from Aardschok Magazine #6 (June 1996)
BATHORY: QUORTHON`S DELVE INTO HIS OWN PAST
Still Bathory is known as one of the most
obstinate acts metal is worth. Everything is about one man, the mysterious Quorthon, who has made his sphere of work out of
the studio. He has always refused performing categorically. Besides without any negative consequences for his career. Bathoryīs
early works are ever worshiped by black metal followers, while the wagnerian music from later opened a gateway to a bigger
The last years even the loyalest fans sometimes donīt know what to do with Quorthon and his chimeras.
Two years ago he released a solo-album under his own name. It was a CD full of accessible, but poor recorded hardrock. īīI
was in need of a liberal record - away from Bathory for a while,īī as Quorthonīs explanation runs. A year later Bathory appeared
at the horizon again and reverted with īOctagonī to his black metalroots. īOctagonī disappointed at all fronts, both in the
way of songs as production and was by few taken serious. īīI had spoken about my first albums in a couple of interviews. It
inspired me to record such a record again.īī Quorthon reverts also with his new album to the past. In the most literal sense.
This eleventh CD, īBlood On Iceī, is the album that for the greater part was recorded in 1988 and 1989, but never saw daylight.
recorded the material between the sessions for the CDīs īBlood Fire Deathī and īHammerheartī . When this project was almost
ended, I wasnīt convinced of the quality for hundred percent. It gave a somewhat incoherent impression. My attention was soon
absorbed by new records and the tapes from īBlood On Iceī were found again on the shelf. A lot of information about the songs
was already filtered through, and consequent that I got in a lot of interviews questions about this never released record.
All those questions brought me to dig up the old tapes again and submit the recordings to a new opinion. I was enjoyable surprised.
It was all still in its priming, but the essence - the songs - appealed to me. After long weighing the pros and cons I decided
to take up the thread again.īī
In the comprehensive and most readable intro, that Quorthon wrote the CDīs booklet,
the musician reveals how he went to work. How old pieces partly got replaced and supplied by new ones. Moreover a part of
the tracks still had to be provided with vocals. It has become a good CD, that fits in the sphere of records like īBlood Fire
Deathī, īHammerheartī and īTwilight Of The Godsī. īBlood On Iceī is a concept-album, where the spirit of the classical composer
Wagner walks emphatically once again. All the stops are pulled out. And of course there is no one who with bombastic metal,
soundeffects and broadly staged choral singing knows to achieve such fine results as Quorthon...
īīI realise that itīs
old and thus dated material, but it would be a pity to let everything rot away at a dark spot. Again, for that are the songs
too cherished to me.īī
īBlood On Iceī deals about the vicissitudes of the īman of ironī and the story is, according
to Quorthon, based upon old Conan adventuries, as written down by the author Robert E. Howard at the beginning of this century.
a story that I have read in my youth. Unaware elements from those sagas prevailed. Donīt ascribe a special sense to it. Itīs
just a ībullshitī-story. I use elements from the past because history is a passion of mine. Besides I want to get rid of all
satanic and occult rubbish.īī
Itīs rather unusual that an artist provides his CD with a personal statement, that covers
six closed written pages. First in English, then in German.
īīI get a lot of letters from fans who ask why I never
do any interviews. I donīt understand anything from those questions, because I cannot help feeling that I do at least threethousand
every year. But come, to reveal the story from īBlood On Iceī once and the rest of my career, I have written this piece.īī
writing of this short biography appealed to Quorthon so much, that he in the mean time is thinking about a bigger job. īīI
consider to write a book about the evolution of metal throughout the years. You know, the origin, the subgenres and the red
thread. Iīm still saving for a powerful computer. When I have one, I get to work.īī
About his own place in the history
of metal Quorthon is striking sober...
īīOf course I know that my bandname often falls in interviews with black metal
artists. Should I feel flattered? Most times itīs about young guys, who are just a few years in a band. Bathory exists for
thirteen years. So they didnīt even witness that glorious beginning period. I think they are talking crap. I donīt set any
value on it at any rate.īī
In your face! If required Quorthon confirms that there is still much more unreleased material
in his archive...
īīIn two years I can celebrate my fifteenth birthday as īrecording artistī. I want to make something
special out of that, just like back then with my tenth, when the two anniversary-records came out. I have this thought to
compose an album full of rare and unreleased tracks. īī
Of course it doesnīt release Quorthon from the fine task to
think about a new CD. The plans are still vague. A new solo-CD is an option, but that counts for an album under the Bathory
Whatever it is going to be, it will surprise the people. The best record that I have heard in ten years
is that one from the Foo Fighters. Itīs a complete rockalbum, no fault to find with. I want to go that way.īī
a gleam of hope ever to see Bathory once live, can better drop that...
īīLive I will never be able to prove what I
have in sight. I just donīt make the music for that. While the expectations will only be very high. A Bathory tour would be
a goodlooking present, that once unpacked disappoints terribly.īī
from Terrorizer #32 (July 1996)
BATHORY - Coming in from the cold
Interview conducted by Gregory Whalen - Terrorizer
Magazine, July 1996 - issue 32
Transcripted by Eric Massicotte for RADICART entertainment - March 1998 (just check
out how many times the name Bathory is mentioned here...- EM)
Never let it be said that Bathory have not paid the
price for being among the most influential Metal bands ever. Anything Quorthon does is guaranteed to disappoint somebody,
or so Gregory Whalen reckons. Can the release of the long lost epic 'Blood on Ice', taken out of the freezer after 8 years,
change all that? Learned and profeshnul hack wot I am, I assumed that interviewing someone like Quorthon would be 'nar brother',
as we like to say here north of the border. Ha bloody ha! In actual fact, when the man called me up from Stockholm one bright
Saturday afternoon to talk about his latest release, 'Blood on Ice', it was all I could do to stop myself from dropping the
receiver, jumping up an down and shouting 'I'm talking to Quorthon! I'm talking to Quorthon! I'm tal king to Quorthon'! I'm
talking to Quorthon!' repeatedly in a rather excited manner. Because, and I am not alone, Bathory means one helluva lot to
me. They were the first - and so far only - band that has ever scared me, and I am not afraid to admit it. Having someone
tell you that it is actually life-threatening to listen to 'The Return' more than once a day tends to have a strange effect
on you at the tender age of ten, or whenever it was that I first encountered that fateful disc, and I've been an avid fan
ever since. 'So what?', I hear the more furrow-browed and evil among you cry, 'I was listening to Bathory before they even
existed!' or something along those lines. Frankly, I don't give a damn. You don't have to have been there to enjoy those old
recor ds today, and their influence on the modern Black Metal scene is undeniable, but how does Quorthon himself think his
music is perceived by the average Nineties Metal kid?
'I don't know. Sometimes when you get in touch with all these
Death and Black Metal bands, you realise that the average age of these guys is somewhere between 18 and 20. And I formed the
band 14 years ago, so they must have been around five or six. That's a big generation gap. You don't want to piss them off
saying 'Okay, start practising your guitar and take that fucking grease paint off your face!'. There's a stage for every one
of us where we wise up. I mean, I was wearing ridiculous stuff in pictures ten years ago too! As far as Bathory and the Nineties
kids are concerned, we have a legendary status, and that's what we live from, basically. But when someone talks about Bathory
as the originals, the godfathers, the forefathers, blahblahblah, it can have a negative effect. Because whenever I release
an album today people write me letters and say 'Hey, why do you release these albums? Why do you use the name Bathory ? Bathory
are gods!'. And it's like 'Hey c' mon, fucking asshole, I AM BATHORY!'. They make out Bathory to be some kind of legend and
that I'm someone unworthy of dealing with Bathory. It's so stupid!'.
Stupid but not unfounded. After all, it was quite
a blow to be bombarded by two back-to-the-roots Speed Metal albums after four years of silence on the recording front, especially
since the last real Bathory record, 'Twilight of the Gods', was such an epic. However, now that 'Blood on Ice' is finally
with us, there can be no complaints. It's like 'Requiem' and 'Octagon' never happened...
'Well, 50% of all the records-buyers,
or potential Bathory album-buyers, are into the epic type of shit, and 50% are into - I don't want to call it Satanic - but
at least the death/hellbent type of shit. So regardless of whatever type of shit you release, you will have 50% of your fans
disapointed. After 'Requiem' and 'Octagon', which was if not Death so at least thrashy, aggressive, older type of shit, I
figured those of our fans into the epic stuff deserved 'Blood on Ice' because they knew about the album'.
did. In fact, the thing has been the basis for years of rumour and speculations among Bathory fans. How come it took so long
to be released?
'Although it was something ready for release, I was holding it back because I knew how much work we
had to do in order to release it. I had to put down at least half of the lead vocals, add an extra guitar and a bass to the
old ones, change the sound of the drums and remix everything, spending five weeks last summer. So although it's not a new
album, it's a new release. It's great because it was a technical challenge, not a musical challenge. I could never write that
kind of stuff today and it would be shallow if I tried'.
Apparently, Quorthon also felt that Bathory fans would have
been confused if he had gone for an all-out epic soon after 'Blood Fire Death', which in itself took some getting used to
for a lot of people. However, when I put it to him that people will probably be even more confused by the fact that he has
come out with two best-of compilations, a solo album, two simple Speed Metal workouts and now a fifty Norse Rock Opera, all
within the space of four years, his blunt reply is 'You need to shock people every once in a while'. That's all fine and well,
but isn't it worrying, given the current musical climate, that most of the press will probably hate 'Blood on Ice' for being
the wonder ful Spinal Tap-meets-Tolkien record that it is?
'Well, who the hell cares about journalists and their reviews
(and he's having a point here-EM)? The guy sitting down making a review of an album it is, he is living with his girlfriend
or his mom and he's 2 8. He hasn't fucked his girlfriend for a week and a half, his dog ran away, his mom burnt his toast
this morning...his day is ruined! And even if he was going to review the 'Sergeant Pepper's Lonely Hearts Club Band' album
it would be an appealing review because his day is ruined. If you have 200 readers believing in and following one man's mind
about something then we have the Führer principle all over again (magazine editor comments removed for lack of interest value-EM).
And we all know what that leads to, when people start to concentrate on someone who can actually play an instrument and record
And let's face it - journalists are just failed musicians themselves...Ahem. But enough of that. Could it
be that 'Blood on Ice' is perhaps the missing link from 'Blood Fire Death' to 'Hammerheart' that everyone is looking for?
Because a lot of people felt there was a drastic change between those two, especially vocally and lyrically. 'There was a
drastic change between 'The Return' and 'Under the Sign o f the Black Mark' as well, and 'Hammerheart' and 'Twilight of the
Gods', and 'Twilight of the Gods' and the solo album, and the solo album and the 'Requiem' stuff. We change from one album
to another. Even though the album was recorded between 'Blood Fire D eath' and 'Hammerheart' (and also partly during 'Hammerheart'),
it is of course very easy to slot the album in there and say that is where it belongs. But you have to remember that 50% of
what you hear on 'Blood on Ice' was actually done last summer, so musically, it represents an era, not a specific file in
between two albums, or a space'. After 'Twilight of the Gods', a lot of people wanted a return to...well, to 'The Return'.
So they got two basic and brutal Bathory albums, yet still they weren't happy . 'That is because they have an idea of 'The
Return' in those days, and never, ever am I or anybody else going to be able to reproduce their sentimental memories of those
days. The music is there, so they can just listen to 'The Return' and the first album is that is what they want. They're both
shit albums, if you compare them to the stuff that's released today by not just Bathory but any band, but the atmosphere was
very original for the time. Even though I don't like any of the albums - it's just work for me, I'm never allowed to to sit
down and enjoy them as a fan - I must accept the fact that they have meant something to people back then in those days. Venom,
Slayer, Metallica, Bathory, Celtic Frost...everything today came from those five great bands, pretty much. But if the first
albums of those bands would have been released today, nobody would have cared'. Ironically enough, though, there are plenty
of albums being released today that sound exactly like them... Finally is there any particuliar reason fo r the enigma that
has kept the fans interest all this time? Surely it must be doing the band more harm than good. 'For eight years now, I have
been telling the truth - it's me and a friend of mine doing the drums - yet still people come up and say 'So how are you and
your drum-machine doing?'. It's like it doesn't matter what you say in interviews or when you meet people, as long as you
say something that will ruin their image of what Bathory is all about for them, they will say 'Uh uh, I don't wanna hear this!
Don't ruin my image of what you guys are, you're part of my childhood, blahblahblah, I wanked off the first couple of times
to your second album...' Whenever we release an album nowadays, people go 'Don't you do this with Bathory!', and I say 'Fuck
you. I am Bathory!'. Bathory to them is part of their childhood. I remember vividly once when I was asked what sort of stuff
I listened to in my spare time and I said, 'Okay, I enjoy Kate Bush and The Beatles', sure enough I received two hundred thousand
million letters two weeks latter from people telling me 'Why did you say this about Kate Bush and how the fuck can you listen
to The Beatles?!'. I just said, 'Wise up and broaden your horizons!'. I mean, who the hell do you think I am? Do you think
I sit in my basement wanking off to Venom all day long? Fuck Off!'.
from Victim Magazine #3 (Aug. 1996)
Maria Eriksson interviews Quorthon.
Itīs Friday, the phone rings. "Hi, itīs
Quorthon. Whatīs the weather like in Stockholm?" I hear a voice saying. Well, the weather wasnīt very good, but the interview
was all the better. In this interview you will read things about Bathory you probably have never read before. THANK YOU Quorthon
for taking time even though you had so much to do and and for the long and great answers.
Tell us in a few words how it all started!
We started 13,5 years ago, in February 1983 to be precise.
The band was formed when I was 15-17 years old. Me and the other two members at that time were kicked out of school so we
started to devote ourselves to music. The music was a mix of Motörhead and old Black Sabbath since it was those bands we listened
to back then. With time, many albums came and we were called anything from satanic vikings to god knows what. If you have
released a couple of great albums you get a certain mark. You donīt have to make a great album and it doesnīt matter what
it sounds like, it will sell anyway.
Ten years ago nobody admitted to listening to us, but nowadays a lot of bands
are influenced by us and there are a lot of people who say they listens to us.
never played live. Why? Is it kind of an image and will you never play live?
Actually we have played live. In
1983-85 we played in various places in Stockholm. We played in Rålambshovsparken in 1983 for instance. It was hard to get
gigs at clubs because of our looks. The club owners wanted you to look like Joey Tempest in Europe, like a poodel and not
like a long-haired rocker. In 1986 we stopped trying to get gigs and we didnīt want to play live either. We simply thought
it was more fun doing albums in the studio.
Not much was heard from you for a while,
between "Twilight Of The Gods" and "Requiem" to be precise. What were you doing? Have you ever considered giving it all up?
wasnīt that quiet, was it? (No, but almost /Ed.) Iīve helped Black Mark with other bands and I did my solo album. I was tired
of everything, tired of playing the guitar and so on, so I decided to make a solo album instead, to find the fascination again,
and I did. Since I had listened to nothing but classical music for the last six years the results was different from the old
Bathory stuff. It sold 18 000-19 000, Iīm not really satisfied with that. 100 000 would have been great. Well, well...the
important thing is it was fun doing it.
Did you ever think you would be this big?
What was your goal when you started?
The goal was you werenīt supposed to know what song you would play when
you came to the rehearsal place since you knew so many songs. If the band could play three songs and it turned out great you
were overjoyed. We had no plans to release an album. We just went step by step.We made our debut on a compilation album, but
you sort of make debuts all the time. When we released our first album that was a debut. And if you change style you make
What album sold the best and which one is your personal favourite?
best album is not made yet and probably never will be. When you make an album you work until you are satisfied with it, then
you release it. Even if you are satisfied with that album at that moment you will never be completely satisfied. There is
always something you are less satisfied with. Because of that the perfect album will probably never be made. My own favourites
would be "Hammerheart" and "Blood Fire Death".
What is the worst reviews Bathory has
I have no idea. I donīt read reviews or interviews and noone who has interviewed me has dared to give
negative criticism directly to me. If I ever recieved really bad reviews I think I would remember it, but I canīt recall recieving
Is it true you drive around the streets of Stockholm on a Harley Davidson?
ha! Where did you here that? (I heard it from a friend who heard it from a friend and so on /Ed.) No, I donīt. I donīt even
have a driverīs licence. The only engines Iīm interested in are airplane engines. I have a flying license. Iīm not even intersted
A lot of people ask me if rumours about me is true and sometimes I wonder if they have made them up
themselves just to have something to ask me about. Last week I was interviewed by a guy who only had these kind of questions.
For example, he asked me if itīs true that I walk around wearing a Nazi uniform and if it was true I drink blood diluted with
gasoline. Those kind of questions are absurd and unnecessary.
How long did it take
to make "Blood On Ice"?
It took a whole eight years to make that album. We had songs for many years that were
only half-finished. The summer of 1995 I worked on the songs and among other things recorded the lead vocals for four songs
and changed a couple of things here and there I felt needed to be changed.
"Blood On Ice" is a concept album, one long
saga. With the album comes a booklet where you can read most of the stuff about us, from when we started till now.
You did a cover on the Kiss song "Deuce" on "Octagon". Are they a great source of inspiration?
you enter the studio you have to adjust and test the sound, warm up the instruments so to speak. When we test the sound we
usually play a lot of covers and all of it are recorded so we can listen to the sound and determin if itīs good or not. We
didnīt like the lyrics on two of the songs on the album so we removed them and to avoid making the album so short we filled
it up with the Kiss song.
Do you listen to anything of todayīs Metal or is it only
Motörhead or Mozart that will do?
To be honest, I havenīt been listening to any new band exept when I hear them
on TV. Shows like "Striptease" and "Norra Magasinet" (Swedish society debate programs /Twilight) have been discussing the
"problem" with the satanic hardrockers. The youth becomes satanists because of the music, they say, and people accuse them
of being all sorts of things. Itīs unbelievable! People can dress and act the way they like. Nobody should bother about it.
Anyway, these shows sometimes invites some little band from like Finspång to play in the studio. Thatīs about all I have heard
from the new Metal scene. Someone sent me a Burzum record, but Iīve never listened to it.
What were you listening to when you were 14-15 years old?
Mainly Motörhead. There werenīt that many
great bands in those days. Black Sabbath were great until Ozzy left. Back then the style of all bands were like Bon Jovi and
Europe and thatīs not quite my taste.
How long have you been on Black Mark and how
come you choose them? Will you keep on releasing albums there?
We have been on Black Mark for seven years and
we are completely satisfied with them. First we were on a company called Noise Records. The only thing they cared about was
releasing as many albums as possible and threw out records constantly, they didnīt seem to care how the bands sounded.
wanted a company that knew Death, Speed and Black Metal and thatīs exactly what Black Mark did. We were a couple of Swedes
and Germans who wanted to start Black Mark so we put our heads together and formed this company. We could have signed with
a really big company but on big companies you rarely have contact with the big heads and thatīs not how it should be. On Black
Mark you can sit down and talk to the top head as if you are the best of friends and thatīs exactly how it should be. Thanks
to this, weīre definitely going to stay on Black Mark.
What does music mean to you
Music means everything to me, itīs all I have. Iīve been involved in music since I was nine years
old, thatīs when I started to play instruments. Music is the only thing I always have been really interested in.
How was the response to "Octagon" and "Requiem" ?
"Octagon" and "Requiem" were released
only six months apart and I guess noone were really prepared for that. The records were released without us promoting them.
They recieved some bad reviews, especially in Germany and they didnīt sell very well there either.
Whatīs the current line-up?
The line-up today are as follows; I handle the bass, guitar and vocals.
(Wow, thatīs a lot /Ed.) A friend of mine since ten years are also in the band and has played on the last four albums. (Unfortunately
I didnīt catch the name of this mysterious man /Ed.) We have also got in contact with a very competent Jazz drummer. Yeah,
I know it sounds odd (You bet it does! /Ed.) but he can play heavy Rock if he wants to so weīll see what happens.
How many members have you had?
From the start in February 1983 till January 1984
we had the same three members. And then for about four years we tried out 4-5 bass players and 5-6 drummers. It was very hard
to find the right people since we had nothing to reffer to when we wrote the ads. People who looked like Joey Tempest him
self and wanted to play the same music as Bon Jovi could turn up. A guy like that only got to stay for a week or so, to see
if you could change him.
You had to keep members come and go because all of them werenīt perfect and maybe not ready
to concentrate on it as much as the others.
How come you choose the name Bathory?
I was 13-14 years old I read books on magic. In them Elizabeth Bathory, among others, were mentioned. (A witch that was burned
at the stake. The last one I believe /Ed.) (Actually she was walled into a chamber where she died in 1614 after three years
of imprisonment /Twilight) The name Bathory got stuck somewhere in the back of my head and I didnīt think about it for a couple
of years. A few years later I went to London with a friend and we visited a chamber of horrors. There we saw Elizabeth Bathory
in a bath tub. This was at the time we had formed the band and we needed a name for it. At first we had Nosferatu and Elizabeth
Bathory in mind but it sounded like some band playing dance music so we shortened it to just Bathory. For those who are interested,
there is a great story behind the name and itīs also easy to remember. Thatīs why Bathory were and are such a great name.
Was this your dream when you were small?
A friendīs dad had bought the first album
by Kiss when he went abroad and I started to listen to that one. That was the first time I heard a distorted guitar and I
knew right away that I wanted to do this too. So, since I was small Iīve known what I wanted to do and you could say itīs
been a dream of mine. I have never been into sports for example.
How many fan clubs
have you had?
Weīve had about fifty fan clubs. One of the fan clubs in Los Angeles are a Rock club nowadays,
itīs called "Twilight". (I think you can figure out where they got that name /Ed.)
were you kicked out of school?
I didnīt really do anything wrong in school, I rarely started the fights. I was
almost half a meter taller than all the others and had long hair even back then, Iīve had long hair since I was a kid. In
those days you were supposed to have short hair and preferably wear a shirt, tie and have a attaché case. It wasnīt exactly
what I was wearing, I always wore leather clothes. I didnīt care too much about school either, I just wanted to play music.
I canīt say I attended too many lessons either and in the evenings I took the train to the city and stayed there till the
middle of the night, then I went home. The school management thought I had no business in school and told me to leave. That
was in 1981 and after I was thrown out of school I tried to make money in all sorts of ways. I saved money to be able to buy
a real guitar and while I did that I played in a Punk band.
If thereīs nothing more
to add, Iīd like to say goodbye!
A tip: donīt eat minced meat sauce with field mushrooms. Itīs no good if youīre
gonna have anal sex. I think youīll understand why! (Yes, ha ha! Thanks for the tip! /Ed.)
Typed and translated
by the Twilight Webmaster.
from Kogaionon Zine #2 (1996)
Interview by Doru Atomei.
The "Blood on Ice" album fascinated me, thatīs why I wanted to discuss with Quorthon. Even
Iīve recieved the answers a little bit later, I think that my choice is a good one. Letīs see.
1. Hi, Quorthon, and
welcome to my īzine. The "BLOOD ON ICE" album has been released on May 13th. How do you feel now?
It feels great. So
many BATHORY fans have been waiting for me to complete it and release it and now it is here and it sold well.
BATHORY history started at the end of 1982, when three guys decided to set the grounds for a band who wanted to play original
music. Two years later, you broke off with the bassist and the drummer and went on your own. Why the split? How do you see
Quorthon of ī83-ī84 now?
A few corrections first... The band was formed in February of ī83 and in March of ī84 we went
seperate ways because of musical differences and the fact that the other two guys in the band had no idea about writing songs
and they asked of me to write stuff in the line of IRON MAIDEN and DIO etc... also they were never to hot for rehearsals or
to actually make this a band all together... How do I look on myself of ī83-ī84... well that was 12-13 years ago so I guess
I can feel very little kindship with myself as a teenager...
3. You stated in an interview, a couple of years ago,
that BATHORY started with Death Metal, then Gothic & Doom (ī86-ī87), and the ī88-ī90 period was influenced by the Viking
mythology. Should I understand that "UNDER THE SIGN OF THE BLACK MARK" is a Gothic album? Give me some details concerning
the other albums.
You can call an album anything or nothing... I think itīs bullshit to put labels on bands and albums...
I know for a fact that I would never use those terms when describing my own albums. Itīs just music and lyrics...no more no
4. Let us pass on to "BLOOD ON ICE". The album is dedicated to the fans and based on a legend written by yourself
many years ago. The tracks were recorded/conceived in ī88-ī89 and rearranged last year. You said you released this album because
your fans kept asking you about the "BLOOD ON ICE" legend. More or less persuaded, I am prone to believing that the failure
of "REQUIEM" and "OCTAGON" have made you unleash the new. Is there a grain of truth in what I have just said?
no grain of truth in what you just said...firstly, "Requiem" and "Octagon" were not failures in any way other than a few "journalists"
had problems with the brutality of these two albums... I think the problem was some folks thought of BATHORY as big drums,
multitrack harmony vocals, soundeffects and an arranged and well produced bombastic metal with Nordic influences...there is
a danger in having people pinning you down musically and lyrical in a corner and when people does that the time has come to
shock people by doing the opposite. "Blood on Ice" was worked on and released simply because the two releases at the time
("Requiem" and "Octagon") would not appeal to the other half of our fans. 50 % of our fans are into the heavy and slow Nordic
Type of metal while the other half enjoys the brutality and energy found on "Reqiuem" and "Octagon". I have heard people say
that "Blood on Ice" was released simply because I could not write new material and I tried to get some money out of BATHORY
by releasing old material...thatīs bullshit. People concentrate too much on why, how and so on rather than just enjoying the
music which is what counts in all situations and at all times...
5. In my opinion, "BLOOD ON ICE" is the album of the
last 3-4 years. What else should we know about the tracks of this album and what does the Epic Metal style mean?
far as what can be said about the tracks on the album...it would take too much time and space to talk about that... I am gonna
have to refer to the CD-booklet that comes with the CD...as far as what can be said about epic metal... I have no ideas at
all... I try to think as little as possible of what type of metal I write or play at the moment...
6. The album cover
represents the elements of your story; the eight-legged stead (Sleipner), the one-eyed wise man, the lake, the valley of death,
the ravens, the clouds, the woodsīwoman, the main caracter, and, in the centre, the key element, the sword (the link between
generations). I can also see a snake, which you have not told anything about in your legend. What is its significiance?
warrior in the story has his heart placed in the snake pit as pawn... in return he will recieve the ability to take mortal
wounds in the ensiung battle...
7. The story of the whole (end) of universe and of the eternal forest is hidden in
the depths of the lake. The track called "THE LAKE" is referential for BATHORY and dare I say it is even the best of all tracks
so far. Does it have a more personal significance for you maybe?
No itīs just another song... many folks say it is
the best track ever...for me itīs just a song like any other...
8. In the "ONE EYED OLD MAN" track, the story is written
by Mr. Tim Earl. Who is this person and what was the reason why you brought him in?
The spoken story in the middle
part of "One eyed old man" was not written by Tim Earl but by me...Tim is an actor hired by me as the "One eyed old man" to
narrate my words, thatīs all...
9. The sound of several tracks reminds me of MANOWAR and in that which I have just
mentioned, the reciting/story makes me think of "THE WARRIORS PRAYER" on the "KINGS OF METAL" album. Did MANOWAR mean anything
to you and tell me if you felt offended when I said a parallel could be drawn between the sound of your band and the legendary
Speed Metal band.
I donīt feel offended simply because MANOWAR and BATHORY were the only bands out there to be able
to put across a truly barbaric atmosphere...MANOWAR really didnīt mean anything to me personally but I respect them simply
because they never compromise and always keep their own identity.
10. Still talking about the old bands, Tom G. Warrior
has put up a new band, APOLLYONīS SUN, and KISS have returned to the stage just for the fans. What do you think about these
revivals and of how much interest do you think they will be? Does this not hold in the case of BATHORY too?
really seem to be the century of revival/reunions etc... first Sex Pistols, Eagles, The Beatles (anthology), Kiss and then
Venom and now we see Van Halen reforming...strange...
11. The history you told in the pages of the CD booklet can be
taken as an open letter to the fans of BATHORY. Why has it only been written in English and German? Your pride of being a
Swede should have determined you to write in Swedish, too. Am I wrong? Is this "letter" trying to answer all those who wrote
I figured I owe to tell everybody the whole story behind "Blood on Ice" and in doing so I had to give a
true and broad picture of the whole story. The reason why it was written in English is I guess self explained... why it was
written in German as well!?...well... BLACK MARK is a Berlin-based company and not too many Germans speak too good English...it
was simply just a nice gesture...I wanted to write the story in French and Spanish as well... then we would have covered the
four largest languages in the world and just about anybody could have read the story... I donīt know where you got that "national
pride" from... It would have been really stupid of me if I would have put down the story in Swedish as well because we are
only 8 million Swedes and less than 10.000 young Swedes would ever have any interest in reading the BATHORY "Blood on Ice"
story... and all Swedes do speak English very well...so... .
12. A pretty common question but, as I am Romanian, I
would like to know whether the name of your band is in any way linked with the Transylvanian character, Elisabeth Bathory?
Does the reason why you chose this name 13-14 years ago still hold today? What would be the link or compability between E.
Bathory and the Viking myths nowadays?
Of course the reason why we picked the name BATHORY was because of Elizabeth
Bathory...I donīt quite understand your question about the connection between her name and the Nordic or Viking style of our
albums of the mid ī80īs...
13. What does shadows represent for you? You have maybe read the myth of the cave in "The
Republic" by Platon. Can you make a reference to those appearances that mislead?
Shadows is because of contrast between
light and dark and is natural, only humans put symbolism in dark and light...
14. Written between ī88 and ī89, "BLOOD
ON ICE" touches, of course, the Viking issue. Will you explore this matter further in the future? Have you found any other
themes to develop (the idea of the end of the end in "TWILIGHT OF THE GODS" was excellent; afterwards just Death Metal and
As far as what BATHORY will sound like in the future not even I will know... I think itīs useless to
sit down and concentrate on whether one should make Viking or satanic metal...and I donīt think that "Blood on Ice" has got
anything to do with the Nordic or Viking style at all... itīs a free story making it quite well on its own as a fairy tale
15. Despite the 14 years of activity, there was not much live BATHORY to be seen. Why? Tell me something
about your videos too.
In 1986 I said about live stuff: "To hell with it" simply because there wasnīt any places to
play in Stockholm... I find music so much more interesting than concerts...
16. Any musician affords (feels the need)
to explore other territories, too (it may also sound as an excuse). Proving that you are not an exclusivist, you have set
the bases of a solo project, a blend of Rock and Grunge elements, called QUORTHON. I have known for two years that you had
already prepared 20 new tracks for a second album, but nothing has been released just as yet. Would you offer me all the details
I am recording the second solo album right now simply because the first one sold so well and everybody (well at
least a lot of people) have written me and asked me to do a second solo album... The whole idea is to explore different styles
as far away from BATHORY as you can come...And it is truly far away from BATHORY with almost ī60īs styled lyrics, acoustic
guitars and strings... some unplugged feeling to it and harmony vocals..I donīt know exactly when it will be released but
hopefully it will be out at the end of the year...
17. Wagner and Beethoven mean a lot for you. In other words, the
classical music. Tell me, Quorthon, what does the classical mean for you? Would that bother you if I said that BATHORY will
remain a classical band in the Metal scene?
I wouldnīt mind at all if BATHORY was considered a classical band but not
a classical band because we donīt deal in classical music but metal...
18. Is it true that BEATLES is your favourite
19. In your presentation you stated that Satanism is nothing else than denial of Christianity,
two deceptions that have developed in Sweden after the invasion of Christianity. A little further, you report (joking or not)
to Christianity, mentioning sin. What do you understand by "sin"? Does it have to be seen from a religious point of view?
Is Quorthon (or has he become) a religious person? Details?
I was never a satanist but an antichristian...Christianity
as any dictatorial thing sucks...my mentioning of sin in the CD-booklet was an ironic remark of course...one does not have
to be a Christian or a religious person just out of that...
20. To complete the previous question: do you consider
life as determinism or as an area of complete freedom?
I am not thinking in terms of what life or death is all about...we
are not asked to be born and when we die itīs all over...so eat, sleep, fuck, party and play music and have great fun for
as long as it lasts...
21. I know Nietzsche has represented something for you. He used the term "Hyperborean" in one
of his books (to my knowledge, this is the Greek name of Scandinavia, as well as the Roman one was Ultima Thule). Do you consider
yourself a Hyperborean?
I may have been born in Sweden and should therefore theoretically be considered a Swede but
I consider myself a free individual with no bonds whatsoever.
22. The main part of Black or Dark bands consider BATHORY
and CELTIC FROST as referential/inspiration bands nowadays. Are you proud of this? Even of those bands who would only accept
BATHORY as a Satanic band (many of the guys in those bands torch churches, commit crimes...)? You know enough examples I suppose.
BATHORY means to a lot of people is beyond my responsibility...anything means something to someone...
or not, there are 2 nuclei that have formed , a Swedish one (reknown through Death Metal) and a Norwegian one (Black Metal).
The styles meddle sometimes, hence the so called rivalry. Do you find this rivalry constructive? Otherwise, although the history
of these two countries has largely been common, the mentalities differ (an example could be Swedenīs sole entrance in the
European Union, wihthout Norway). How do you see this issue?
There is no Norweigan and Swedish metal...just metal...whatever
you call it...Black or Death or whatever...itīs not important...why bother about stuff aside from the music...why create a
thing that has no importance besides the music... why even care about styles, images and nationalities...stop the bullshit
and play music or fuck off and die...
24. I know one of your hobbies is collecting military uniforms. I guess your
fans would be glad to find out something about your "wardrobe".
Well it started when I told a fanzine that I collect
stuff from many armies for fun (you know paint ball is quite a big thing a fun to do) so now fans from all over the world
send me helmets and uniform and camo-material from their own homeland which I love and I really appreciate it...
If I said that I was a BATHORY fan, your true fans would laugh at me (who cares?). Are you, or have you ever been, in contact
with a real BATHORY fan? Do you still answer fansī letters? How many a month do you get?
What the hell is a "real"
fan!? Of course I have met people into BATHORY music millions of times for all these 14 years... I get fan mail (about a hundred
a week) and I try to answer the most intelligent ones... if you ask for free T-shirts or have questions regarding an album
or something other people take care of that...
26. Your whole activity was supported by the BLACK MARK PRODUCTION label.
Have you not recieved any other offers throughout the years, maybe more convenient ones? Or is it friendship too?
think 100 % free hands with anything we do is convenient enough, donīt you think!?
27. Thank you, Quorthon, for this
interview, and I wish you nrule in the Metal scene at least as long as Lemmy. The speed century will become history shortly.
Musically, BATHORY makes the transition between the second and the third millenia. Do you find my statement overrated? How
does Quorthon view the millenium? Willl the "Valley of Death" be passed? Do you believe in immortality?
No I donīt
believe in immortality...as far as what the future is all about...no one knows and who really cares...have fun and enjoy life
as it comes day by day. Take care and good luck.
The normal questions = The normal answers. Without divagation. Only
too much "...". Thatīs all.
from final ed. of Backstage (1996)
Originally done by Lennart Larsson. Translated by Andreas Pelli [firstname.lastname@example.org]
The legend lives on...
As I today look
back upon my thirteen years as amateur reporter, it's not without a certain amount of pride I can claim myself to be one of
the first to notice really brutal metal. I actually think I was the first in Sweden to write about bands like Slayer and Exciter.
was already in an early stage into Bathory, our Swedish precursors within the brutal metal scene.
Bought the V/A LP
"Scandinavian Metal Attack" when it was released 1984. Ever since, I've followed their whereabouts with interest. Quorthon
is a true hero!
Should almost believe that I am the Swede who has interviewed him most. Did the first int. as early
as in 86, then for various Swedish and foreign hard rock bibles, a year after that we first had talked. Now, when Bathory
releases the theme-album "Blood on Ice", is there nothing I can think of, that could be more appropriate than ending my career
with another int. with one of the metalworld's most fascinating musicians.
All of our earlier chats had been via telephone,
but his time I want to meet him in person. In true glamorous hard rock spirit do I then take the bus the approx. 400-km to
the royal capital, where Quorthon greets me at the City terminal. Something that makes me recall a familiar jungle-speech.
We succeed after ca. 45 minutes of walk (no limo here) stalk to a café that can be suitable for a nice little talk. Four hours,
a few cups of coffee, soda water and pies later, with a pair of C-90 cassettes in my pocket, are we finished with Bathory's
history. The result: The longest interview ever in Backstage, and for certain one of the longest ever made about the band.
I hope you can make through it!
Re-used theme album
Since we have written
about Bathory many times before, I'll try not to repeat too much of the things faithful readers already know. Instead, prepare
yourself for one and another exclusive exposure.
We begin from the end, of course, with the new album "Blood on
Ice". An album which was mainly recorded in 1988 and 1989. The recordings were never finished though, i.e. until now.
If we ever would leave that album behind, we also could try to make something decent of it. Was surprised myself that the
songs were as good as they were when we listened to the original tapes, Quorthon explains.
- With the technology of
today, you can change the sound on everything, i.e. on a pair of toms or on a snare drum, which did it fun to work with the
original material. We used the old drums as signals, but changed the sound on them via computer. If there i.e. was any un-tight
snare beats, we simply moved it with the computer. We also recorded another guitar and new bass, and I added new vox on four
songs. One reason to why we had to remake that much was that if you record on a very old tracker and then are going to use
it in a modern 24-channel studio certain things can leak on 3-4 channels. A guitar could i.e. lie on channel 14-16 and then
we had to move it to one channel on another tracker. According the vox, it was ok mostly, but here and there the snare drum
leaked from the channel next to, and if it wasn't possible to separate them, we had to redo the whole thing.
- We have
done a lot of cutting too, the intro is one example, it was very long and complicated. It was 5-6 minutes in the beginning,
but we shortened it to only one. The last song was about 20 minutes long, but we removed a monotonous and boring part in the
middle, as no one would stand listening to it. Now the song "only" is about 10 minutes.
most expensive recording
It's very clearly written in the booklet about the long and complicated history of
the album, but I still can't help wondering why it's released now.
- We have different categories of fans. The ones
who like the speed thing, and the Viking fans. Since the material already was recorded, we thought we could please the later
category. For the speed-fans had we made "Requiem" and "Octagon".
- We dared to do a theme album now. We would never
have dared back then, because it laid too close in time to the old stuff we used to do. We are much freer now, and may do
what we feel for.
It took all together 1,5 months to clear the tapes and re-record it. That means "Blood on Ice" is
the recording which have cost Bathory the most.
- It's a certain difference against the first album, which cost about
2000 bucks to record (ca. 250 $).
As on the latest three-four recordings, they have worked with Rex Gisslén. The used
to hang around in Montezuma, but as that studio is closed these days; the guys worked at many different places, among others
in Hellhole Studio. Can this be Heavenshore's descendent?
- I won't go into a studio where 8 producers, 15 technicians
and 98 secretaries roam, and the clock's ticking. I rather go down in a basement where they have some recording equipment;
it doesn't matter that much these days anyway, since everything is digital.
The album was mixed in Soundtrade Studio
in Solna where some guys called SAE are.
- There was something wrong with one of the DATs when we mixed a song, so
we went to their class and asked if someone could give us a hand. Today, they get everything served instantly, which is really
fun. When we started you had to try how things worked, which button made what, we really didn't know shit. Now they have complete
education from the start when they enter the studio to work.
Not suffering from idea-draught
with me might wonder if the real reason they're releasing his album now, is that they've run out of ideas, or that they just
want to cash in as much as they can.
- You really don't earn that much, 'cause you need to sell at least 100.000 records
to do that. On the other hand, we don't spend any bigger sums on tours or videos. Since I write all the songs myself, it's
obvious most of the money drops into my wallet, but it normally takes like 5-6 years before they come. They money I earn today
is for the albums I made in the late 80's. When I get lists today, it's about the sales of the second, third and the fourth
album. In fact, it's not until now, I can call my self economically independent.
- As for lack on ideas, I can tell
you that I have 30 songs for another solo-album. We were going to record that one in May last year, but we choose to concentrate
on "Blood on Ice" instead.
Talking of solo-albums tells us that it was during the work with the first "Quorthon" album,
the idea of re-animate "Blood on Ice".
- It was when I did the promo work for the solo thing, before I made "Requiem"
or "Octagon" that is. When I returned from the promo tour I had a great urge, that I wanted to play the speed stuff again.
So I wrote "Requiem", and when that one was released all songs for "Octagon" were finished. After this, we only worked with
"Blood on Ice".
The music of "Blood on Ice" is a bit in the same vein as "Hammerheart", though I personally think everything
is slightly different from that album. There is a lot of Viking in it though... almost sounds like some laid-back Manowar
partly. Quorthon also sings (!) And really good too.
More unreleased stuff
the talk continues, it's unveiled that there still are lots of unreleased and unofficial songs recorded. Some where awakened
for the two Jubileum Albums, i.e. "Crawl to your Cross" and "Burnin' Leather".
- "Burnin' Leather" was recorded during
a period when we planned to make a double album, containing up to 25 songs, of which one album should have been in the heavy-Viking
vein, and the other in the speed-vein. We wanted to show that we really could vary the music, as we had done pretty successful
on "Blood Fire Death". We thought of calling it "Valhalla", and I wrote a song with that name; later featured on "Hammerheart".
That song was recorded over a year earlier the other songs on "Hammerheart". We also recorded "Bond Of Blood", which later
ended up on "Twilight of the Gods", in speed style, doubles and all those things. It is the same song, but with different
Some speed songs for an album called "Requiem" were also recorded, but that name had nothing to do with the
album released later, only the name was similar.
- Things were a bit fuzzy during that period, 'cause we had a lot
of projects, we wanted to make experiments. It was hard to tell were one project started and another ended.
also lots of material that is recorded, but not complete. We have for example 10 songs on 2.5", but there's too much Motorhead
over those songs, almost carbon copies. "You don't move me (I don't give a fuck)" is from that recording.
The first tune
So, what's the name of the very first Bathory song made?
- The first song we finished,
with lyrics and everything, was "Satan is my Master" and it sounded like "Symptom of the Universe" by Black Sabbath. The lyrics
were totally hilarious. We made a song called "Witchcraft" the same week, and shortly after "Sacrifice", thus it's one of
the very first songs we ever made. We also had a song called "Living in Sin", but it was a tad too similar to Iron Maiden's
"Transylvania". The two other guys in the band were into bands like Saxon, Whitesnake and Iron Maiden, and asked me if I could
make a song like that, and so I made one, Quorthon groans.
- "Satan is my Master" and "Witchcraft" were never recorded,
but they were on one of the first tapings from the rehearsal place. Unfortunately, many of those old tapes are gone today,
among others a 90-tape filled to the rim with early recordings. A friend of mine borrowed it, and the next day he said he
had lost it.
- I got furious, but I did never think those recordings would be funny to listen at
later, since we only could play those songs back then. Today there's only a title in a notepad or perhaps a stanza written
somewhere, but nothing more. I don't have the slightest idea of how they sounded.
and new drummers
It was only during the first year Bathory had a somewhat steady line-up. After, the staff changed
constantly. The longest staying member except Quorthon is the drummer Vvornth, who played on all albums from "Blood Fire Death"
- His brother was supposed to be our bass player two years before he joined himself, but his parents
give him a declaration of war. His parents promised to pay his education if he got his hair cut and stopped with music, so
he choose to. Today he's got short hair, suit and everything. Sometimes when you meet old members you realise they're in their
middle ages. That's why I decided to be 15 the rest of my life.
- We had a drummer who doubted about what he should
do, he was about a year younger than we were. He was going into military service, and was not at all sure about what to do,
but finally he decided to do that and educate himself. When he quit in the end of 1985, we suddenly needed a new drummer desperately,
so I called the Sodom drummer, Witchhunter, and asked if he was interested to come up to Stockholm and help us do an album.
This was when we still were thinking of touring around, and we tried to figure out which bands we would like to play with.
Sodom was one of these bands, so I thought we could score two in one shot.
- I called him and asked if he could come
to Stockholm and make some songs together. While we were playing we suddenly understood that it maybe wasn't such a good idea
after all, not for them, not for us, nor for the fans. They had just finished the recording of a new album, but something
went wrong with and they had to record most of it again, and Witchhunter was forced to return home. Nothing ever happened
of the planned co-operation, and after that, but he taught me some Sodom songs while we were rehearsing. I've never had any
contact whatsoever with Witchhunter after that.
The story with Witchhunter is probably familiar to many of the readers,
but something you maybe don't know is that Carsten Nielsen, drummer in Danish Artillery, was bidden to become Bathory drummer
the year before this, but he choose not to, since he thought Artillery would become bigger than Bathory. So much for that!
Quorthon is in contact with a drummer he's hoping to work together with in the future.
- He is very technical and good,
so if there will be any album this year, I'm hoping to have him in with on it. He is interesting even though he isn't hardrocker.
He has mostly been into experimental jazz. Since he is a pro musician, I probably have to pay him to get him with, but I'm
prepared to pay the double to get him anyway. If this works out we'll have to rehearse some week before we can record, but
time shall tell what this ends up like. There might even be a jazz sound over the next Bathory album, Quorthon jokes.
Satisfied with "Octagon"
Which of the albums is the best, and which has been sold
most, and in how copies?
- It's a tad misleading, the first album has existed for 12 years, and it's still selling.
It belongs to the 5-6 best selling records ever on the label. If it's not that one, ‘tis either "Under the sign of the
Black Mark", "Hammerheart" or "Twilight of the Gods" that have sold most copies. I think at least one of them has sold over
100.000 ex. I am pretty sure it's not "The Return" since that on is a bit too extreme. "Jubileum vol. 1" has also sold a lot.
I know the solo-album also is among the best sellers on the label, that one has gone for 30.000 ex.
When it comes to
"Requiem" and "Octagon", the rates hasn’t been that good.
- They have received very bad criticism. It's not that
you can skip wondering about the clientele who's sitting and making reviews in the magazines. They are very aware of trends.
Some paper nominated "Octagon" as "Der ausbomb der monat". You die to get that kind of reviews. If I were 15-16 years old,
I wouldn't want to buy the records that get 3-4 stars, I'd like to have the one that gets 15 crossed stars instead. You can't
make a record for critics. Those two albums haven’t made that well, but they satisfy me more, and that's what's important
In which way have they done it?
- There are no errors in the playing, it's not untight and the lyrics
are a hundred times better.
Even though those records aren't among my faves, I think they're totally ok. Although it's
a little bit too much "biscuit tin" sound over the drums in "Octagon".
- We did those during one day. Played through
them pretty fast, thinking, "we can do that later", but when we got that point we didn't really care enough to fix it.
If it's something I am less satisfied with, it's as usual my singing. I never dare to sound natural, 'cause I know people
will yell and shout and wonder what's wrong. I read a fanzine where they said that it sounded like I've taken helium on "Octagon".
In that case it's just to face it that those dudes who are sitting and writing the papers are half as old as me. When they
sit at home listening to records, they always hear singers who have used extreme harmonizer on their voices. Then when they
hear a vocalist singing with his normal voice, they think it sounds like a faggot.
by the label
Something that surprised me was that they on "Octagon" for the first time included a cover. The
reason that cover was "Deuce" isn't as much surprising, for Quorthon is an old Kiss fan.
- We have probably played
about 20 covers in the studio, but never before released anything on an album. There has been everything from "Like A Virgin"
and "She Loves You" to "Overkill". We actually recorded "Ace of Spades" once, and we were also going to release it, but another
band did it before us, thus we dropped the project.
- When we had finished "Octagon", there was over one week of time
left in the studio, so we decided to do some covers just for fun. We chose songs, put up some mics, to hell with soundcheck
and then we just played. We did five or six covers.
- The purpose was not at all to include them on the album, but
two of the songs were censored, we couldn't include because of the company, and that of several reasons. If you look on the
lyric sheet you see that two songs are missing.
The names of those songs are something he doesn't want to unveil.
I said their names somewhere, but I regret it, thus you can figure out what the songs are about. Won't tell the names before
the band has quit, I don't want to cause any of the label people damage because of them. When they asked me to, I excluded
the songs, since there is 30 employees who would have to receive shit for it.
- The album would be very short without
those songs, so we wanted to have one or more covers on it too, but the only one that was somewhat decent was just "Deuce",
we had just recorded them for fun. We also recorded i.e. "Electric Funeral", "I wanna hold your hand" and "Jailhouse Rock".
Many things to handle
Going back to Quorthon's solo album, he is expecting to release
another one in the future, but when is something he doesn't know. There is material enough anyway.
- I was totally
surprised when it sold that very well. Thought it would sell about 200 and that it would get thumb down everywhere, but I
haven't got any bad criticism. Maybe the sound was a bit too kind, but the purpose was not to sound like a pro band. ‘Tis
my private project.
- I have many side-projects running, I don't know how to get time for them all. I write five songs
a day that has got nothing to do with this. Rex and I went to the studio last autumn and recorded for a new album, which is
light years away from anything I've done before. No one would believe it's we who's doing this, but it's do damn funny. It's
just for pleasure. Rex has got lots of own ideas. He's got a big local where he can work around the clock. If I get any ideas
I go there and if he gets any ideas I'll go there to help him. It doesn't necessarily have to get on record. Yesterday I wrote
two more songs. During the summer we'll probably go there and record about 30-40 songs just for fun.
- Shortly after
"Blood On Ice" was completed we did ten songs in the studio but deleted it and left it only on usual tapes. This was because
no one would be able to neither listen to it nor use it.
Regrets the video
the conversation we slip into mistakes that we've done in the career, which on my behalf are pretty many. When I ask Quorthon
if there is something in his career that he's regretting he surprisingly replies that it's the video for "One rode to Asa
Bay": The only video the band has ever done. I get even more surprised when Quorthon says he has never seen this particular
- We threw a whole lot of money into that project. There was a tremendous staff and we were shooting
for about 2.5 weeks. I didn't sleep more than 5 hours, I lost 5-6 kilos and I wasted ca. 4000 $ which were my own. We had
50 litres of gasoline in a lake and lit it up, walked around in caves with torches, wore Viking outfits, horses - yes, everything.
We had 14 hours of film when we were finished. For some strange reason were the films given to the one who took care of the
whole thing. And when the video was going to be completed delays appeared. A week passed two weeks, a month and two months.
He didn't keep in touch and we couldn't reach him. The we had to go on a promotion tour down in Europe and we had to bring
us something to be shown on MTV, Super Channel, Spanish and Portuguese television. Finally we got hold of him and he promised
to do a mix. The day before we weīre on our way we received a tape containing something he called a "raw mix". The purpose
was never to show it officially, cause we assumed we'd get back in Stockholm in time to make a real video to send around,
- We couldn't find him when we got back to Stockholm. One month passed, two months passed, a year... I haven't
seen him yet actually. Everything's gone with him. The money, 14 hours of film and what we now call the video is nothing but
the raw mix he did for us. I haven't seen anything of the 14 hours we made, or the so-called video. I refuse to watch it since
I know it could have been better, a lot better.
You don't have to be Einstein to understand that the video was awesomely
expensive, surely around 40000 $.
- It was expensive, expensive as hell. A 30-man staff was involved, so it must've
been a giant production. Only to drive the crew from the shooting places demanded a lot of work and they had to eat and drink
too. We rented a quarry and filled it with fog machines and copper pipes that were filled with gas, giving us 20-m high flames.
Horses, knight's armour and floating islands with drumkits.
Plays because it's fun
we talk about Bathory's future Quorthon says there is definitely a continuation. He hasn't written much new stuff but he believes
there will be another release in 97.
- We have released perhaps a bit too many records lately. It wasn't more than
six months between Requiem and Octagon and then one year later "Blood on Ice" came. I believe a lot came through after the
solo album. Earlier we had done black metal, death metal, epic- and the Viking stuff. With "Twilight..." there was really
no exit except repeating ourselves. That's why we luckily celebrated 10 years anniversary and could make the Jubileum compilations.
I hadn't got a single clue about what I was supposed to do by then. But the solo album came in between and now everything's
just enjoyable. It used to be a work, finding the exact sound, fit into certain moulds but after the solo thing it's more
fun. I've felt quite a lot freer ever since.
So what's Bathory got to offer that no other band has?
- I suppose
we've got nothing that someone else haven't, Quorthon says honest and without fuzz. The competition is total, and there are
plenty of bands releasing records now. That's why I'm glad we sell at all. It doesn't matter who you are, what band is called
or what you done before, because there is never a guarantee of high rates. I am doing this now because I think it's fun. There
is a dividing line around 5000 ex though, and if you can't overcome that border, it's better to spend your time on something
else. But if you still think it's fun, and at the same time is the band that is selling best on the label, I can't see any
reason to stop.
In these days of tribute albums there been some rumours about a Swedish Bathory-tribute,
with many of the heavy names within extreme Swedish metal. When it's released is still not sure. Quorthon surprises me by
telling that he knows at least 3 more ongoing Bathory tributes. One from a Belgian label, one from a Norwegian one and one
with amongst other French and German bands. He has also heard rumours about an English/American tribute. Necrophobic's new
MCD "Spawned by Evil" features a very good cover of "Enter the eternal fire" and a Norwegian band had "Born for burnin'" on
Talk about a Bathory-revival.
- If they choose the right songs and do them well it's ok for me. It can't
get worse than what we did because they have got a different technique; they have grown up with double bass and thrashing
guitars. It sure will be nice to hear if they can use the same chords as I do, Quorthon comments and explains the secret behind
his special sound.
- I don't tune the guitar as usual, but I tune them in a way that you can take the chords with only
two fingers. It sounds like an 8-stringed or a 12-stringed axe. It sounds as two guitars because due to the twin octave, and
it helps me making fewer add-ons in the studio.
Do you still tune in the same way?
- Yes, at least on slow songs.
Sometimes I tune from normal E. I did it on some of the "Octagon" songs. The other tuning can be somewhat frustrating when
you have to add the bass, cause you have to down tune the E-string to C minor. Which makes it extremely loose. You can sometimes
hear how it tunes out.
Returning to the tributes, the fact is that Quorthon he isn't totally against appearing on one
- It depends on what band it is and in what context. We've done many covers, so why not?
I don't know
if anyone has given it a thought, but Bathory hasn't been on any compilation album since the mid 80-ies.
- I realised
that Beatles never were on any compilations, it's not until now they've started to release Beatles song for advertisement
jingles. I thought if Beatles can, we could too. We made a deal to never appear on compilations and we still haven't. We don't
have it written, thus most of our deals are oral.
Continuing on the book
last time Bathory was in Backstage, # 24, Quorthon told us that he was working on a book which would contain the biography,
the discography, lyrics, pictures and facts from the different recordings. A colossal project which he hopes to finish to
the 15 year anniversary.
- I've written notes, i.e. exact dates and strikes of the clock when things happened. When
Bathory was founded, when we had the first rehearsal etc. The notes cover all the years and I've checked them through. The
first chapter is more or less finished, and the description of the rehearsal place is very detailed.
- In the end of
the book I'll have all the lyrics plus a comprehensive discography. We'll have every recording date, which day and which month.
There will be a chapter on each album, where everything is going to be told in detail. Most of this is already written, but
the things I can't remember will pop up if I listen to the albums again.
About photos and pictures, here is some exclusive
material to show, but not as much as you could wish.
- We shot some pics in the studio when we recorded "Under the
sign...". Above that we've got only 5-6 private photographs from that period. People have always circulated so there has never
been a real use of pictures. Almost every picture is of me and Pålle, and perhaps on some old bassist or drummer.
wouldn't get too surprised if one or another special picture appeared.
Except the book, some other things in the same
direction are maybe going on.
- I've got a pal who's keen on computers, and we're thinking about making a Bathory homepage,
where you can find the latest news and info about the band.
The longest thanks-letter
During the 80-ies, Quorthon received tons of mail from all around the world.
- I replied on practically
every letter until 88. I wrote thousands of letters during that period, and I always tried to include something as memory:
An autograph, a plectrum or something similar. We don't get much mail at all now.
Quorthon tells about sick letters
they got, and he pulls one example after the other of which none suits in the magazine. Perversity and blood. Some really
fine letters has also come throughout the years. If you study the thanklist in "Under the sign...", Yoshiko Yamashita is acknowledged
for the longest fan mail ever.
- It was a Japanese girl who sent it. She had used really big sheets of paper, the kind
you use for lectures. She had linked 20 of them and rolled it together to a tube, and it was at least 20 metres long. It must've
cost a fortune to send it all the way from Japan, and we just had to thank her.
A couple of years ago there were a lot of fuzz about Satanism in music, due to the return of black
metal. It all escalated when several Norwegian churches were burnt. Now the subject has been put into spotlight again, newspapers
have written about it, and there have been actualised on TV. I am quite curious on Quorthon's opinion; after all he is reputed
as a guru in these associations. Does he feel any guilt?
- I remember that the Norwegian security police was involved.
It was because of the murders and the arsons. Then someone said in some interrogation that we had served as inspiration. It
was said that the security police studied our lyrics, and they surely expected to find anything inspiring. But they couldn't
because there is nothing. The first time I even talk about church arson is on "Requiem", and then as reaction against all
- I'm personally against anything related to Christianity, but it's a personal matter, and we live in a free
country. You should have the same right to worship any god you want as to have long hair. The problem with those Norwegians
is that they mix the concepts, right wing extremism, populism, heathendom, Satanism, which are contradictions. If you're a
Satanist you can't accept Odinism, since Satanism is as fundamental as Christianity, and if you're asatruar you can't burn
churches because Odinism means freedom for everyone. If you're right extremist you can't have long hair and play heavy metal
at all, everything is just straining for effect. The whole story is a bit sad because other bands also are blamed for this.
If they say we've served as inspiration it's nothing I really care about, because we didn't intend to.
I don't know
much about this, but Quorthon seems to be quite informed in this matter.
- Now I am, but I weren't originally. I was
into the black stuff around 84-85 but I pulled the conclusion that Satanism is a fake. Satanism and Satanists are not older
than Christianity and are just invented to scare people. I thought it was a good subject for our lyrics. I've written a tad
about in the booklet for "Blood On Ice" and I'll also do something about it in the book.
When I ask Quorthon to describe himself, he immediately retreats because he thinks his not
- Music is the only thing I know. I began playing the drums when I was 7-8 and later on the guitar
and bass. Today I actually find it funnier to play the bass than the guitar. I play the bass 3-4 hours a day and only the
guitar when I'm composing songs.
What most people don't know is that Quorthon is interested in sports. Mainly ice hockey
and AIK. He hasn't missed one single home game with AIK since 1977 (!). The truth is that he has been seriously involved with
- About 15 persons have grown up on the standing room, and have stood there since the end of the 70ies.
It means you've got a special position in the cheer section. You know everyone, know the talk, what and where things will
happen. It's pretty obvious that you get involved then. But when people reach their ages they move from standing room to the
chairs and get children.
I don't get much from Quorthon about his private life, except the fact that he's got cats.
He used to have real rats for pets, of which one was named "Råttis". On "Hammerheart" ‘tis written: "In memory of Råttis
1987-1990. Now you're eating from under the tables of the great warriors of Valhalla".
his name a secret
Something, which never stops to fascinate me, is that Quorthon has managed to keep his real
name secret for all these years, and that no one who knows it has revealed it. The means of exposing this have been quite
a few during the 13 years. Many international journalists and Swedish too, have tried in vain. Personally, I do respect him
and I won't be the first one who prints it down. The secret probably is that he's succeeded to keep his music career apart
from his private life.
- That's something I never talk about cause it's terribly frustrating. I wouldn't be able to
get buddies if they knew who I am, because the view on me would be totally different.
I still think it does astonish
that no old school mate or band member has used the opportunity to cash in some extra money.
- I quit school the year
before we created Bathory, or more precisely: I was kicked out. I haven't met anyone of them ever since. If I hadn't started
playing in punk bands around 79-80 I'd probably ended up on the street with a fix through my arm. Fortunately I never got
any friends like that, and I got into punk, inspired by bands like Exploited and G.B.H, Quorthon explains before he says that
there actually once was an old member who tried to gain fame of his past Bathory membership.
- It was an old drummer
we had who told a lot of stuff, but never revealed my name or something that could have been an obstacle for us. He lives
in London since 10 years. There he tried to put together a band, a pretty good band, and to start up the punk wave again.
They had a couple of good songs but split shortly after. He asked me if we couldn't do something together and he sent me this
demo tape which contained a real hit tune. It was so fucking good that if they ever had managed to do something of it, it
would have been a bigger hit than "Smells like teen spirit" and "God Save the Queen". I was tempted, but I never jumped on
Inspired by Yngwie
Considering the cult around Quorthon,
he should have been asked at least once to appear as guest musician.
- Some Black Mark band asked me if I could come
down and sing on their record, and another band on the label asked me if I could make some solos. Some dude in the band was
both a great Bathory and Kiss fan and he thought that I sounded like Ace Frehley when I play leads. I can't make black metal
nor heavy metal solos; I play rock solos. He said to me that it would be quite hard to get Ace Frehley down to the studio,
and that I could come down instead. This never happened because it felt kind of silly as we were on the same label. These
mentioned occasions should be the only times I've been asked.
- I never practise solos and I always
improvise. If it doesn't stick the first time, I'll make another, and if it still doesn't fit, we'll take the first one anyway.
The only album I rehearsed the leads for was "Twilight...". Almost all the songs are in D minor, and basically it's the same
solos in all of them. I got an Yngwie-record from a friend. Yngwie's technique is a gift from the gods, but he's quite boring
in a longer row. I got some inspiration and I decided to see what I could manage myself. I never rehearse, never ever, but
then I sat and played the solos for almost a month before we recorded. You can hear that the leads are arranged, the turns
and stuff are better.
Humble though his success
What's the greatest memory
Quorthon has from the years with Bathory, except those who aren't printable?
- Things you recall easiest is like when
you for the first time heard yourself on radio, saw your record in a store, saw a fan with your T-shirt, got your first fan
mail or when you did your first interview. I don’t react if I see anyone with a Bathory shirt today, but 12 years ago
I did, and that's when we'd done our first shirt. It looked obnoxious. It had the logo in yellow and lots of blood. We paid
for in ourselves and it was printed in 100 examples.
Even though Quorthon isn't the temperate type, he's rather humble
for his band's success.
- I'm still really grateful when I hear that an album is pre ordered in 20 000 ex. When we
recorded the first album, we did it under the condition of selling 1000 copies. That was also the number of the first pressing
(the one with the yellow cover). It was sold out pretty fast so we pressed another 5000. When we went to record "The Return"
we were told that is was already pre ordered in 5000 ex, but we couldn't understand how people could order it before they
had heard anything, or even before we've recorded it. We felt like really big boys and did a lot of partying.
recorded in Elektra's big, nice and expensive 24-channel studio. Just to have more than five mics in the studio was unbelievable.
When we did the first LP we only had two mics, and we couldn't record everything at the same time. We had to reverse the tape
and make add-ons, and we did this for 36 hours and it cost us 250 $.
Now afterwards, you can really say that it was
worth the money.
- An album like "Blood Fire Death" was recorded during a whole year, a week here and a week there,
but it still didn't cost more than 800 $, non-taxed. When we did "Twilight...", we used the Montezuma studios, and it meant
real bills, technicians, expensive amplifiers and everything you could wish. The price tag was 100 $ per hour. Even though
we recorded during only three days, it became much more expensive than all the other albums together.
Going back to memories, it's clear that Quorthon apparently has experienced one thing
- I remember when we were in Los Angeles. We'd an awesome party the night before and we were on our way
to miss the plane, had to run to get there in time. Some girl, who carried my bag, lost one of her heels and fell. My bag
got open and all the things therein slided across the floor, big pieces of flesh, chains and leather underwear. People just
stood around and stared, and a narcotics dog started chewing on one of the meat bones, Quorthon remembers.
- One other
memory is from when I stood on top of a skyscraper and breathed some fire. The police came, but there were two elevators in
the building so when they were coming up with one we went down with the other one, jumped in our van and drove away.
has been doing fire breathing for 20 years, since 1976.
- I saw pictures of Kiss and of course I had to try myself.
We tested everything from gasoline to paraffin oil. We saw that chocolate drink is great, cause it's damn explosive.
is nothing we recommend ourselves, breathing fire that is. Quorthon himself has been injured some times due to this.
Once in a time you should have spray in the hair to look like Nikki Sixx or Blackie Lawless. It happened several times that
my hair was put on fire, some times really badly. I've burned myself many times, but I quit this around "Hammerheart" because
it wasn't only me who was doing it anymore.
Quorthon can live on his music today. He doesn't earn any fortunes, but
enough for surviving. He lives a sparse life, never goes to the bar or to the cinema, he doesn't buy clothes or furniture.
He hasn't got any real vice except the music.
- I only buy new strings when I'm to record. I still have the same set
of strings on the guitar and the bass from when we recorded the album. It is possible that I sometimes replace a string if
it breaks, but I don't care about tuning and such. I buy new strings when I'm going to the studio though. You always get surprised
of how good it sounds, he laughs.
The dialogue gets
on the early years of Bathory here and there, and Quorthon uncovers one "secret" after to other. For instance that they once
had a vocalist, even though for only a short moment.
- In the winter 83-84 the contemporary drummer thought that my
singing wasn't much to celebrate, and he wanted me to sound like Bruce Dickinson. And without asking they got a new singer.
When I came to the rehearsal place one day I found out that this had happened. I can’t remember his name but he sounded
like something between Ian Gillian and Ronnie James Dio. The only real memory I've got of him is that I traded a bullet belt
for a Dio record with him.
- I even have a tape on which he sings three songs. If I'm not wrong the titles are "Dirty
women", "Die In Fire" and "The Return of Darkness and Evil". Imagine them with falsetto, he laughs. It sounds terrible, but
it couldn't have been easy for him to just get into the band and sing songs he had never heard before.
Influenced by Exciter
I was myself into the underground scene between 82 and 89. I traded a lot of demo
tapes, I probably have around 2000 demos recorded during these years.
- We also got plenty of tapes from bands that
wanted us to produce their albums. I think they mainly were after the special Bathory sound, but it wouldn't have been right
if many bands had the same sound.
When we're discussing the "good ol' days" I can point out that not many bands have
survived since. Two of Quorthon's three hate-bands are still alive, though, namely Kreator and Destruction (re-formed). The
third one was Celtic Frost. Another band Quorthon thought he didn't like was Voivod.
- I threw a lot of shit at them
84-85 when I didn't know better. Some years later when I listened to their records I understood how genial they were. Then
I regretted what I had said about them, because I had never really listened to them before, but it was the time when you were
supposed to be the biggest, the best and the most beautiful.
One of my fave bands from the early 80ies are the Canadian
Exciter, whose debut "Heavy Metal Maniac" is a landmark. Also Quorthon's been listening to them, more than enough.
We tried to get the same sound on "The Return..." when we recorded it. They had such a brutal drum sound that really caught
me. The vocals were never something I liked, though.
- It sounds a bit like me when I'm singing. It becomes two notes
higher than when I'm talking. The only record I ever tried singing bass on was "Twilight...", and I make some narrating singing
on the solo album. I refuse to use harmonizer like everyone else's doing. I have only used one twice. Partly in some reversed
thing on "Scandinavian metal attack" and the other time on some refrain on the second album.
The first album
For myself personally, perfectionism has never been the most important part of music,
but what I value and respect is feeling and authenticity. Quorthon seems to be sharing these opinions, but he has an extreme
- When people listen to an album they only hear the final result, they don't know all the work that
lies behind it. When we did the first album we didn't mix it, and we just rigged the equipment up and started playing. We
didn't know how to control things and we turned all knobs to 5 and jammed. There was always a tune out in the beginning and
the end of the songs, for we didn't know how to open/end songs properly. We plugged the bass and the guitar into my tiny 20
W Yamaha amplifier.
- We had a deal which gave us free access to the studio for 250 $ during four weeks. We had to
do it during the summer when they weren't at home, because they didn't want to hear it. That's why it's recorded during vacation
time, in July. We had no soundcheck, no mixing, and we played it right into the reels, on one or two takings.
weren't even planning to make an album out of it, and we were just hoping to get enough material to show around, and then
become signed for real recordings. It wasn't sure that you would be given a record deal back then. But after we had been on
the "Scandinavian metal attack" we were the only band that received letters, and we decided to press the first album anyway.
first album is very short, only 28 minutes.
- And we even wrote a song in the studio, "Hades". It shows, because half
of the song is instrumental. Additionally we had a 3.5 minutes long intro. There after, everything we made began with long
intros, even the demo tapes. The intro is listed as a song, and I get money for it too. It's called "Storm of Damnation".
very fond of the very first recordings, especially "Sacrifice" and "The Return of Darkness and Evil" on "Scandinavian metal
attack". I've always wondered why "The Return..." wasn't on the debut, but on the second full-length.
- I reckon it
mainly depends on the fact that our present drummer back then couldn't play double bass. I think we recorded it once, but
we didn't feel satisfied. When you were in that age you were strict and conservative; double bass at any price. Actually,
not many drummers could use double bass back then.
for the lyrics there are for every album except Requiem.
- On that album there were some parts the label wanted me
to change, but we chose not to include the lyrics sheet at all. The lyrics aren't available in every country either. We can't
control that to a 100% because they are pressed and sold through licence. They have also changed the layout of the lyrics,
which has removed some points and meanings.
- When we were to do "Blood Fire Death" there was a lot of talk about Satan
here and Satan there so we decided to do an album where Satan isn't mentioned one single time, but still would be present.
If you take the first letter on each line on "The Golden Walls of Heaven" and read from the top down it reads "Satan, Satan,
Satan, Satan, Satan". If you do the same thing on "Dies Irae" it says "Christ the bastard son of heaven". Many things like
that have been destroyed when they've chosen to display the lines in a better way. The whole meaning with it is ruined.
would rather forget some of the early lyrics.
- There were many grammatical errors. Only in "Sacrifice" there must've
been around 5-6 simply grammatical mistakes, some of them really embarrassing.
want to show their breasts
There are many things you would want to have undone or remade. My own stumbling attempts
of a music reporting career was on a Swedish that would make me blush all over, but it still isn't too great. Something it
did was, was fun.
- One good example if the cover for the first album. We made it in 5 minutes. We thought that it
was something labels were supposed to manage, but they gave us a call and said they needed one, and fast. I went through my
old horror magazines and found a suitable monster. I added a pair of horns and a pair of long ears, which we pasted on the
picture. And then we magnified enough to show the screen. Oh, it was so cheap. We also did a poster, 1 x 1 metres. We had
to magnify the head even more until the screen was big as dollar coins and you had to stand 20 metres away to see what it
was supposed to look like. It was the first and only poster we've done.
An album cover I've always been wondering about
is that on "Under the sign of the black mark". It shows it too has got a history of it's own.
- It was originally meant
to be called "Nocturnal Obeisance". On the cover the four daughters of the winds would sell their souls to the devil. They
would have lain around an altar with a butchered angel and the figure with the Bathory mask was meant to stand with the angel
heart plus some sacrificial dagger.
- When I searched for an altar I amongst others asked the Opera. When I got there
I saw the mountain massif from Carmen, which was played right then. I liked it from the beginning and I wanted to hire it,
but it was impossible because it was French and from the end of the 19th century. It was insured for enormous sums and was
going back to Paris two weeks later. They needed 2 hours just to build it up so they could push it in and from the stage between
the acts. We finally managed to bribe a stage attendant to use it between the first and the second act, when everyone was
sitting out in the hall waiting. We had 20 seconds to take the photos while the curtain was lowered. The guy we hired, one
of Sweden's best body builders, ran up to the cliff, and the girls laid in place and the photographer too. We got about 5-6
pictures before we had to remove it all.
- When the girls heard that they were going to be on an album cover they didn't
want to show their breasts, so we had to cut them away, but the image got narrowed. We had to remove even more and the whole
effect disappeared. That which you see on the cover is actually the centre of the image, there was as much above, under, and
on the sides. The girls were lying on the floor beneath him and there was smoke, fire and lot of effects.
Have done live performances
For all these years you have been told that Bathory never has played live,
but Quorthon says it's not quite true.
- We did 6 to 8 gigs between 83 and 84 with the original line up. It was in
theatres in front of 30 pals. The last time we played live must have been in January or February 84. After that we did a concert
together with two punk bands and another hard rock band. We rented the Smedslätten cinema and all the bands played on the
same gear. It was the original line up, but we didn't call our selves Bathory and everyone had fake names that evening. It
ended with all the musicians on stage. Playing Sabbath or Motörhead songs. There was no organisation back then.
month later we went and recorded "The return of darkness and evil" for the "Scandinavian metal attack" compilation. They day
after they asked us if we could make another song, and we did "Sacrifice".
Quorthon was using the moniker Ace Shoot
- I had another name before that, Black Spade. It wasn't on any record, only on the very first biography.
The drummer, the same guy who went to London, was called Vans MacBurger. He always wore tennis shoes of the brand Vans and
always ate hamburgers and the name suited him perfectly. The bassist called himself Hanoi something. The last time I saw him
was on an Iron Maiden concert in Stockholm 1986. He had short cut hair, coat, shirt and tie. It would be funny to meet some
of the old members again.
Quorthon was later on chosen from a list with important demons.
- It was impossible
to pronounce, it had a background, and it was phonetically similar to Bathory. I never imagined it would last for 10-12 years,
so we did mainly as a cool thing.
By now, after four hours, my freestyle dies at the same time as we've run out of
questions, the coffee, the pies and the soda water. I follow Quorthon when he says he's going to Mega and see if they have
got any interesting records. Now this is an ultimate opportunity to check out what the legend plays in his stereo. Gladly
I can tell that he i.e. bought "Overkill" (Motörhead) on CD since his vinyl version is played to pieces. Still the "old man's"
going strong! Just before we say goodbye he shows me to another place where I have an appointment. When I see his back disappear
down the street I understand that I've experienced something very special. I will cherish this memory as much as my 7,5 years
from Nordic Vision #5 (Winter 1996)
Satyr chats with Quorthon. No further introduction is needed!
-"The English man who
did that documentary interviewed me in London in 1987. He asked precisely about that since he is a syndicalist, a communist,
it's the same. I believe I had just released "Blood Fire Death" and he asked why I was doing this Viking thing and if I didn't
believed that this would lead to Nationalism and such. Then I said "it is a fact, it is a historic fact". For us it is a historic
fact and a way to get an identity and those who don't know their history cannot manage the future. He commented on symbolism
and then I pointed at his arms where he had a red star and a black arrow. The black arrow is the syndicalist's symbol and
the red star is Marx, Lenin. Then he said that it was not interesting about what people stand for, but that is an ideology
that too. The communism in Russia was not communism, it was fascism. It depends on who you talk to. He did this "The Devils
music" and they are idiots, playing records the wrong way and "another one bites the dust" and such".
Yeah, a bit out
in that documentary we have "another one bites the dust" backwards and you just can't make out no meaning of it, and then
"it's fun to smoke marihuana" comes and especially that Judas Priest thing, "I asked her to get a peppermint".
funny! We have ever only used backword messages on one song and that is on the first version of "The return of the Darkness
and Evil", where I recorded alot of things backwords, but it is so low that noone have heard it. But simply because people
got into this stuff, so on the LP "Blood Fire Death" I don't believe I mention "Satan" one time. But if you take the first
letter in every sentence in the text of "The Golden Walls of Heaven" and read it from the top to the bottom it becomes "Satan,
Satan, Satan, Satan, Satan". And the same with another track, "Dies Irae". Do the same with that one and this also holds a
message (the message is of course great, by the way -ED)".
I have read these lyrics many times and I also think they
are extremely good, and it is not only Bathory's music which has inspired many bands, it is also the lyrics. Then we can ask,
where did you get your inspiration to write the lyrics?
-"It was more a picture in my mind of something extremely unreal.
Just take a text like "The Golden walls of Heaven" and try to do a picture on that, a cartoon or something, then it would
be very stupid. Demons flying on leather wings from Hell up to Heaven, raping the angels and wanking on god's throne. And
the scalp of god is hanging on a spear and the World is burning, it is in a way stupid. The art is in a way to try to make
it exciting, artistic, a sort of painting. But this is not something one wants to do. One time I was sitting in Los Angeles
when I had a contract with New Reniassance Records In California. I was doing. interviews and then I get the message that
the next interview is with a radio station and that is live. About 30 sec. before I am broadcasted I get to know that there
are about 20 million people who are listening. And then the people can call in and ask question's, and than there are alot
of people who has a hobby just listening to Hard Rock programs so that they can criticise it. So they call and ask if I have
read the bible and so on. Then I say that if you read the bible, Matthew chapter 7,8 and 9, it says that if you commit a sin,
if you get horny or touch yourself, you must cut off your a hand, if someone else commits a sin you must cut off that person's
hand. This is the ideology! Hardrockers or Death Metal Fans have never started a World War or killed a man on the bonfire
We have the rights on our side, but to get others to understand it is alot harderl
-"It takes pioneers
to get people to accept and understand what historic facts has lead to, plus that we shall justify our Nordic culture and
our Nordic history so that it doesn't die out. If all people think in the way the government want us to think then everything
we fight for and like will disappear very fast.
It is a pity that there is always someone who have to suffer in order
to get attention to it.
-"Yes. We have no authority".
It is the pioneers who have to suffer for it, most of
-"Yeah, like Beethoven for instance. He was the World's first Hardrocker. If you listen to his music you
understand that people in his time, when he was young, for instance, thought it was too violent. It isn't that bad today.
Today you can turn on every fucking radio channel, they are used to it, it is fashion. People find Grunge to be very nice
When you say that I start to think about how things develope, video came into the market and you did a video
for a track from "Hammerheart" but it was also the meaning that you should do a homevideo for Bathory. What happened?
the middle of the 80's when all bands started doing it, it became cheaper and more accessable, The thing that all bands should
do a video was because this Noise label in Germany did video's to all their bands, no matter how bad the bands where or the
concert or the public sounded and so on they released a video. The only video's available back then was with Whitesnake, Iron
Maiden and those usual ones, and when Black Metal and Death Metal grew up it was natural that we wanted to do a video. In
Sweden it was no culture for this, no places where you could play, no public and when we tried to get concerts in Stockholm
in 83/84 and we showed them picture's of ourselves and how we sounded, they just said that we weren't allowed to play when
we showed up in leathertrouser's, spikes and crosses. It was no chance2 for us to do a tour in Sweden or in Europe. The only
chance was simply to:do a video and a theater, use alot of money on effects and everything. So wherever you lived you would
have a possibility to see us. The negative side with that was that there where no organization behind Bathory. Whenever Bathory
did anything it was I who had to book the studio, get a rehearsal place, everything. So if I had a bad day and only wanted
to take it easy, Bathory had a bad day. Everything depended on what I did. If you don't have en organization, lots of money
and people who can help you with things, then nothing happens. That video didn't become anything. But then we started to become
very. big in the U.S.A. and we sold many records there when we were doing some Viking music to this "Pagan History", the Pagan
cult in the U.S.A. is quite spread out with mysticism and Nordic romanticism, symbol's and so. It fitted doing a video, but
then it should not be a tucking live video with a band who was just standing there and looking into the camera. It should
be a story and the only story which we wanted to tell with our new music and lyrics was "One Rode to Asa Bay". We did a video
on that track, it is not a good track to do a video for, it is long, slow and nothing happens; but it had a history which
we could stand behind. I invested more than 20.000 SEK of my own money to buy film, a new camerateam, costumes, armor, monkcapets,
horses, arrow's, food, lighter effects, everything. When we had done everything, filmed for one week at different places,
we did alot of things like pouring alot of gasoline into an ocean and put that to fire so that the whole ocean burned, using
that in slow motion. We had people dressed as Vikings, a real Viking picture and everything. We had 14 hours of film and we
started to get very little time since I was about to travel to do some promotion for "Hammerheart", a promotion tour around
Europe, The person who kept these film's, he who had filmed everything and promised to fix this quite fast and cheap and do
it good, he never got back to me, his telephone number was blocked, it was impossible to get in touch with him, so I had to
go on this promotion travel and was forced to used a rawcopy of some material which he had done. It was no video but just
shoving some scenes which we had gotten a copy of so that we could see what we had on film, so it was not the material that
was supposed to be on that film. I became so extremely pissed oft since I had invested so much money, I hadn't slept for a
week, I had been both infront of the camera and behind it, carried things and done everything, so I was very pissed off and
sad when this video came out. When you pay 25000 SEK and have 14 hours of film and have worked constantly for a week, and
you can't even be present when it is done and the other films just disappears, and the only things that still exists is then
about 11 minutes filmmaterial, which partly was without colour, some of it were done with a cheaper videocamera just so that
we could check things. Then that video came out I was very sad, and I have actually never seen that video and I still don't
want to see it if I get the chance".
-"Because it hurts alot. It is~ like you have written a diary
and write alot in that diary and then it is published in a newspaper. It is something very personal, and especially if you
invest all of your money and hundreds of hours working and you are really hoping this will be good and you really believe.in
it, you have alot to tell and then it is suddenly being published. But luckily just a very few peuple have seen that video,
I on the other hand is one of those who have not seen it, and will not see it either".
200 liters of gasoline! How
did you manage to light that without nothing being damaged?
-"We poured it out on a sea. We rowed out in the middle
of the sea and poured it out. I think we had 4 or 5 cans. It takes a while before the gasoline evaporates, it build a thin
membrane on the surface and it spreads on the water. When we pour 200 liters out on a sea it fills the whole sea and then
we threw a torch into it and it burned for about one and a half minute, then the gasoline was burned. It must have been a
a. great effect, we went into caves dressed as Vikings with torches and had sun cresses painted in blood on the walls, we
had Viking graves. We had managed to get an old movie, probably done in Norway, it was a documentary film about how the Vikings
lived before when they had a real Vikingship and not this theater, Hollywood thing, we had filmen runestones, lots of Vikings
on horses, monk which came with swords, a big war between christian knights and the Viking people, we built a church and such
but nothing of that were in the film, in the finished video It hurts extremely much that this film was released at all, and
how that came out I have no ideas nor who sent out the work-copy".
It would of course have been extremely interesting
to see it all!
-"I think that too. We had done a manuscript and everything. We had travelled around and filmed the
best runestones and Viking graves, we had filmed gold treasures which was in museum's after permission from the government
and we had filmed thunder and lightning and big black skies that cross the sky. I had managed to get some real Viking armor's
from a theater which I worn and on a horse a road up on a top when it was fullmoon and I blew fire, we had Viking fights and
actors who were soldiers and knights, it was enormous. Half of the people who played a part here where people I knew, my neighbours
daughter and so. She was blond, blue eyed and beautiful. A Viking daughter in a way. However, the reason why she got to play
here was because I was going to screw here later, but half of the people who played a part did it for free. They just thought
it was nice to do it. The other half was actors and people we had found in a register in a theater".
What about the
album cover of "Under The Sign Of The Black Mark"?
-"Yeah, it is a interesting history about that one too. "Under The
Sign Of The Black Mark" should have been called "Nocturnal Obeisance". It should be four naked women which should represent
the daughter of the North, East, South and West, the four winds daughters which one midnight meet the God of the Earth. That
is Deonychus or Pan or when the christianity came it was Lucifer. They meet at an altar by the end of the World and they give
their hearts there and they fuck and drink blood and they fertilize the Earth. Then we should have a man who was half goat
and half man, strong muscles and goathead and everything. We arranged all this and we thought we needed some mountains and
such, so I went to the theater departement of the Swedish radio and ask them if they had some mountains or so we could borrow.
I looked at what they had to offer and it was just things used in programs for children. Then I called to the Royal Opera
in Stockholm end asked if they had any mountains which we might could rent. He said that just now they had the Opera "Carmen"
in Stockholm. In the second act of "Carmen", Carmen will be up among the mountains with the bandits. He said that I could
come and take a look, he thought I was a professional producer and then I came there with long hair and and a leather jacket
so he said that I could take a look but he didn't think this was something for me. I got to look at it and it was so unbelievable,
it could have been 30 meters width and 12 meters high. I asked if it was possible to rent some of the pieces. He said that
it was impossible since it was insured for more than 4 million Crowns and it was from France and from the end of the 18th
century. It was not real stones, it was material who had been painted very beautifully. But then I bribed him and asked if
it was a possibility that we could use it and perhaps build it up afterwards. He said that it was difficult due to alot of
organisations but he said that we could come there an evening when the audience were present and go in on the stage and take
the photographs. I call a bodybuilder and put on him a goathead mask, I call four girls that I know, very beautiful girls,
they undress. They enter the stage, he goes up in the mountains on the stage. The audience does not see anything since the
curtains are hiding us and we get 30 seconds to do this. This bodybuilder weights 120 kilo's and he must go up some steps
which designed for Carmen which weights about 60 kilo's, so the whole shit almost fell apart. While he was standing there
and shows his muscles, blood and the goathead, these girls is on the floor, so we takes as many pictures as we can and then
we must rush out from there the fastest we can. When the pictures were produced they were great, this was really going to
be on the cover. The problem was only that two days later two of the girls called me and said that they wanted me to cut them
off the picture. They were doing some modelling and this was the wrong connection. They had gotten paid, but I thought ok.
I cut them off the picture. It is definitely not a painting. We had to center the picture in the middle, take a piece in the
middle of it since it is four times bigger than you see on the cover. I have some of the dias at home and they are gigantic".
from Kill Yourself Mag #5 (Jan. 1997)
BATHORY - The Legend Never Dies
Now hereīs something fucking fantastic, an interview
with Quorthon of the almighty BATHORY.
I was quite sure it would never come back and made it very short although I had much
more to ask. But Quorthon surprised me with maybe the longest and greatest answers ever seen in the pages of KILL YOURSELF!!!
Magazine and with a good attitude.
Now when I look at todays underground and see these new Black metal fans who consider
EMPEROR and BURZUM as "good bands" , Iīm really pissed off, BATHORY was around in early 80īs and is around now and has made
albums that are absolutely master-pieces among this giant ocean of shit quality trend bands.
People & Zinemakers
who call themselves metallers but do not recognize a song of BATHORY should not be taken seriously.
So letīs hear it
GREETINGS, QUORTHON! HOW ARE YOU AND WHAT ARE THE LATEST HAPPENINGS IN BATHORY-CAMP ?
Hi Timo, well Iīm great. We have just finished the mastering of "Blood on Ice" and are starting to build up a schedule for
the promotion of the album (to be released end of April).
SO IT SHOULD BE OUT BY NOW.
LETīS TALK A BIT ABOUT
THE PAST. BATHORY HAS ALWAYS BEEN AN INFLUENCE TO ALMOST EVERY YOUNG BLACK METAL BAND. NO WONDER WHY, YOUR FIRST LP "BATHORY"
IS EVEN NOW A MASTERPIECE OF PURE FUCKING BLACK METAL AS FAR AS IīM CONSIDERED.
BUT AFTER ALL MUSIC YOUīVE MADE, WHAT
KIND OF MEMORIES IT AWAKENS TO HEAR THE WICKED SOUND OF YOUR NO. ONE?
Quorthon: Well, the first album cost us some
2000 SKR to record and it took us about 36 hours including the soundcheck and the mixing, so I guess there arenīt too much
on that album to really sit down and analyse - except for the raw energy itself and of course the fact that it has meant a
lot for Black and Death metal ever since (Even though itīs not a great album at all on itīs own).
If our first album,
the first albums of, say VENOM or SLAYER or any other of us "old" bands, would be released today - I am sure nobody would
care. But one has to put each album into itīs own "time perspective". Of course I am aware of the fact that BATHORY has been
a long time influence to so many bands within both Black and Death metal - just as MOTORHEAD was an influence to us when we
I should say that I havenīt listened to the first album throughout since maybe in ī85 or ī86. Iīve
listened to a few songs from the first album when in ī93 we worked on a couple of tracks from "Bathory" when we did "Jubileum
vol. 1" and "Jubileum vol. 2".
THE NEXT LP WAS "UNDER THE SIGN OF THE BLACK MARK". IīVE HEARD THAT YOU HATE IT AND
HAVENīT LISTENED TO IT SINCE IT WAS MADE. WHY IS THAT? ARENīT THE SONGS LIKE "ENTER THE ETERNAL FIRE" AND "CALL FROM THE GRAVE"
AFTER ALL SOME REALLY STRONG DARK MUSIC ?
Quorthon: Correct me if Iīm wrong but isnīt "The Return..." (from January
ī85) our second album !? (Fuck, I know that but when I made these questions, the computer fucked this one up! -Ed.) Never
mind, I think no band in history of recorded music has been able to write and record a completely great album. There are albums
with a handful of great stuff on them but thereīs always some stuff on every album that isnīt too good.
Not even THE
BEATLES, my all time favorite band, managed to record a whole great album even if they are the greatest band that has ever
been. When we did "The Return..." in January ī85 and "Under the Sign of the Black Mark" in ī86 (I donīt remember which month
we did that one) I think we were at a certain stage in our lives as people and as musicians just as we are on a different
stage and level today. You develop and expand all of the time and if you stay on the same spot all your life as a musician
you are gonna die.
Therefore I think itīs unfair to the material on old albums to sit down 10 or 11 years later and
criticize it from the standpoint youīre on at the time. I leave the criticizing bit to other people but I never bother about
reviews. One persons idea about an album can never reflect another persons view on the same material.
THEN WE JUMP
TO "BLOOD FIRE DEATH" , IīM NOT INTO FAST SONGS IN IT, BUT I NEVER GET TIRED LISTENING "FINE DAY TO DIE" OR "BLOOD FIRE DEATH".
YOUīVE MENTIONED A LOT OF CLASSICAL COMPOSERS IN YOUR PLAYLISTS INCLUDING JEAN SIBELIUS. WELL I CAN SOMEHOW HEAR A PIECE OF
"FINLANDIA" IN "ODENS RIDE OVER NORDLAND". IS IT JUST MY IMAGINATION ?
Quorthon: Actually I never thought about it.
If thereīs anything in "Odens Ride Over Nordland" that resembles of Sibelius "Finlandia" then maybe it is the basic melody
using A" and A minor, but one must understand that stuff like that is never done intentionally and not until you now told
me I started to think about it myself, so you see I never stole anything or tried to copy "Finlandia". I didnīt even have
it in mind at the time.
WHO MENTIONED STEALING HERE ? I JUST THINK THERE IS A CERTAIN MELODY IN IT THAT BRINGS "FINLANDIA"
IN MY MIND, AND I DIDNīT MEAN IT AS A NEGATIVE THING.
NOW, THE ALMIGHTY "HAMMERHEART". TO ME ITīS YOUR BEST PRODUCT
YET MADE. AND IN IT (PLUS IN THE NEXT, TOTG) YOU USED FIRST TIME ALL VIKING LYRICS. I BELIEVE YOU WERE THE FIRST ONE (SINCE
THERE WAS THAT VIKING THING IN EVEN SOME OF THE SONGS OF BFD), WHERE DID THE IDEA FOR THAT COME?
WAS THERE ANY OTHER
BAND USING SUCH LYRICS BACK THEN? OPINION ABOUT VIKING-METAL ARRIVING FROM SPAIN (IT HAS BEEN DONE) ?
I donīt know if "Hammerheart" is a "viking" -album. I would call it a Nordic album because we werenīt too specific about vikings
as such anywhere in the lyrics.
We really needed something else to write once I came to the conclusion that the whole
dark or occult act was a hoax created by the christian church. The prechristian Nordic scene seemed just a natural thing to
pick up for your lyrics for a couple of albums. And now tons of bands have mixed both satanism with the Nordic-cult to become
something extreme also saying that BATHORY worked as influence there as well.
"Viking" -stuff from Spain !? Are you
kidding me? That just canīt be, man...
WELL, IT MIGHT HAVE BEEN FROM ITALY TOO, BUT IS IT ANY BETTER ? NO ITīS FUCKING
THEN A BIT MORE ABOUT THE LYRICS. I READ SOMEWHERE THAT AT THE TIME OF YOUR FIRST LPīS YOU JUST WROTE DOWN
WHATEVER GOODSOUNDING THAT CAME INTO YOUR MIND. BUT WHEN I READ THE LYRICAL SIDE OF "HAMMERHEART" & "TWILIGHT OF THE GODS"
OR EVEN "BLOOD FIRE DEATH" , I START TO WONDER IF IT IS STILL THAT WAY?
HOW DO YOU HANDLE YOUR LYRICS NOWADAYS ? IS
THERE A HARD WORK IN EVERY TALE AS THE NEW LYRICS ARE CONSTRUCTED REALLY PROFESSIONALLY.
Quorthon: It may be true for
the first album that I wrote down whatever shit came to my mind at the time that sounded good enough to make it as a lyric
for a song. But when you grow as a musician and as a lyric-writer you start working a little bit more on the ly rics. By the
time we did "The Return..." I had already started to think about lyrics in a much different way. Today lyrics is an effort
that takes two or three times the amount of time compared to when writing a song. You can say a lot more with your lyrics
than with the music so I guess itīs only natural that it should take some more time doing lyrics. Not to say that the music
isnīt any important, just that music seems to come natural.
THIS IS THE LAST ONE ABOUT YOUR RECORDS... I STILL HAVENīT
HEARD "OCTAGON" YET, BUT ONE SONG CAME FROM THE LOCAL RADIO TITLED "BORN TO DIE". QUITE DIFFERENT, MORE ROCK I THINK ALTHOUGH
MY FRIEND CLAIMED IT TO BE AN OLD SONG. IS THIS THE BATHORY WE CAN WAIT TO HEAR FROM THE FUTURE LPīS AS WELL ? THE END OF
EVOLUTION ? AND A FEW WORDS ABOUT THE QUORTHON-LP?
Quorthon: "Born to Die" is not an "old song" as your friend stated
but it was written and recorded in January ī95. I am surprised that anyone could call it a rock-song. (I donīt dare to classify
it to Rock-category, itīs just to that way from "Twilight..." -Ed.)
Thereīs tons of 16th beat double-bass drums in
there and hysterical vocals as well. Nevermind, I think one problem with BATHORY is that people tend to bother too much about
style than actually sitting down enjoying the stuff. People compare stuff we did in ī85-ī86 with one particular song off a
record today etc etc...
We know nothing of what BATHORY may sound like in the future just as little as I knew back
in ī85-ī86 how BATHORY would sound today. One can not think of a band as a specific sound or beat style or image . People
change, sounds and styles change and lyrics will change just as images come and go. Only people and bands who can not invent
something of their own; their own sound or their own style will criticize others for wimping out, for not being true satanists,
for being too slow or for being commercial.
I have been in this business for 13 years now, I have done 13 albums. I
have done TV, Radio, and thousands of magazines and fanzines. I have fucked close to 400 girls in the ladies-room at clubs,
at the toilets at Boeing 747īs (A proud member of Club 10 000 meters !!! -Ed.) and in the back of limousines. I must have
signed a million autographs during these years. I can safely say I have received well over 100 000 letters over the years
and to a great extent answered most of them. In other words... I have been through stuff that most bands only dream of. I
am at a point today where I can just sit back and enjoy working with BATHORY as something that is really great fun and not
as something that means a lot of p ressure or image or stealing influences from others. I can safely say, though, that I take
it as an insult if you say that "Born to Die" means the end of evolution for BATHORY as a band or for me as a song writer.
I hope that was just a misunderstanding or a result of lack of knowledge of English from your side. (Now listen, that was
simply some dramatization from my side as I wondered was this latest product from you the kind of stuff you might want to
play in the future too. I never claimed that it will be it. And how could I have after every Lp BATHORY has ever made has
been different and I believe it will continue that way. So do not take that as an insult for it certainly isnīt so. -Ed.)
wanted a few words regarding the "Album" as well. It was great fun thing to do. It never was a BATHORY album, it truly was
a solo effort. I did everything on it myself: guitars, bass, drummachine and percussion plus of course vocals. The strange
thing was that even though we expected a lot of shit reviews for it we did receive some strange criticism but never really
any bad ones... and "Album" actually is one of the better selling albums at the Black Mark label... and other bands tour,
make videos and produce endless piles of line-up photos and bioīs... I have received tons of mail from people who ask me to
do a second one.
Up until now I have always said "No" , because the priority since the first solo-album has always
been BATHORY. Last year, in May, I was actually supposed to do a second solo-album but "Blood on Ice" took all the time and
was really number one priority. Now that "Blood on Ice" will be out at the end of April, maybe I will begin to do a second
I hope youīre gonna like that one better than the first one.
ARE YOU INTO UNDERGROUND ANYMORE? ARE YOU
INTERESTED IN NEW BANDS, MAGAZINES AND STUFF LIKE THAT? FAVE UG-BAND?
I THINK THAT AFTER A SHORT UNPRODUCTIVE SEASON
THE SCENE HAS PRODUCED SOME REALLY FINE NEW BANDS. CAN YOU EXPECT FOR ANY GOOD BANDS ANYMORE ? WHAT COUNTRY HAS THE MOST PROMISING
Quorthon: I am really the worst possible person to ask about the Underground or new bands or even what is happening
at all out there or in Sweden. I know absolutely nothing. I only know the ones that are in every magazine every fucking day,
but if youīd play on me one band I could not tell you who they are or what their style is all about.
I know no bands,
no new styles or images, this whole cross-over scene has really taken metal in so many different directions I have lost track.
I think itīs good though coz you can not go around sounding like everybody else too long. Just look at us, we created Black
metal 13 years ago when there was only N.W.O.B.H.M. and Death metal around. Then we picked up the Nordic sound and lyrics
and created a whole new scene. I know that metal will always be around forever. The only thing is we can not just sit where
we are and pretend we know what metal should sound like or not. The type of metal our kids will listen to in 25 years from
now will be different from stuff thatīs around today, just as metal today is different from stuff you and I grew up listening
I grew up with THE BEATLES, MOUNTAIN, LED ZEPPELIN, old KISS, MOTORHEAD, SEX PISTOLS and BLACK SABBATH.
Today we have a million different bands out there, the market is flooded with styles and sounds. Ultimately the ones who will
get the best out of this are the fans, they only need to pick up their favorites. The shit bands will disappear and the good
bands who have anything to say or who can prove themselves to be innovative will remain.
Look at the bands who were
around about 13 to 10 years ago. POSSESSED are gone, HELLHAMMER/CELTIC FROST are gone, DESTRUCTION are gone, VOIVOD are gone,
DEATH are gone, AT WAR are gone, SODOM are gone.. and the list could be miles longer.
The only ones left from the start
are really BATHORY, SLAYER and METALLICA, and I think maybe that is because these bands have always had their unique style
and have always given the fans what they want. I know that VENOM may re-unite, but since they havenīt sounded any good since
ī84 or something I see no reason why they should re-unite.
I DEFINITELY AGREE, ITīS JUST A SHAME THAT THE SHITTY BANDS
HANG AROUND SO LONG AND YOU HAVE TO HEAR AND SEE THEM...
BUT WHAT KIND OF PERSON ARE YOU BEHIND THE BATHORY ? DO YOU
HAVE ANY OTHER JOB OR DO YOU LIVE OF BATHORY ?
WHATīS YOUR RELATIONSHIP TO KING ALCOHOL, ISNīT IT RELAXING TO HAVE
A FEW BEERS SOMETIMES? HAVE YOU EVER BEEN INTO DRUGS?
Quorthon: When not working with BATHORY material, I guess Iīm
just a normal guy. I am into reading stuff, great books about great subjects, I listen to very little music on a whole, I
paint a lot and write a lot, itīs been about 10 years since I went out to any clubs (I find it degrading to lower yourself
to a level where you are drunk).
I canīt even stand the smell of beer (???! -Ed.) and prefer a bottle of fine old wine
or very clean and pure Vodka. I used to take any type of job (mostly untaxed work) but for three years now Iīve been able
to live from BATHORY totally. Itīs been taking many years for a lot of people in more than 30 countries to collect all the
figures and to have all the paper-work concerning royalties and copyrights done.
And to wrap up your question; No,
I think drugs are for people with low intelligence and no self-discipline.
YES, WELL YOU MUST HAVE HEARD THE BIG MAYHEM-STORY,
DEATH OF EURONYMOUS, NORWEGIAN BLACK METAL - BOOM, CHURCH BURNINGS, MURDERS... I THINK WE SHOULD REALLY HEAR YOUR OPINION
ABOUT ALL THAT.
MAYHEM BY THE WAY WAS A REALLY OLD BAND. SINCE YOU BOTH WERE PIONEERS IN THE WAY OF UG-METAL, DID YOU
HAVE ANY KIND OF CONTACT WITH EURONYMOUS IN THE PAST?
Quorthon: Even though I have never heard their stuff I think
itīs safe to say that itīs impossible to claim that MAYHEM pioneered any scene or style simply because they were not around
when we made our first bunch of albums.
Nevermind, I didn\rquote t know anything about all that stuff that had happened
in Norway until some English journalists jumped me with the issue when I was in London for a promo-tour for "Album" (whenever
I really donīt bother about any of that. If a metal fan in Japan sets fire to his school or the director
of a fanzine in Argentina eats his own shit or whatever... there is no fucking way you or I are going to bother about it simply
because these actions have not anything to do with metal as genre or us as individuals. Whatever has been done in Norway by
whomever is not important at all. I couldnīt care less. They can burn down every church in Norway and I still can not care
at all. I canīt defend it but I can understand what they are trying to do, itīs an act of defiance against the christian faith...
a church is the house of God... christianity is a fascist religion... Norway is a very conservative country and the church
has a lot to say.
Fuck christianity and fuck the church... wipe the whole shit out of Scandinavia I donīt care...but
donīt confuse it with metal and donīt mix the actions with the music...
ITīS IMPOSSIBLE NOT TO MIX THEIR ACTIONS WITH
MUSIC SINCE THEY HAVE REACHED THE KNOWLEDGE OF THE "BIGGER PRESS" AND IN THERE THEY ARE NOT AWARE OF THINGS THE WAY WE ARE,
SO WHEN A BLACK METALLER BURNS A CHURCH AND HAPPENDS TO HAVE SOME KIND OF BAND ITīS A STRAIGHT CONTACT BETWEEN METAL AND BURNINGS.
BUT SURE THING...
OK, LETīS MOVE ON...
YOU NEVER DO GIGS, AM I RIGHT ? WHY IS THAT ? IīM SURE THERE WOULD BE
A GREAT AMOUNT OF AUDIENCE IN BATHORY-GIG SO THAT WOULD BE QUITE LUCRATIVE.
Quorthon: Well we used to play concerts
in Stockholm back in ī84 and ī85. But there was no metal scene back then and no places for metal bands to play.
back then METALLICA played in Finland in front of 70 people. -Ed.)
If you wanted to play in the city at some big club
you could not look and sound the way we used to and consequently those concerts were some really small club shit.
we became big and touring seemed the most important thing to do we of course wanted to tour Sweden, Scandinavia and Europe.
But the band EUROPE was very big in Sweden in those days and everytime we had put out ads for a new drummer or a bass player
the guys who would come down the rehearsal place would smell of perfume, their hair style would look like that of a pudeland,
they werenīt too sure if they wanted to sweat on stage or wear leather and studs.
It was really hard times trying to
find people to a band like BATHORY. They may have been able to play pretty fast and brutal and consequently would end up on
the records, but they would never stay in the band long enough for BATHORY to have a solid line- up and therefore there were
never any tours and concerts after ī85. In ī86-ī87 sometime, we were supposed to tour with DESTRUCTION and CELTIC FROST in
the United States of America. But they could never agree on anything and I felt that our music by that time had developed
so much it would have been virtually impossible to reproduce on stage what we did on record. People in both Europe and the
U.S. have sent me letters and faxīs telling me that if we come to play here or there they would guarantee us to get one million
Personally I am not interested in concerts and feel that it would be wrong to go on stage after all these years.
I feel very comfortable with the studios and hence there will be no BATHORY tour in the future.
NOW THIS IS A QUESTION
THAT SHOULD MAYBE HAVE BEEN AT THE END OF THIS īVIEW BUT WHAT THE HELL...
IN SOME MAGAZINE (I THINK IT WAS A NORWEGIAN
ONE), YOU SAID SOMETHING OF YOUR LYRICS. YOU SAID THAT YOU STARTED WRITING EVIL STUFF BECAUSE YOU WERE TOO YOUNG TO WRITE
ABOUT FAST CARS AND WOMEN WHICH YOU HADNīT EXPIRED YET! IS THAT TRUE OR WERE YOU JOKING ?
Quorthon: Itīs not all too
wrong actually, I was very much into occult those days and at that age (I was 16-17 when I started BATHORY) you really donīt
have that kind of view on life as I may have today. Our stuff in those days were really more horror type of shit than any
serious attempt to be true satanists... we didnīt have a clue.
THATīS SOMETHING THE BANDS OF TODAY WOULD NOT ADMIT,
BUT NO MATTER HOW "TRUE" YOU WERE, YOU MADE AN INFLUENCE OF ALL TIME WITH YOUR FIRST LPīS.
THEN TO THE LAST QUESTION.
LONG WILL THE TALE CONTINUE IF ITīS UP TO YOU QUORTHON? ARE THERE MORE CHAPTERS TO COME OR HAVE WE REACHED THE BITTER END?
IF THERE IS SOMETHING TO ADD, DO IT. IīVE SAID EVERYTHING.
Quorthon: Itīs really up to the fans to decide whether BATHORY
should continue or not. We sell more records today than we have ever sold before. BATHORY is such a big name that everybody
it seems wants to hear a new BATHORY album when we have released so mething, and it seems not everybody care too much about
how it sounds, if itīs fast or heavy or satanic or nordic or whatever... it would be really stupid to stop right here just
I will certainly not be the one who decides when BATHORY should lay to rest... that will be decided by fate...
was Quorthon of BATHORY.
Thereīs something unique in every album of BATHORY and we have to remember that Quorthon and
his first albums (which got far too little respect at the time) showed the way for Northern Black Metal being ultimate raw,
dirty and evil! And Quorthon wasnīt even born and raised in Norway! Howīs that possible ? Ha ha...
Black metal turn
into "Heathen metal" or to some other "great term" and bands wimp out to sing about some stupid dwarfs, but BATHORYīs Unholy
Trinity "Bathory" , "The Return ..." & "Under the Sign of the Black Mark") shall stand as a monument of wrath forever.
Hail & kill !
Interview by Timo Sitomaniemi
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