audience to know which song we’re performing, not to stand there wondering what the hell is going on. The main challenge with the older songs on the three first albums is that the arrangements are what they are. We have songs that fade out on the album, so what should we do about them?

Do you get a revision of the older songs when you play them and perhaps also listen to them afterwards, with today’s sound?

- We do discover that the older songs aren’t that bad, after all. We have a decent sound in the rehearsal place as well, so we pump some new blood into the oldies there. But in the end, we can’t be too critical towards our history, we rather focus on enjoying playing the selected songs live on stage and having a good time.

It is now 2023, and there’s nothing special to say about any new music, even though they’re slowly working on new songs. Will it be released in 2024, or most probably 2025? Time shall tell, as Therion once told us. “Abrahadabra” came out in 2010, “Eonian” in 2018, so to justify the system the new one should be out in 2024 and then another album in 2028, right? But seriously, has the writing process changed now that you have become a bit older?

- It’s a mix up of ideas, riffs, feelings and what we create when we meet. What we want is to create an atmosphere, a certain feeling in the music. That is the original black metal expression, and we create our version of this. When we make a song, we want it to be a bit here, a bit there, up here, down there, a bit sweet, a bit sour … We can’t make all this in every song, even though it probably sounds like we’ve tried over and over again, ha ha. But we think of the whole album, and it should consist of a lot of different ingredients. If we write an aggressive track, we don’t want to overdo the synths, if you see what I mean? Yes, there may be synths there, but just to spice it up a bit …

How do you regard “Eonian” now in retrospect?

I guess you got a bit of both kinds of feedback, in the good ol’ Dimmu Borgir tradition?

- You know, those with the loudest voices are always those who scream out loud before everyone else. Those who give our music some time and allow it to sink in, they often realize that the first impression didn’t do the music justice. And then you have those who were very negative from the starting point and do not dare to admit that they actually like the album. And then you have those who hailed it right from the start, but then the first love fades, if you see what I mean?

How do you relate to the music you listen to?

- Ha ha, it’s pretty much the same as with our fans. I did contribute a bit to a track for the Eurovision Song Contest, but I have grown tired of competitions, deep analysis and that nothing is music, and only music. I have gone old-school again and focus on the riff, the idea or something that a bit undefinable. From these new ideas new riffs are spawned and perhaps turned

into a full song in the end.

Personally, I like “Eonian” a lot and especially from the third track “Ætheric” and on the album is superb. It demands some effort to get behind the obvious aspect with the album, namely all the choiring …

- We wanted a lot of choirs, obviously, and we also decided that the choir should do a lot of lyrics as well instead of the more common A-choir. I must admit that there is more choir than initially intended, but the music must take its own turns. So, we recorded it, did a lot of choirs, and once released, there’s nothing more we could do. We have so many great songs to choose from, so we haven’t played more than 3-4 tracks from this album thus far. I know, developed country problems …

You choose to make use of choirs on tape instead of using Snowy Shaw’s or Vortex’ vocals on tape.

- People do understand that we can’t bring orchestra and choir live on stage, but they are used to that we do choir and orchestra on tape. So, it turned out that using choirs for Snowy’s and Vortex’ parts were fine, and we’ve done it for many years now. It is a compromise, but I can’t really see how we could do it in a different way when things turned out like they did. We don’t want to skip those songs either…

You know, the advantage of dropping those is that you have less songs to choose from for the next setlist.

- Ah, great idea. I’ll bring that to the other guys.

Part 2:

Shagrath in an Inferno of cover tracks

When I call Shagrath, he begins by telling me that it’s a silent night. Doing nothing much aside from fine-tuning some Dimmu Borgir pre-production tracks. I suggest that they can make a calm and silent album that fits for silent nights. Shagrath laughs a bit but says that it is home office full time work. So, what does he do aside from the obvious family stuff?

- Well, I mainly work with studio engineering. I try to puzzle the pieces together, putting our ideas into songs and see where we’re going. I have a studio at home, which suits me well because this is the way we’ve worked since we did “Puritanical Euphoric …”. We have built the songs in my studio. We meet every now and then, then we work separately again before we put together new ideas and so on. So, doing this kind of Tetris is basically what I’m doing these days.

Is this your full-time job? I know you lived off the band some 15-20 years ago, but you haven’t played that much live lately, which brings most of the income, right?

- Yes, we do music, and we manage to live from the music. But you’re right, we haven’t played as much live as we used to. There have been different kinds of challenges, also outside of the band, so things have slowed down. Five years have passed since we released “Eonian”.

I saw on your website that there are four-five festivals announced, but no touring.

- I guess there will be at least seven festivals. Things have changed, that’s for sure. In the 90s we were one of the few Norwegian bands that already by 1999 had toured a lot in the USA. We used to travel a lot, something that was easier in those days. But with three children and we’re not as young as we used to be, ha ha, the attractive aspect of living in a suitcase and sleeping in a tour bus together with 16 other musicians, has lost some of its impact. I’d say we have built a strong fundament based on what we did the first 10-15 years of our

career. This gives us the opportunity to be more selective in what we choose to do these days. We can be a bit picky instead of playing at Bob’s Bar & Grill in Texas, to put it like that. You can say that we’re privileged, but we have paid a quite high price for that. We have sacrificed basically everything for the band these 30 years. But things are in constant motion, the focus changes, people grow apart, and things happen in life. We have climbed many mountains, and I don’t think there’s much left for us to do, our bucket lists are short!

Despite that you and Silenoz are quite different the way I know you, it’s quite impressive that you still do Dimmu Borgir.

- Yeah, we’re like salt and pepper, but ... I mean, we met in 1992 and we had a common interest. There was no plan B, we went all in because we had this enormous hunger! Silenoz and I have run the band from the beginning, but especially the last 15 years have shown that we’re quite different. This can be challenging when we’re supposed to make music together, because there are things that affect us in different ways. We have different taste in music, our visions of how the band shall appear can be different and there are other things as well. But things that can be difficult can also be positive. Anyway, I remember that we were very enthusiastic when we released an album, and it was something special to have the album in our hands. Today it is fresh news and gets attention there and then. And everybody and his sister are experts on the internet, right? I have stopped to read comments because it’s just garbage. So, the pleasure of releasing an album is not the same as it used to be.

Do you think you’ve been more productive the last 15 years or so if it hadn’t been for the way internet has destroyed a lot of art and artistic expressions?

- I’m not sure. As said, we don’t meet that often, we don’t work together with the music every day. Rather the opposite. I’m not sure if the band had been more productive, had we met more often. Things takes time. I have an inner desire to make art and that is what drives me forward. Once a musician, always a musician. When we release the new album, we should aim for a couple of tours instead of only doing festivals.

Being on festivals, how was it to do the concert at Beyond The Gates in Bergen in August 2023?

- We got an immediate excellent review from the local paper. I mean, we invest a lot of time and effort into our performances, so it’s nice when the local people appreciate what we do. We’ve released ten albums by now and we’ve noticed the spirit of nostalgia in our scene these days. There are many that only want the old stuff and scream for “Stormblåst”, you know? We spent some time to choose our setlist and tried to get a couple of tracks from each album. And we have experienced that not all our songs work on stage. On the album they fit like a glove, but there are vibes that do not feel correct during our rehearsals or on stage, for that matter. I am very proud of what we have created, despite that looking back at our lack of arrangements and how inexperienced we were give me some anxiety. I guess that’s the curse of most musicians, that we get better and that we’ll learn how to arrange better songs as we grow more experience. A lot of the old tracks were done spontaneously. Silenoz had a couple of riffs, I had a couple and then we put them together without really reflecting on how well they belonged to each other. But from the fans’ point of view, things can be different. Did they hear us in 1995 for the first time, or in 2003 or in 2010 for that matter? I prefer the first Slayer albums, right? So, looking at things this way, it is obvious to us that we have to play older songs as well. I must admit though that not all songs are equally fun to do. You know, relearning the lyrics, putting things together and make even the worst arrangement flow today, without losing the track’s identity. Some of the old tracks have rarely been done live, like “Over Blekende Blåner Til Dommedag”. In fact, it was Aldrhan that sang the original version, so it took me quite a while to memorize the lyrics for the show in Bergen.

In general, I think the concert went very well.

- Thank you. We had some technical problems, but we managed to do everything as planned. We have often been accused of having a somewhat bad sound. Not to defend ourselves, but it’s not always that easy to have back tracks, four synths, two guitars, bass, vocals, and various effects, all getting ready and fixed during that half an hour of changeover. There’s a lot of information in our

music, to put it like that. We would prefer to have a few more minutes, but I think the concert at Beyond The Gates went well, after all. And it seemed like people appreciated the setlist and those old songs we did.

I guess it’s better, or at least easier, to do the newer songs?

- Well, that’s the way it is when you’re a musician playing live. You work with a track in five months and then you know it in and out. When the song is done you move over to the next one. So, my mind moves to the next one, which means that there’s less space for older stuff. It feels like my mind prefer the newer material, especially since I focus on developing our art instead of resting on our laurels.

With a new album in sight, yet still far away, Dimmu Borgir have decided to remaster the cover tracks they’ve done and make one while-wewait-for-it album. “Inspiratio Profanus” is out when you read this. I must say, your choice of covers is quite varied?

- The first one we did was Celtic Frost, which came in two versions released on the “Devil’s Path” mini-CD. The record company has regularly asked us for a bonus track. This has to do with the Japanese market and that the albums need one extra track compared to the regular European version. And since we do have different tastes in our band, there’s been covers of black metal and heavy metal and hard rock. If we find a track that is fine by all, we’ve chosen that one when asked. I think we came up with the idea of collecting these covers about five years ago. And now, when both we and the fans await a new album, we think this cover album is a nice way to shorten the wait a bit. These tracks have been spread on different releases, and a few you only get via the Japanese releases.

Haven’t you done more than these eight tracks?

- In fact, we’ve done seven different tracks. We did two versions of the Celtic Frost cover. I think it’s cool to have them all in one album. When we released the first track, Venom’s “Black Metal”, it became clear that a lot of people hadn’t heard it yet.

I thought you had recorded this very recently because I can’t remember having heard it myself.

- I think we recorded it when we did “In Sorte Diaboli” and you can find it on the Japan edition of that album. “Metal Heart” is from the “Godless Savage Garden” album. Now you get these eight tracks in remastered versions.

Do you have any favourite amongst these cover tracks?

- Let me first say that I wish we’d done a Kiss cover, because that’s the band I have followed since the first time I heard them. But from the tracks on “Inspiratio Profanus”, I have a special relationship with Bathory. That’s a band that have been with me for so many years, and Bathory is a very important inspirational source, even though you may not hear it directly in Dimmu Borgir’s music. Bathory is one of those bands that has that special thing, that undefinable mystery to it. We did “Satan My Master” because it’s one of the more obscure Bathory tracks. It has probably been covered by several others, but when we did it, I didn’t know of any other band doing this track. We wanted to do it a bit more necro, so I used one of those thin, small plastic microphones to make it sound as dirty and distorted as possible.

Are we talking about a kind of children’s microphone?

- Yes, we are. It was a toy microphone I bought at Brio. I’m not sure if Shagrath is having fun with me, but

the cover became necro, no doubt.

- It’s one of the coolest covers we’ve done. But I also dig the Deep Purple one. I remember that my father listened to Deep Purple and Twisted Sister as well. We did “Burn In Hell”. So, all in all I think it has become a cool, little thing.

There is one track that stand more out, in my opinion. How did you come up with “Dead Men Don’t Rape” by G.G.F.H. (Global Genocide Forget Heaven)?

- I am the one who liked this band. G.G.F.H. is a really cool band. I remember I traded tapes with Garm from Ulver, and he sent me some G.G.F.H. material. While we did some preproduction for the “Abrahadabra” album, G.G.F.H. was on the speaker. I think it was Galder who mentioned that it would be cool do a cover track. The rest is history, and it became quite different, I’d say. I guess few people know of this band, but that didn’t stop us. It can be challenging to do a cover because there has to be a certain balance. The listener must recognize the original, yet the band need to give it a personal touch instead of just copy it in detail.

“I THINK INFERNO IS AN AMAZING FESTIVAL, AND I HAVE BEEN THERE A LOT OF TIMES, BOTH AS ARTIST AND VISITOR.”

– SHAGRATH

Dimmu Borgir will play at Inferno Festival 2024, which is the main reason this article is in this magazine, obviously. This will be the first concert since the one at Beyond The Gates?

- Yes, it’ll be our first show in 2024. We haven’t done the planning yet, but I guess that we’ll be playing some old tracks in Oslo as well, since it seemed like people liked our show in Bergen. We’ve been working a lot with pre-productions of newer songs, so our focus has obviously been on that. But we have to begin the final planning soon. We don’t know the playing time yet, but being headliner, we’ll get to play a few songs, of course. And it will, as usual, be a combination of what we think the audience expects to hear and what we think will work well on stage.

I suggest that they could toss in a few covers now, but Shagrath doesn’t give away any information.

- There must be some balance. Personally, I think there are several great songs on the newest album. And even though we prepared well for the concert in August, there are still many months to the end of March, so we’ll be a bit rusty when we start up again. We have to relearn some songs again, to put it like that. You must also keep in mind that we mixed instruments and who did what on which songs, especially on the oldest releases. I did drums, guitar, and synths before I eventually became the vocalist. I mean, there are several songs where I didn’t do vocals at all, only guitar. So, no muscle memory of the good old lyrics, ha ha.

Inferno is kind of like a local festival for Dimmu Borgir, having played there many times and you also live like half an hour outside the city. I guess you’ve been there as a listener, not only as an artist?

- The Inferno Festival has been the starting point of the festival year, to put it like that. At least it has been

like that for years, but in recent years there have been a couple of festivals prior to Easter. I remember festivals used to be something special, but now you have festivals the whole year. If you want to, you can go to a new festival more or less every weekend. I visited Inferno last year, watching, amongst others, Watain. There are still quite a lot of these blackpackers, so I guess Inferno and the whole culture connected to it is still popular. I think Inferno is an amazing festival, and I have been there a lot of times, both as artist and visitor. It’s not like I have to see every band. When you work as an artist and you’re a part of the music business, you get a bit damaged by it and you’re not as eager to see every new band coming to town.

I can imagine that quite a lot of people want to have a piece of you when you go to the festivals?

- Well, we’re quite different within the band. And I guess this goes for other bands as well. I need some time to prepare for the concert, to focus on my part of the show. I have to find the right frequency. I need quite some time to do this. Others don’t need much time to do their job. As said, we’re different.

But what do you do when you’re not focusing on the job? Do you go shopping, for instance?

- Well, when I’m out with Dimmu Borgir, I’m doing my job. I would of course like to see a lot of the places we go to, but I must save my energy. If I go on stage with no energy, it will be a rough day at work, no doubt. I want to avoid that. I rather have a glass of wine or two after the job is done.

You said that you did various instruments before you eventually ended up in front of the microphone. Why did it turn out like that in the end?

- When we did the “Enthrone Darkness Triumphant” album, we got a lot of requests to do bigger shows. Nuclear Blast spent much money to promote Dimmu Borgir, so we did numerous festivals and tours. I found out that instead of standing up there with a guitar hanging from my neck, which didn’t look very good, we should rather go for an extra guitarist.

How much does it cost you to be up there on stage and give everything?

- It is exhausting. It feels like running a marathon. I mean, not only do we perform the music, but we also wear heavy clothes. The heat is on. The show in Bergen lasted for close to two hours. When we do such long sets, we have to balance our energy. You can’t give absolutely everything right from the start because you will be out of energy after just some two-three songs. Add to this that the air quality is different from venue to venue. If you play in Mexico or Colombia, the air is thinner, and it almost causes pain in my chest. Can’t breathe properly! It does help that I quit smoking three years ago. I do of course wish that I had more time for working out and getting in shape. It may not always look like it from the audience’s point of view, but it is a tough task for body and soul, both physical and psychically. After the gig I’m kind of empty! At the same time, sometimes I have experienced that the adrenaline pumps through my body and I can’t relax at all. It’s like I’m high on drugs. So, there’s nothing that’s for certain. I have to add that it’s not easier when you get older. I’m almost 50. I have realized I’m not 22 anymore, ha ha.

Dimmu Borgir performs at Rockefeller stage Saturday 30th of March 23.30.

Looking for techno, jazz, hardcore, country, rock, pop, folk, trance, rnb, electronica, classical, jungle, indie, rap, salsa, prog, noise, opera, reggae, house or just metal?

By: Jorge Patacas

- FIRED UP AND READY TO GO

AT THE GATES AT THE GATES

THE LEGENDARY MELODIC DEATH METAL BAND AT THE GATES WILL BRING THEIR INTENSITY AND ENERGY TO INFERNO FOR THE VERY FIRST TIME ACTING AS HEADLINERS ON FRIDAY. WE TALKED TO VOCALIST TOMAS LINDBERG ABOUT THE FESTIVAL, SETLISTS, BOOKS, THE EARLY DAYS AND MORE!

THE LEGENDARY MELODIC DEATH METAL BAND AT THE GATES WILL BRING THEIR INTENSITY AND ENERGY TO INFERNO FOR THE VERY FIRST TIME ACTING AS HEADLINERS ON FRIDAY. WE TALKED TO VOCALIST TOMAS LINDBERG ABOUT THE FESTIVAL, SETLISTS, BOOKS, THE EARLY DAYS AND MORE!

At the Gates is known for its signature sound and you are pioneers of a genre that has influenced countless bands around the world. What do you think were the keys to becoming so influential?

- Honestly, this is something we have never thought about, we don't even think of ourselves in these kinds of terms, i.e. “influential” etc. I think that would be a hinderance in the band developing naturally. I would say, and I hope this is also true, that we have always stayed true to ourselves, never backed down from what we want to portray as artists, and that we have never thought about the band as a career. This is of course also true for a lot of non-successful bands, but I don't think you can achieve anything artistically, if you are constantly thinking in terms of success, or a career. We might just have been at the right place at the right time. The rest is pure bonus for us.

Do you guys feel any pressure when writing a new album due to the status you have, or you don't even think about this?

- I think every artist have their fans in the back of their heads when they write music, even though we do try to write a 100% from the heart. Of course, it is a great bonus when you have written a new track, and it is well received by the audience. But, at the same time, that is not the gratification that we are consciously pursuing. When we wrote «At War with Reality», the first comeback album, we wrote unconditionally, we didn’t even tell our closest friends that we were working on new material. This was a trick, to fool ourselves a bit, if the material wouldn’t have reached our standards, we could still have aborted the project, without losing any credibility. I do feel that we made the right decision, sticking our necks out with releasing new music. Being a contemporary band means a lot more to us, than being a novelty act that just plays the old songs.

After so many years, there's still room for new ideas in this genre and you proved that once again in your latest album «The Nightmare of Being» where among other instruments we can hear a saxophone in the song «Garden of Cyrus» that took us by surprise. How did you come up with this idea?

- Basically, the same way any artist come up

with ideas. We listen to a lot of different styles of music, and it's fun to see what happens when you let some of those influences bleed into your own sound. Our challenge is always to create something that didn’t exist before, as any artist does, a big part of that challenge is to, at the same time, remain true to the basic idea of what At the Gates is. Keeping the core sound, so to say, but at the same time painting a little bit outside of the lines.

“WE HAVE ALWAYS HAD A GREAT TIME IN NORWAY, THE PEOPLE THERE SEEM TO HAVE THE SAME LEANING TOWARDS THE MORE DESPERATE AND MELANCHOLIC SONGS THAT WE TEND TO WRITE, AS OURSELVES.”

– TOMAS LINDBERG

Once an album is finished, it's common for artists to think that something could have been done differently. I guess this has happened to you as well, but do you regret anything you've done in your career?

- You are so right, this is always the case, and I think that is the thing that drives us, as artists, on. If we would have made the perfect album, then it is time to split up? There is, however, nothing I regret. All the music we have written up to this day, is what has made us into what kind of artists we are today. Without those “mistakes” we would have nothing to learn from, and build upon, and that would, in all honesty, be a very boring situation. There is still so much to learn, so much more to explore. Every album we have put out, I see as a snapshot of the band at that particular time, and I think it is important to have that in mind. You have to see it in the context.

You were around during the early days of the Norwegian black metal scene. Among other things, you designed the Darkthrone logo and were close to Morbid's Pelle «Dead» Ohlin who ended up singing for Mayhem. What are your memories from that period?

- I guess you could say that I was “involved” in the underground death metal scene at the time,

and that was (and still is) an international scene, it didn’t matter where a band came from, if they were good, and exciting, you supported them. At that time there was no second wave (or third wave, if you count Bathory, Hellhammer and the likes) of black metal. Mayhem was around, and that's about it. And I don't remember them calling themselves black metal. I think that all started round the “A Blaze in the Northern Sky” album, I would say. I was in contact with some people who would later become key persons in the Norwegian black metal scene, but there was no scene as such yet, at the time. And barely any gigs. I visited Metalion from Slayer Mag a few times in the late 80's, and he came down to Gothenburg a few times, and I was writing with Pelle, Gylve and Euronymous.

It's a whole different world when we think about all the changes, we've been through since those early days. Back then there was definitely more mystique when it came to the bands and there was this special connection between fans through tape trading and fanzines. How do you feel about this? Do you miss anything from the past?

- It IS different, yes. I don't particularly miss anything. I am more happy that I got to experience it, it formed me into the person I am today. It was a lot of hard, but at the same time rewarding, work. When you think back upon it, it is crazy that a bunch of teenagers, globally, managed to create something like this. Of course, there was a blueprint for us, we copied a lot of the ideas about DIY straight from the punk/hardcore textbook (even though a lot of die-hard metal fans wouldn’t acknowledge this). I still feel the same way about music today, and the music has always been the driving force, even though of course, it was crucial to our identity-building process as teens, this sense of belonging to an underground network, that no one else understood, it was exhilarating.

I know you like to read, so I wonder what you've been reading lately and if it has inspired you to make it the theme of new songs. Are there any ideas for a new album?

- Lately, I have been deep into Sci-Fi. I think I read at least one or two books a week. The different

styles of literature I indulge in varies from time to time, it is like music, it goes in periods. Right now, it is Sci-Fi, especially the “newer” English writers, such as China Miéville, Peter F Hamilton, Stephen Baxter, Adrian Tchaikovsky etc. I am just a big fan of this space opera style, and it is new to me as a reader, so I am throwing myself unto it with enthusiasm. Otherwise, I will always have my favourites; Cartarescu, Sabato, Robert Musil etc.

Are you into movies/documentaries as well?

- Anders (Björler, guitar player) is the movie guy in the band, so I get most tips from him actually. Lately I have been watching a lot of Danish crime shows (laughs)… But I love myself a really good movie, more than anything. Something challenging and interesting, but you should really ask Anders about this, I just follow his lead.

If you could choose one At the Gates song to be part of a movie soundtrack, what song and what type of movie would it be?

- That's another tough question. It all depends, I think the music should complement what you see on the screen, not the other way around. I would think instrumental music fits better to a movie? But at the same time, I had great fun with the main character in “The Killer” just listening to early Smiths the whole movie too… I would say we have some cinematic themes/passages in our music, but it is still death metal, so it might have to fit to a more violent scene/movie?

Coming back to books, have you ever thought of writing a book yourself? You have plenty of stories to share for sure.

- Nah, I leave this to the professionals, I would have too much pressure from myself. If I would write a book, I think it would become a bit flat, if you know what I mean? At my age, I am pretty comfortable with what I am good at, I have some professionality when it comes to writing lyrics to death metal songs, and maybe a little bit around that area of expertise, the rest I leave to other, more gifted people.

I guess it can be a challenge trying to choose songs for a setlist when you have several albums out, especially when you're playing a festival and have less time on stage. What criteria do you use when putting together a setlist in this case?

- For us it is important that the setlist has a flow, while still being dynamic. For a festival slot, we will probably never play the more hidden fan faves, such as «Daggers of Black Haze» etc, or some the more obscure pieces, then we usually focus on the “bangers”, so to say. But when we play in front of our own crowd, we can be a bit more adventurous, and lean into the more leftfield stuff, for sure, I almost feel that our crowd expects us to do that, to deliver something out of the ordinary. But if you go to a festival, and you maybe hear a band for the first time, it should be more of a straightforward set, that we deliver, if you get my point?

How do you prepare for a show? Do you have any warmup exercises?

- I try to sleep well, eat well, and drink a lot of water, basically. On stage, coca cola is good for me, sugar to keep me going, and it also “coats” the throat in a good way for me. Otherwise, it is a lot about being rested, I guess. I try to distract myself during the day, with record- and bookshops, maybe watch a bit of cross-country skiing or biathlon on the tablet. Reserving the energy for the show.

You've performed several times in Norway, including the Rockefeller and John Dee venues. Do you have a favorite stage of these two?

- We have always had a great time in Norway, the people there seem to have the same leaning towards the more desperate and melancholic songs that we tend to write, as ourselves. I am really happy about the reception of the newer

material when we play Norway, it's not just about the «Slaughter of the Soul» songs, if you know what I mean. But choosing a favourite venue is hard, they all have a different charm.

Although you've played both stages in the past, this will be your very first time at Inferno! Have you guys been to the festival before as audience?

- I have been once. My other band, Lock-up, actually played Inferno, in one of its earliest incarnations. It is a great fest, and I like that it is kept broad, so to say, a lot of different, interesting bands every year. I wish I could say that I have been to more Inferno fests, but I have always kept an eye on the line up. The venue is perfect though, it really is.

What can we expect from this performance?

Anything special?

- We will arrive in Norway with our new album finished, and in the bag, so we will be fired up for the show, for sure. We haven’t started talking about a specific setlist yet, but I would love to do a mix of left-field stuff, and the “hits” so to say. As I said earlier, Norwegians have a very open mindset towards more challenging material, and our idea will be that everybody should enjoy this show, even if you are a die-hard At the Gates listener, or if you are new to the band. We look forward to the show a lot!

It's been 15 years since you reunited after splitting in 1996 and you've released three albums and toured extensively since then. What keeps you going?

- I would say to be creative. Every time we sit down together to write, something new comes out, that challenges us as artists and individuals. That would be my main motive, I guess. Playing live is also a driving factor for sure. To meet the listeners, that's when the songs really come alive, we are very much a band that feeds off the crowd when we perform.

At the Gates has cancelled. Gorgoroth performs at Rockefeller stage Friday 29th of March 23.30.

Photo: Ester Segarra

SAT. 30.3

SUN. 31.3

IMBALANCE HORRIFIER INCHOATION TERMINAL

LABEL NIGHT

March 27th at Salt, Oslo

Entrance: free with festival pass

THE LATEST AND GREATEST RELEASES FROM INDIE RECORDINGS

VAK THE ISLANDS

ERADIKATED DESCENDANTS

GÅTE HULDRA

JORDSJUK RÅTNER PÅ ROT

BOKASSA

ALL OUT OF DREAMS

DON’T MISS OUR ARTISTS PERFORMING AT INFERNO FESTIVAL

- EXTREME BLACK METAL, FLAMES AND HELL

YBy: Jorge Patacas

NORDJEVEL NORDJEVEL

NORWEGIAN BLACK METAL OUTFIT NORDJEVEL HAS RELEASED THEIR THIRD FULL-LENGTH ALBUM GNAVHÒL IN 2022. THEY WILL BE TOURING EUROPE IN MARCH 2024 AND WILL PERFORM AT INFERNO FOR THE THIRD TIME, SO WE DISCUSSED THIS AND OTHER TOPICS WITH VOCALIST DOEDSADMIRAL.

NORWEGIAN BLACK METAL OUTFIT NORDJEVEL HAS RELEASED THEIR THIRD FULL-LENGTH ALBUM GNAVHÒL IN 2022. THEY WILL BE TOURING EUROPE IN MARCH 2024 AND WILL PERFORM AT INFERNO FOR THE THIRD TIME, SO WE DISCUSSED THIS AND OTHER TOPICS WITH VOCALIST DOEDSADMIRAL.

ou've released your third album «Gnavhòl» in 2022, how did you come up with that title?

- It's actually somehow a made-up word. It can mean many things. Gnawing hole, hellhole, mountain hole. And it's also basically a twisted word from a poem called Gnavlehòl. It reflects Nordjevel's own hell.

The album was produced by the super talented Fredrik Nordström at Studio Fredman, was there any particular album produced by him that made you decide to contact him? What kind of sound were you looking for?

- There were so many albums that he produced that we really like the sound on. It was always something we wanted to do, and he was also very interested in doing this album with us. We were looking for a raw, yet clear sound. «Gnavhòl» is a very brutal album, with lots of things going on so it was also important to have a sound to make all details come forth, and not drown in the mix. It was also great to work with Fredrik, as he came up also with many ideas we hadn't thought about, so the collaboration was just as inspiring as we suspected. He was also very tough with us, how we played, and with small details that you often miss as a band, which made the energy on the album ravenous at times.

Would you work with him again in the future?

- For sure. At some point we would love to work with him again. When and where in time – time will tell.

What's the process you go through when writing lyrics? Do you ever come up with lyric ideas when you're on tour or do you always do it at home?

- Normally I always write the lyrics at home. In some periods I can write many songs. I have many lyrics I have written over the years. And often I always go back to them, and change things, and re-write a little. Most of the lyrics e.g., on the Nordjevel albums are normally many years older than the albums. When I set up an album, I go

through every lyric I have with Nordjevel, and find the right lyrics for the songs. It's all about a feeling how I see the lyrics and the music fits together.

Some of your lyrics are in Norwegian and others in English. How do you determine which language to use?

- Most of the lyrics I write are 50/50 Norwegian and English. Norwegian is my mother tongue and I really like to express black metal in Norwegian. And with the English there are more complex topics to deal with that just doesn't fit in Norwegian. And it's all about the music. When we have demos

“THE ATMOSPHERE AROUND INFERNO FESTIVAL IS JUST SOMETHING ELSE.”

– DOEDSADMIRAL

for a new album, I just can get a certain feeling on every track if it feels Norwegian or English. I can't really explain how that works.

Who directed the «Of Rats and Men» video and where was it filmed?

- «Of Rats And Men» was directed by the talented Marcin Halerz from Poland. We worked with him in 2015 when we made the music video for «Djevelen I Nord». He was then working with a company called Red Pig Productions. He after that went solo, and he is the one I wanted for this video. We actually recorded it at my farm in Askim. We built like a stage set up, in front of my barn. It was a cool experience, that also makes that video more special. We had to alert the police and the fire department, so they didn't get calls about a fire at the farm. But it was a really intense, cold and when we were filming it was raining on top of

everything. But all in all, killer experience.

Merch is essential for bands' income nowadays. What type of item is selling the most in your case? And as for the music, what's the physical format that sells the most?

- It varies. We have designs that are with colours, e.g., from albums that sell a lot when you release a new album or touring with an album. But in general, our black and white old school designs are the ones that are steadily selling all the time. Timeless designs so to speak. And for sure it's vinyl who sells. Most orders are of vinyl, and very few CD's. But I'm glad we have gone back in time to vinyls, as they are also my preferred format all the ways since the 90's.

Black metal has existed as a genre for over thirty years now. Which attributes, do you think, that a black metal band these days should have in order to gain identity and be unique?

- I think it comes as a whole. Music, artwork, everything. And for me black metal has to be confrontational, dangerous, and mysterious. Black metal should never feel safe. And personally, it needs to be anti-religious or satanic.

Many black metal musicians say they listen to or are influenced by old school South American bands like Sepultura, Sarcófago, among others. Is this also your case?

- To a certain degree, yes. Sarcófago and Sepultura for sure. I grew up with «Bestial Devastation» and «Morbid Visions» of Sepultura. And albums like «Schizophrenia» and «Beneath The Remains» influenced me a lot when I was younger. Sarcófago was step two when the BM wave started. I wouldn't say Nordjevel is influenced directly by these bands, but as I grew up with them, they have shaped at least me musically in some way.

What happened to the South American tour that was postponed?

- In the end, nothing was settled. No flight tickets

Photo: Iuliana Pasca

or venues ready, so we pulled the plug three weeks before, because we had no information, or contact with the promoter. But rest assured, we have a South American tour that will take place next autumn, and probably with another black metal band from Norway. So, it will be a better, more serious organized tour. So, stay tuned.

You're going to embark on a European tour with Taake and Theotoxin in March. How are you preparing? How long do you rehearse before a tour like this?

- Throughout the years we have now almost played every Nordjevel song on every album, so we all know them by heart. Normally we rehearse 2-3 days before we leave on almost every track we play live. That is so we can mix up the setlist when on tour. Looking very much forward to this tour as I think it's a very strong package of black metal.

What do you do to keep your voice in shape on the road?

- Not anything special. Normally my voice actually gets better each day on tour. There is the small warm up before you go on stage.

What would you say has been the best concert of your career so far and why?

- I would have to name two. Brutal Assault in 2019. We had many problems and logistics that were not working before that gig. And we were all very frustrated before the show. And somehow that frustration really manifested when we went on stage. It was frenetic. The other one I have to mention is the Indie Recordings label night in 2021. First show after the pandemic. And we were hungry, and the show was just total energy from the crowd, everything.

You've performed at Inferno before. What are your best memories of the festival?

- Actually, my best memories from Inferno are still when I was in the audience. The atmosphere around Inferno Festival is just something else. In Oslo, it's like everything changes. But I'm quite sure after next year's edition my best memory will be playing live next year. Also, when we played Rockefeller in 2018. Was a great show, not our best, but that will change in 2024. Be warned!

What can we expect from your performance in 2024? You're going to play at Rockefeller, so I guess we can expect pyros …

- You can expect extreme black metal, flames, and hell. There will be some pyros … more I won't say. Better to witness it live!

What song can never be left out of your setlist?

- We always try to play the songs we want to play ourselves and to change it up quite often. But of course, you have songs like «Sunset Glow», «Djevelen I Nord» and «Within The Eyes». Those three are the ones I would say we often tend to include no matter what.

What are the plans after your performance at Inferno?

- After Inferno Festival we have some festivals during the summer. Then late summer we enter the studio to record our next album. Then South American tour in the autumn.

Nordjevel performs at Rockefeller stage Thursday 28th of March 19.30.

TATTOO FAIR TATTOO FAIR

THE TATTOO FAIR HAS BEEN A PART OF INFERNO METAL FESTIVAL FOR YEARS, AND WE ARE HAPPY TO ANNOUNCE THAT 2024 WON’T BE AN EXCEPTION. THE FAMOUS “DOZEN OF CHOSEN” ARTISTS WILL BE TAKING A STAND ON THE LEFT WING OF OUR MAIN VENUE, ROCKEFELLER MUSIC HALL. THIS YEAR’S LINE-UP WON’T DISAPPOINT: THE STRONG GROUP OF INTERNATIONAL AWARD-WINNING ARTISTS WILL BE HAPPY TO VISUALIZE YOUR CREATIVE IDEAS IN A FORM OF SAFE, BEAUTIFUL, CUSTOM-MADE TATTOOS.

THE TATTOO FAIR HAS BEEN A PART OF INFERNO METAL FESTIVAL FOR YEARS, AND ARE HAPPY TO ANNOUNCE THAT 2024 WON’T BE AN EXCEPTION. THE FAMOUS “DOZEN OF CHOSEN” ARTISTS WILL TAKING A STAND ON THE LEFT WING OF OUR MAIN VENUE, ROCKEFELLER MUSIC HALL. THIS YEAR’S LINE-UP WON’T DISAPPOINT: THE STRONG GROUP OF INTERNATIONAL AWARD-WINNING ARTISTS WILL BE HAPPY TO VISUALIZE YOUR CREATIVE IDEAS IN A FORM OF SAFE, BEAUTIFUL, TATTOOS.

Jannicke Wiese-Hansen from Nidhogg Tattoo in Bergen has been tattooing for close to 30 years, specializing in Norse/Viking and woodworking ornamental tattoos. She has made album covers and logos for the Norwegian Black Metal scene even longer. Bands like Enslaved, Immortal, Burzum, Orcustus, Gaahls Wyrd and Ancient has all been graced by Jannicke’s art. IG: jannickewiesehansen

Carmen PG (Blekknroll) is a heavy metal maniac and tattoo artist based in Bergen, resident artist at Nidhogg Tattoo. Her creations are based on blackwork, old looking elements, medieval, botanic and floral elements. The devil is on the details. IG: blekknroll

Barbora Gazurova “Sharuzen”, educated in chemistry and culturology – eventually shifted her focus to her true passion for fine art and tattooing. Self-taught in various mediums and techniques, she began her tattooing journey in 2008 and debuted professionally after moving to London in 2010. Alongside tattooing, she loves oil painting. IG: sharuzen_tattoo

Kevin Hellmaniac comes from Belgium and currently lives in Norway. His major passion and inspiration lie in darkness and Black Metal. Specialized in blackwork, Kevin brings tattoos to life by applying high contrast and creating a sense of depth on the skin. IG: kevin.hellmaniac.tattoos

Clod the Ripper started his career as a professional tattooer back in 1999. He’s now a renowned tattooer for his unique dark/horror style of tattoos and sick lettering, focusing on large scale work, free hand skills and metal artworks. Clod the Ripper is also a musician in the blackened death metal band Blasphemer. IG: clod_the_ripper_tattoo FB: ClodtheRipperTATTOO

Sefi Blood is originally from Valencia, Spain. She has been tattooing for 14 years, owns two studios and an art academy for tattoos and piercings. She is active in the black metal scene in Spain, works with Hammer Agency arranging festivals and plays in the band Pestcraft. IG: sefiblood_tattoo

Mark Weatherhead have a traditional academic background in fine art, digital art and photography. He moved his focus into tattooing under Tommy Lee Wendtner's mentorship. He worked in leading tattoo studios in Germany, has travelled extensively in Europe working conventions and guest spots for many years.

IG: markweatherhead_tattooartist

FB: oneforsorrowtattooparlour

Micky Benavides is a Chilean tattooer, based in Oslo, Norway. Micky specializes in black tattoos such as tribal, neo-tribal, and geometry with vast Tibetan and Hindu influences in his style.

IG: micky_benavides

Carlos Black Shadows is the owner of Black Shadows Tattoos. For 26 years he has been dedicated to the world of extreme metal music. Black Shadows tattoos does not only provide the art of the tattoo, but he is also using the creativity in the dark art, making such as music videos with Lock up, Trident, Order of Isaz, Dark Funeral etc. IG: blackshadowtattoos

Sara Iuso is an Italian tattoo artist who has now been tattooing for around 15 years. Her work is mainly inspired by a mix of her emotions and favourite music, Black Metal and Goth. That forges her passion for art through a variety of different artistic mediums, namely drawing and painting. IG: sarahb0109

Benjamin Moss has been tattooing for 26 years, specializing in realism, and all things dark. Benjamin started tattooing in his hometown of Detroit, USA, then moved to Seattle where he opened Apocalypse Tattoo in 2000. Benjamin enjoys reaching into the imagery in a process similar to dissection, from the inside out, to find exactly what his subject is made from.

IG: benjaminmosstattoo FB: BenjaminMossTattoo

Samuli Ponsimaa is the guitarist from Finntroll, who will not only be gracing the stage with guitar riffs but will also be our special guest at Tattoo Fair 2024. Make sure to catch both worlds of Samuli – Sunday's performance and every day's tattoo designs at the fair!

Photo: Kjetill Mobissen Moberg

AKKS OSLO AND INFERNO MUSIC CONFERENCE PRESENTS:

AKKS OSLO AND INFERNO MUSIC CONFERENCE PRESENTS:

UNLEASHING YOUR INNER DEMONS:

UNLEASHING YOUR INNER DEMONS:

A 2-PART VOCAL MASTER CLASS WITH SYLVAINE AND SÉBASTIEN CROTEAU

A 2-PART VOCAL MASTER CLASS WITH SYLVAINE AND SÉBASTIEN CROTEAU

PART 1:

An introduction to extreme voices and rough vocal effects by Sébastien Croteau. Sébastien Croteau is a metal vocalist since 1991 and a throat singer mastering an array of extreme vocal techniques, is renowned in the world of vocal distortion and creature voice design. He has over 15 years of teaching experience and is the founder of The Monster Factory.

PART 2: THE BANSHEE WITHIN – A WORKSHOP BY SYLVAINE

Join Kathrine Shepard, aka Sylvaine, for a vocal workshop dedicated to the art of screaming. This workshop will cover the anatomy of the voice, basic singing techniques, various categories of screamed vocals, effective warm-up exercises, and ways to find your own distorted voice. No prior experience is necessary, so come and discover how to unleash your inner banshees and demons through the power of your voice.

SATURDAY 30. MARCH 2024

Don't miss this unique opportunity to enhance your vocal skills and explore the world of extreme voices and vocal effects at the Inferno Music Conference 2024!

Read more at infernomusicconference.com/vocal-master-class AKKS is an idealistic music organization working to recruit, motivate, and promote women in all aspects of the music industry.

PROFANE BURIAL – My Plateau

Profane Burial is an atmospheric, dismal, and grim journey through unsanctified cinematic black metal. With members known from Borknagar, Funeral, Trollfest, Cadaver, Haimad, Images At Twilight, Khora, Abyssic and Omnia Moritur.

Available on Digipak CD and Gatefold LP. Preorder January 10th. Release March 1st.

SHOP.CRIMERECORDS.NO

H- INFERNO ART EXHIBITS 2024

By: Aleksandra Stasiak

NICK MORTE NICK MORTE

NICK MORTE IS A RESPECTED TATTOO ARTIST AND PAINTER WORKING IN OSLO. HE HAS BEEN WORKING WITH TATTOO AT INFERNO METAL FESTIVAL FOR YEARS. IN 2024 HE WILL ALSO TAKE ON THE TASK AS ART CURATOR. LET'S FIND OUT WHAT WE CAN EXPECT AT INFERNO 2024.

NICK MORTE IS A RESPECTED TATTOO ARTIST AND PAINTER WORKING IN OSLO. HE HAS BEEN WORKING WITH TATTOO AT INFERNO METAL FESTIVAL FOR YEARS. IN 2024 HE WILL ALSO TAKE ON THE TASK AS ART CURATOR. LET'S FIND OUT WHAT WE CAN EXPECT AT INFERNO 2024.

i Nick, you have been part of the Inferno festival, brewing the Tattoo Fair and for many years, and now coordinating the Art Expo in addition to that. Tell us about your journey with Inferno. How long have you been a part of it, and what have been your most memorable experiences as part of the event?

- I have been a part of the festival since 2011. I had just moved to Norway and was working at Lucky 7 Tattoos studio when I got invited to participate in a tattoo fair with them. We had a few stands in the right wing of Rockefeller and it was very small. I immediately became friends with Hilde Hammer, one of the organizers, and, without thinking much about it, I ended up helping her setting up the stands and cleaning the venue after the show. Somehow, we ended up doing it over again a year after, and it has eventually turned into the routine: Hilde was relying on my experience as a professional tattoo artist to make sure that tattoo area is clean and tidy, up to medical standards. It was amazing to witness that little tattoo corner growing every year, and very soon we were able to have our own crew, led by Katta Skorupska and “Dosen Of Chosen” tattoo artists, curated by Hilde.

In 2015, me, Trine Grimm and Linda K Røed took it to another level with the “Circle Noir” art exhibition in the Inferno Conference hall, where we replaced the art on the hotel walls with our artworks. That’s when I first felt that this thing that we do, collectively, is growing into something bigger than us.

Sadly, Hilde became sick shortly after that and passed away in 2018, which was very hard on all of us. I was living through my own nightmare at that time, being forced out of Norway, fighting the migration authorities for my right to be Me. While staying in touch with the crew and Hilde until her final months, I often felt discouraged, but she was so positive about the future of the festival, giving us hope and motivation to continue moving forward.

I was able to return to Norway just a few weeks

after Hilde left for Valhalla, and the 2019 edition of the Tattoo Fair was truly beautiful and touching for all of us. I have painted Hilde’s portrait for an improvised memorial, so she was smiling, watching over the Tattoo Fair.

Can you describe how Inferno has transformed over the years into the event it is today? Are there any significant changes or developments you have witnessed?

- The beautiful thing about the festival is that it has always had this special atmosphere that never changed. The transformations that we experienced through the years came organically, as our audience was growing up with us. Of course, the significance of these developments cannot be underestimated: we have the whole mini tattoo convention at Rockefeller and great visual artists presenting their works at the festival; but we’ve been working hard on accomplishing those goals, for a long time. Those changes were planned and worked on for years, fuelled by collective efforts. I feel that the professionalism of our teams is the main force that’s pushing the show upwards, steady and solid.

What in your opinion drives the general interest in art and tattoos among Inferno festival goers? How has this interest evolved over the years?

- The visual component has always been very important in heavy music. From a favourite album cover as a poster on the wall, some of these artworks follow us through life, defining our appearance as t-shirt designs, clothing patches or tattoos. No one else knows as much about art as metalheads, believe me, and I’m happy to see that Inferno Festival goers dig deep into it. But besides the obvious interest in album covers and illustrations, I can see a growing fascination with fine art among Inferno people. So, last year, the National Museum had a booth with Kittelsen merchandise and they had a great response to that.

I’m also happy to see how much resonance David Thiérrée gets with his illustrations, so I’m glad he is returning to Inferno again!

- And when it comes to tattoos, of course, the interest always includes trends, but in general, Inferno people make very little spontaneous decisions. They know their artists well, as they do the research beforehand. As an artist myself, I appreciate it very much.

Could you tell a bit about how music and visual arts come together and enhance the overall experience for the Inferno metalheads?

- You know, Inferno might be the best place to observe the interaction of art and music. The most fascinating thing for me is the diversity of expressions within the niche that we, metal fans, occupy. Here, you can see old-school black, using beautifully rough, simplified expressions, right next to insanely complex shows, all of which use visual artworks in their own way. We don’t always notice it, but there is an artist behind every logo, every backdrop, every piece of artist's clothing!

Most musicians embrace the opportunity to enhance the experience with images on the screen and on stage, and some take it even further, using live painting as the part of the show.

Tell us about the new ideas rising on the horizon for 2024. Can you share any upcoming art events that attendees can look forward to?

- This year, we are putting together a big collective art exhibition at The Hub hotel, with original artworks from some of the best visual artists in the industry, I’m absolutely stoked about that! We have so much art at the festival now: excited to see Kim Holm’s artistic expressions, and Costin Chioreanu’s participation in the “Dracula Unveiled” panel at IMC!

We’re also planning on bringing art fusion to the “Tattoo Corner”, where we will have a bunch of talented artists working on collaborative paintings. This is something that I look forward to participating in, myself. I did it a few times with different artists, and, with so many good painters in the same building, I just can’t miss this opportunity!

Photo: Nina Red

BLACK METAL BUS SIGHTSEEING BLACK METAL BUS SIGHTSEEING

The Black Metal Bus sightseeing with Anders Odden is back! A trip through some of the places that marked the beginning of the legend that became NORWEGIAN BLACK METAL. Conducted by Anders Odden (Cadaver, Celtic Frost, Order).

For the normal music fan, the story of Norwegian black metal is essentially something about murder, suicide and church fires. Between 1991 and 1993 many of the most important events in this dark chapter in Norwegian music history took place in Oslo and we have put together a field trip to the sights that takes you back in time.

In the beginning there is always someone that does something new and then gets people to follow a new vision. Through his record store, Helvete, and his band, Mayhem, Øystein Aarseth aka Euronymous became the key person. He inspired and promoted all the early bands in the early Norwegian metal scene such as Emperor, Darkthrone, Immortal, Burzum etc.

He was subsequently killed by the infamous leader of Burzum, Varg Vikernes aka Count Grishnack, in his apartment on the 10th of August 1993 after a whole year of turmoil in the growing but obscure underground scene of Oslo and Bergen alike.

This date marked the end of an era and the small scene that until then was totally unknown to the public was in the tabloid media and made headlines far outside Norway.

Anders Odden formed his first black metal band, Slaught, in 1986 after attending a rehearsal with Mayhem at the age of 14. He was one of the pioneers in the infancy of the Norwegian scene dealing with tape trading, organizing of concerts and creating more and more extreme music on his own. He formed Cadaver in 1988 and released the first Norwegian death metal album on Earache Records in 1990. His band played shows with Darkthrone, Mayhem, Old Funeral and many more bands of what would become the Norwegian black metal scene in the beginning. This field trip has exclusive anecdotes and personal memories of the early life of the scene from someone who was there.

SILENT MOVIE CONCERT WITH VOID OV VOICES

SILENT MOVIE CONCERT WITH VOID OV VOICES

We welcome you to a silent film concert where Attila Csihar’s Void ov Voices will create the music for the classic German horror film “Nosferatu” from 1922. The silent film concert will take place at the cinema Vega Scene on Saturday, March 30th, at daytime during Inferno Metal Festival 2024. Separate tickets will be available for this performance.

VOID OV VOICES

Void ov Voices is the solo project of Attila Csihar, known as the vocalist in Mayhem and Tormentor. In Void ov Voices, he uses only his own voice to create a soundscape of the dark and atmospheric variety. Csihar initiated this project in 2007 and has since performed numerous concerts with this concept. Void ov Voices has previously held a silent film concert in Oslo when they provided the music for “The Cabinet of Dr. Caligari” during Oslo Fright Fest in 2012. We look forward to another silent film concert with Void ov Voices in Oslo, this time accompanying “Nosferatu”!

NOSFERATU

The German silent film “Nosferatu” was released in 1922 and was one of the first movies based on Bram Stoker’s ”Dracula.” Because they lacked the rights to the story, they changed names and locations, so Count Dracula became Count Orlok. However, this did not help, and the judiciary ruled that all the film reels of “Nosferatu” should be destroyed. Fortunately, several reels survived, and F. W. Murnau’s great masterpiece endured. Now, over a hundred years later, the film still stands as one of the great classics in film history. We are excited to see and hear when Void ov Voices soundtracks the film during Inferno Metal Festival 2024.

MJØDERIET MJØDERIET

We continue our great cooperation with Mjøderiet, who will make a special and limited batch of their finest brew for the Inferno audience. This mead will only be available for sale at the Inferno Metal Festival 2024!

Photo: Carl Eek

- HEAVY METAL EDGE - HEAVY METAL EDGE

YBy: Jorge Patacas

VLTIMAS VLTIMAS

ou're all based in different parts of the world and are usually busy with your other projects. Do you set a period of time to focus only on Vltimas or you work on it while you're working on other projects as well?

- Well, speaking for myself first and foremost, there is always some degree of activity in all my bands simultaneously. I create a lot of music, a lot of riffs, and sometimes I can have like 6-8 really good individual ideas in a single day that are quite diverse in the sense of moods and tonality. Some are more suitable for Vltimas whilst others are way more ruthless and can be for my black metal band RUÏM. Even some more doom-laden or melancholic ideas that would fit Earth Electric, etc. So yeah, the portals are open and there's not a specific band I focus on my days off or in my everyday setting. It's a bit like throwing out a fishnet I’d assume, never really knowing what you´re going to get, then seeing the assortment when the day is over. However, if I am approaching studio time with one of the mentioned bands, the focus is solely on that band for at least 2-3 months before I start recording.

How do you manage to rehearse before a tour or when you're about to record a new album?

I guess you send recordings to each other, but when do you usually meet in person?

- For Vltimas it's usually me who comes up with

THE EXTREME METAL SUPERGROUP VLTIMAS, OF RUNE BLASPHEMER ERIKSEN (GUITAR),

DAVID VINCENT (VOCALS) AND FLO MOUNIER (DRUMS), RELEASED THEIR DEBUT ALBUM SOMETHING WICKED MARCHES IN IN 2019. NOW THEY ARE ABOUT TO RELEASE NEW MATERIAL AND WE'LL GET TO SOME OF IT WHEN PERFORM LIVE AT INFERNO FOR THE FIRST TIME! LEARN MORE ABOUT THE BAND AND ALBUM IN THIS INTERVIEW WE WITH ERIKSEN.

THE EXTREME METAL SUPERGROUP VLTIMAS, CONSISTING OF RUNE BLASPHEMER ERIKSEN (GUITAR), DAVID VINCENT (VOCALS) AND FLO MOUNIER (DRUMS), RELEASED THEIR DEBUT ALBUM SOMETHING WICKED MARCHES IN IN 2019. NOW THEY ARE ABOUT TO RELEASE NEW MATERIAL AND WE'LL GET TO HEAR SOME OF IT WHEN THEY PERFORM LIVE AT INFERNO FOR THE FIRST TIME! LEARN MORE ABOUT THE BAND AND THE NEW ALBUM IN THIS INTERVIEW WE DID WITH ERIKSEN.

a structure of 1-2 or even 3 riffs for each song idea before we end up at David’s place for rehearsals. Once we´re there, we explore these ideas and tie them all together the old school way, which is essentially the only way. Like, rehearsing face to face, that kind of thing. Being in a band is about chemistry after all. So yeah, it starts off with me sending the initial ideas through the net, and if everyone hears the potential, we save it and pull it out once we are together. For rehearsals prior to a tour, etc, we´re usually just flying into our base which is in the Netherlands at the moment. We all meet up there and socialize and rehearse for 3-4 days before the tour kicks off.

The long-awaited second album is now finished. Not sure how much you can reveal at this point, but I saw pictures of you recording in Portugal, was the album recorded there in its entirety? Who was the producer this time?

- Yes, indeed. It´s been a while. And I guess we all can agree that time changes people in one

way or another, so yeah, these «changes» also bled into the writing process for sure. I'd say from a musical point of view it's more direct, slightly more melodic and at times even a bit moodier than its predecessor. It's a sign of the times I guess, and perhaps a mirror view into how we felt during the creative sessions and also the recording session. But then again, it's always like that. It's all organic and we´re not faking anything, you know. We´re kind of riding the moment so this is what came out of us this time around. For the recording, we ended up in wonderful Portugal, as you mention. We did all the tracking in Arda studios in Porto, northern Portugal between May and June this year and yeah, it was a sizable task getting everything done. I actually ended up doing a few additional solos in a different studio after the sessions were done, as time actually ran out. But it turned out really great, so I am happy I managed to do that.

The album was produced by Jaime Gomez

Arellano, the same producer as last time.

How much time did you spend writing and recording the new material?

- The writing process commenced in December 2019 but came to a halt due to the pandemic which started immediately once our tour in Russia was done in February 2020. When we met up again after the pandemic a lot of the riffs had changed nature, or perhaps matured, so it literally felt like starting anew. But from there on we wrote quite quickly. The three of us have a great chemistry as well, so it flows easily once we are all in «the zone».

As I mentioned, we spent about a month in Porto, then I added some additional stuff here at home, so yeah, I'd say 5-6 weeks or so in total for the actual recording. Then of course the usual added time for mixing and mastering, getting everything the way it's supposed to be.

What came first this time? Lyrics or music?

- Music.

What differences are we going to find on this album compared to «Something Wicked Marches In»? I heard it's going to be wider in terms of tempos and influences …

- Yes, and as I briefly mentioned, there are some alterations in mood, some more melodic approaches in terms of guitar work and even vocal wise there are some unexpected turns. Some parts on this record have more of a heavy metal edge to it as well, believe it or not. It still has the unmistakable vibe of the band but you can hear the influences of old, I'd say. Personally, I am a huge Black Sabbath and Judas Priest fan, and always have been, so bringing out a bit of a different arsenal for this record was kind of exciting. This being said, there are still really brutal tracks on the record, it's just that it's way more diverse and slightly less progressive I'd say. More guitar solos as well, which always was my Achilles heel but something I did overcome this time around, so yeah, I am pleased with the outcome. Expect the unexpected.

You have recently recorded a music video for the new album as well. Bands usually say they don't enjoy the experience of making music videos. How is it in your case? And where was this video filmed?

- I really have no issues with recording a music video, it's a part of the game. But I guess it depends on the director as well, and the vibe and vision that derives from the effort. We worked with the Portuguese director Guilherme Henriques, who has been doing a lot of great work for Season Of Mist over the last few years. Very talented guy and I am certain he got the vibe we were looking for. The video was recorded in Drachten, the Netherlands in mid-September.

This new album is going to be released again by Season of Mist. What do you think are the main advantages of working with this label?

- It's an old, well relatively speaking, and respected label by now, having released a bunch of killer albums since its inception in the late nineties. I have actually been releasing music on this label

since around the year 2000, so it's close to 25 years of releasing music under this label banner. The first one was “Grand Declaration of War” back in 2001 or so I believe, so yeah, it's been a while. And not only with Mayhem and Vltimas, but for most of my bands and projects over the years. I´ve always been treated respectfully and met with an open mind to whatever I wanted to convey and express, so yes, I have only positive things to say. I guess one of the strengths of the label is the will to take risks and chances on bands that are not a bland copy-paste of an original. They look for the individual voice IMO, and that's the best compliment I can give. In this age of watered-down mainstream metal, we need alternatives for the true lover of the art.

A lot of things have changed in the music

“WE HAVE ALSO SCHEDULED 3-4 SHOWS PRIOR TO THE INFERNO SHOW SO I BELIEVE WE WILL BE IN TOP SHAPE WHEN WE ENTER ROCKEFELLER.”

– RUNE “BLASPHEMER” ERIKSEN

industry since you guys started. There's an insane amount of bands these days as it's easier than ever to put your music out there, but many of these bands sound generic or sometimes even inorganic. So, I wonder what's your take on this current paradigm of social media, streaming services and AI and what do you think is the main key to stay relevant these days?

- Tough question, but I believe I touched upon this in the previous answer, albeit vaguely. It's all about «the voice» in my opinion. Having a more conscious approach to the idea of art; Individualism, creativity, persistence, soul and persona, mindfulness, history and the luggage of a life lived. These are some things that are lacking in many new recordings IMO. The beautiful perfection in imperfection. The latter is something I've learned to overcome over the years, not to be so obsessive perfectionist about every little detail. It just dilutes the original and intentional expression. Let the human aspect shine through, you know. Either way, this is a complicated topic and personally I´ll try to dodge the most bullets possible when it comes to this new way of advancing. I practice a more «back to nature» approach personally, feeling that all these modern tools are blinding the real true purpose.

- What was the process of choosing the band name like? How did you come up with the name Vltimas?

- It was actually David who came up with it. We were all sitting in Texas after a jam at his place and we´re having a beer and talking about what the name should be. I remember I mentioned that I wanted it to be something that could illustrate that this was the «last great thing» to hap-

pen, like «a final stand» or something like that. After a while David came back out with the name written in a bold font on his phone. I am not sure if he already had this name laying about for a while or we just happened to sync in this very moment, but yeah that's how it happened. But David´s version was spelled with a U, so I decided to add the V because of the roman link and also because it looks harder and more iconic. Besides, writing Vltimas as Ultimas in a Google search online, with ultimas being an actual word in Spanish, would have spawned a myriad of other suggestions, so yeah it was a tactical move as well. Essentially, I guess the final band name and its associations came about as a play between the both of us.

You guys have massive experience as musicians and in this business, but do you still get nervous when you go on stage at this point?

Do you have any rituals/warmups before going on stage?

- I guess it depends on which band I go on stage with. It's always a little bit different between them. But yeah, not really nervous, more of an excitement or a good nervousness

I'd say. Eager to do my best, kind of thing.

What would you say it's the most challenging Vltimas song to play live? And your favourite one? Why?

- The most challenging song could be “Praevalidus” I guess. It's quite fast and there are some tricky changes and movements in this song which always seems to be a bit hard to pull off, especially in the beginning of the set, not being completely warmed up etc. For the best song, I'd say either “Last Ones Alive Win Nothing”, “Monolilith” or “Diabolus Est Sanguis”, at least from the first album. I'd say that my absolute favourite Vltimas song pr now is on our soon-to-bereleased new album. Bodes well for the future.

Vltimas has performed in Norway only once before, but this will be the first time at Inferno, what can we expect?

- An energetic set, for sure. A mix of new and old songs and a killer ambiance and good showmanship. We have also scheduled 3-4 shows prior to the Inferno show so I believe we will be in top shape when we enter Rockefeller.

- You have personally played at Inferno before, what's the first memory that comes to mind when thinking about the experience?

- Yeah, I have played with most of my current and previous bands there actually, and most recently with Aura Noir and Gaahls Wyrd back in 2019. The first memory or the worst memory? Confetti bomb instead of smoke bombs as our pyrotechnician made a crucial error during the Mayhem-set in 2004. Awkward to say the least. Other than this, I have only good memories. I always feel welcome there so it's a good festival for me to play and be a part of.

Any final message to the Inferno audience?

- Thanks for the interest, see you all on the road.

Vltimas performs at Rockefeller stage Friday 29th of March 18.00.

MIDGARDSBLOT 2024 / 14. – 17. AUGUST!

Camp opens 12. August

KALANDRA EREB ALTOR LUMSK FEN ELDRIM

– BLOT RITUAL by FOLKET BORTAFOR NORDAVINDEN –MORE BANDS TO BE ANNOUNCED!

Midgard – by the gravemounds in the park of Borre, where the mighty rulers of the Norwegian Vikings lived, feasted, and were laid to rest, we invite you to four days of metal, folk – and Viking music, seminars and museum, Viking village and markets, and battles on historic grounds! Join us for a true Norse blot ritual, bonfires, and festival camps at the beach. Welcome to the world of the Vikings and exceptional concerts in unique and historical surroundings!

TICKETS:

4 DAYS FESTIVAL PASS NOK 2999 (prices will rise in 2024, get yours now!)

MIDGARDSBLOT WEEKEND PASS (2 days) NOK 1999

CAMPING TICKET 6 days (12th – 18th) NOK 999

CAMPING TICKET 4 days (14th – 18th) NOK 666

TENT TICKET for all days and periods NOK 999

The festival area at Borre is located by the Oslo fjord, 1 hr southwest from Oslo, between the cities Horten and Tønsberg. For band announcements, tickets and info, visit us at Facebook and Instagram. @midgardsblot #midgardsblot

As usual we will gather at the official festival hotel Clarion Hotel The Hub for happenings, partying and a good night of sleep. The Inferno Music Conference will take place at the hotel in the daytime. The Hub boasts Oslo’s best location, right in the city centre, next to Oslo Central Station and the Airport Express Train – and only about a five to ten minutes’ walk to all the venues. No expensive taxi rides!

The special Inferno discount price is valid in the period March 24th to April 1st, 2024. These prices will increase from February 28th, 2024.

Standard Double Room

Our standard double rooms (19-22 sqm) have everything you might need during your stay and more! The rooms either have a queen size double bed (160cm) or two single beds (105cm), as well as carefully chosen, modern décor. Please note that it is not possible to request extra beds in these rooms.

1 person: 965,00 NOK

2 persons: 1185,00 NOK / 592.5 NOK a person

Standard Double Room With View

Our standard rooms with a view are located on the hotel's top floors (floors 9-15). The rooms (min. 19sqm) have one double bed (160cm), as well as a spacious bathroom with a shower, a hairdryer and Rituals toiletries.

1 person: 1515,00 NOK

2 persons: 1735,00 NOK / 867.5 NOK a person

Superior Double Room

Our superior double rooms (24-29 sqm) are nice and spacious with lots of smart solutions! The fabulous interior design provides a wonderfully cosy atmosphere in these rooms. The rooms either have a queen size double bed (160cm) or two single beds (105cm), as well as carefully chosen, modern décor.

1 person: 1565,00 NOK

2 persons: 1785,00 NOK / 892,50 NOK a person

CLARION HOTEL THE HUB

CLARION HOTEL THE HUB

INFERNO HOTEL INFERNO HOTEL

Deluxe Double Room

Our wonderfully spacious deluxe double rooms (30-40 sqm) have everything you might need and more! All the rooms feature a queen size double bed (160cm) with large pillows for added comfort and we can provide an extra bed if required. Our deluxe double rooms feature high-tech equipment including smart TVs with a streaming function and a convenient workspace with desk or a lounge area.

1 person: 1865,00 NOK

2 persons: 2085,00 NOK / 1042,50 NOK a person

Family Room

Max. 4 people. Family rooms are spacious with plenty of room for a double bed and a sofa bed for either one or two people. The room is equipped with a coffee machine, minibar, hairdryer, luxurious down duvet, pillow, 55” smart TV with media streaming, iron and ironing board, and free WiFi. This room is suitable for up to 4 people, or for 1-2 people seeking extra spacious accommodation.

1-4 people: 3580,00 NOK

IN THE FOOTSTEPS OF EDVARD MUNCH IN OSLO IN THE FOOTSTEPS OF EDVARD MUNCH IN OSLO

FRIDAY 29, SATURDAY 30 AND SUNDAY 31. MARCH 2024

Oslo is the city where Edvard Munch grew up and started out as an artist. This is also the place where he spent the last decades of his life. Today, Oslo houses the largest part of Munch’s artistic production, including his best-known masterpieces. Join our Munch tours and get to know one of the greatest artists of modern times!

Friday 29 March: the tour starts at The Hub at 11.00. After a brief introduction to Edvard Munch and his art, we will take a short walk to the Munch Museum. The guided tour will take you through the exhibitions Edvard Munch Infinite

Suite

The suites offer wonderfully spacious accommodation with a separate bedroom for a truly luxurious stay! Our suites (from 46 sqm) feature elegant décor and unique furnishings. Each room has a king size double bed (160cm) and a bathroom with a shower, hairdryer, Rituals toiletries, bathrobes and slippers. Amenities include a coffee machine, minibar, 55” smart TV with media streaming, and ironing facilities.

1-2 people: 5000,00 NOK

Facilities on all rooms: Free full breakfast untill 11.00, free Wi-Fi, mini bar.

Go to strawberryhotels.com/hotell/?search=inferno-no to order and make sure the discount/booking code INFERNO is enabled in order to get the correct festival prices.

and Edvard Munch Monumental: these collection exhibitions invite you to explore the world of Edvard Munch, to experience famous motifs such as The Scream, Madonna, Vampire, The Sun, as well as other major works. NOK 350 per person including entrance to the Munch Museum.

Saturday 30 March: the tour starts at The Hub at 11.00, with a short introduction to Edvard Munch’s life and art. We will take the tram to the Ekeberg Sculpture Park on the hillside of Oslo, to the vantage point where Munch got the inspiration to paint The Scream. After a walk through the Sculpture Park, we will have a short brake at Karlsborg Inn for some refreshment, enjoying the view on central Oslo and the Munch Museum. We will take the tram back to the city centre and walk over to the Munch Museum. The guided tour will take you through the exhibitions Edvard Munch Infinite and Edvard Munch Monumental. NOK 450 per person.

Sunday 31 March: the tour starts at The Hub at 11.00, with a short introduction to Edvard Munch’s life and art. We will walk for ½ hour through the city centre to Munch-places such as the Grand Café on the parade street Karl Johan, to Pilestredet 30, where Munch spent seven years of his childhood, to the University of Oslo’s downtown campus and the Aula, with the huge decorations og The Sun, The History and Alma Mater, to the National Museum. NOK 450 per person.

For more information, please contact Tour Leader Silvia C. Leine at Northway AS: e-mail silvia@uniquetours.no or phone + 47 45 60 37 56.