© Exposing Shadows Photography 2018
The new album has seen a shift in sound that takes the band further into uncharted territory and a major departure from their original ‘extreme’ sound from the early 90’s.As we discuss the new album and current tour, Grutle opens up about the organic recording process surrounding ‘E‘ and the turning point which could have potentially ended Enslaved for good.
OD – Congratulations on new album ‘E’ which came out in October. This is truly an epic album that is loaded with diversity within each track. Can you talk a little about the writing process as I know you have said in the past that you don’t try to verbalise it too much?
GRUTLE – It’s kind of similar to the way we have approached our previous albums in the way of Ivar (Bjørnson) will come up with some riffs and ideas which he will then send to us via MP3 files. We used to do it using old-fashioned tapes (laughing) but that’s just not practical anymore. We’ll go over all the music and then each of us will start to work on our individual parts and just build on the song concept and vocal arrangements which usually takes a couple of months. I’ll do quite a few vocal demos and test out some ideas and in that process, all of us will contribute with some soundscape/synth ideas with guitar lead ideas etc.
It’s a very slow and very detailed process which is a lot of fun. By the time we get to the studio, I would say about 70% of the material is near enough ready and the rest is improvised in the studio.
OD – When considering a track like ‘Storm Son’ or ‘Sacred Horse’ for example, there is so much happening with regards to sonic atmosphere, however, there is a sense of space for everything to translate, was this a complicated process when recording?
GRUTLE – It all comes down to having a skilled engineer and with our music, it’s not exactly easy to play, so things can get a little complicated from time to time. We are lucky to have such a great producer (Jens Bogren) who helped to let the music breath. There’s no point in laying down a wall of seven guitars (laughing) and having a cluster-fuck of noise. It just becomes messy. For me, it’s about taking advantage of the natural dynamics and finding a certain balance within the music.
OD – I noticed a real tip of the hat to Skuggsjá during parts of the album, especially with ‘Sacred Horse’, I know that Ivar mentioned before that both Wardruna and Skuggsjá had an influence on the epic sound on the album, but can you see yourself delving more into this sound going forward?
GRUTLE – Yes, indeed. All of the side projects that we have collectively participated in have given us an education of sorts. We have really learned from everything we have created in the past and applied it to what we are currently doing.
I really think that it’s refreshing to have different projects as it keeps things fresh and sometimes takes me outside my usual comfort zone and that is a good thing. I try to develop and learn something new and bring that experience back to Enslaved which ultimately helps create new and exciting music.
Going forward, I would like to think that we would continue with the epic soundscapes we have on ‘E‘ but in reality, we never plan on the sound of any of our albums. We approach each recording with a pure organic mindset and just let the music itself take control. I find that if you enter the studio with a set plan, you are stuck in a particular frame and are ultimately stunting the growth of the creativity, which is something that we all try to avoid.
© Down the Barrel Photography 2018
OD – Most people these days digest their music via streaming sites, with regards to the effort and consideration that is put into the selection of the track-listing on “E”, so you find that the emotion and theatrics are lost with people being able to just randomly select or shuffle tracks?
GRUTLE – Streaming, youngsters and the word ‘shuffle’ just bothers me (laughing). I always listen to an album in the way that it was intended by the artist. With regards to the new album ‘Storm Son‘ is a strong opening track and sets the tone for the rest of the album. I don’t think the kids of today realise the importance of the track listing and the careful consideration that goes into sculpting the personality of an album. The tracks are put in a particular order for a reason and should be respected.
OD – It’s been over 26 years now since Enslaved emerged from the rather controversial Norwegian metal scene when you look back at the journey the band has taken to present, there has been a tremendous musical journey over the 26 years and the 14 studio albums. Do you find that the true essence of the band’s sound has evolved to its ultimate potential at present or do you feel that you have ideas to push the boundaries even further as you progress forward?
GRUTLE – When I started the band, I really never thought any further than a week ahead (laughing), the goal has always been natural evolution and a kind of refining process. We always sort of just went with the flow with regards to creating music. Looking back, I don’t really think we had any such plans to be who we are today.
OD – With regards to a shift in sound, when would you say the turning point was?
GRUTLE – I guess it was ‘Below The Lights‘ (2003), that was when we decided to just quit and shut down Enslaved for good, or just go all the way. That was really the only conscious decision we had as a band. That was a new starting point for us, as we had a new line up and decided to just fuck everything else and to just follow our passion of creating music that pleased and excited us. In hindsight, that was a huge milestone for Enslaved and one that has taken us to where we are today.
OD – The title of the album is linked to historical runes associated with Norse culture and mythological history being the 14’th ruin which is apt for the 14th album. Was this title decided upon prior to writing/recording or did it transpire during the process?
GRUTLE – I think we had one song ready before we began to consider the concept of the album and I was sitting in my cabin having a couple of drinks and Ivar was over at his place, also having a couple of drinks (laughing) and we started texting and literally came up with the concept for the album. It was all done using text messages (laughing) which is impressive as we were both pretty hammered at the time.I then came up to Bergen and had a few meetings, then we started to put things together with the artwork and the music.
OD – With regards to the artwork, do you provide a clear idea as to how you want the overall visual feel of the album or do you just give creative freedom to the artist?
GRUTLE – We kind of do a little of both. We send over some demos to the artist (Truls Espedal) and he then will get a feel for the music and start coming up with ideas. It’s kind of the soundtrack to the process. We want the music to be intertwined with the art, so they compliment each other.
OD – Does Truls create the artwork in the traditional way by actually painting or does he use a graphic design programme?
GRUTLE – Truls works in the old-school traditional way using oils on canvas.
OD – Who owns the original?
GRUTLE – Ivar has the original of ‘E‘ and I have the originals of ‘In Times‘ and ‘Isa‘ hanging on my walls. I really love the idea of the artwork being a tangible, physical thing rather than just some digital files. I’m hoping for a lot more album covers to be hanging on my walls in the future.
OD – There is a real sense that Enslaved are transforming into something different much like Opeth, who began to embrace a more prog element in their music. Have you had any kind of backlash from fans about the shift in sound since releasing “E”?
GRUTLE – There are enough bands that are playing the same shit over and over again with each album release and honestly don’t understand that! If the fans don’t enjoy the music then don’t fucking listen to it! I love Celtic Frost but I don’t torture myself by putting on ‘Cold Lake‘ or ‘Vanity Nemesis‘ and then going on the internet and bitching about it. Why the fuck would anyone bother doing that! It’s just a self-absorbed waste of time and is totally fucking retarded. If you don’t like it, don’t fucking listen to it.
© Exposing Shadows Photography 2018
I never put the radio on because I know it fucking sucks, I don’t force myself to listen to fucking Oasis when I can listen to Kreator (laughing). Why put yourself through that bullshit. Just move on, get over it! Fucking idiots! There’s no reason to be a fucking dick!
OD – There was a time when the press was very much focused on the metal scene in Norway for all the wrong reasons, did you find that things were taken out of context and are you happy with the progression of ‘black’ metal or whatever it is referred to today?
GRUTLE – I like the way metal has progressed to the point where we can actually talk about it. Twenty years ago this was not happening. Around 2001 the newspapers in Norway finally started to take an interest in the music itself rather than the bullshit controversial arson and murder stuff that had happened. (sighs)
OD – Just added to what you were saying about the media’s view on the Norwegian metal scene, the ‘Lords of Chaos‘ movie is due to be released sometime soon. What are your thoughts on that?
GRUTLE – I haven’t seen any of the trailers and I certainly won’t watch it when it comes out because I know it’s gonna fucking suck! For the same reason, I won’t watch ‘Vikings’ (laughing) that show has to be the stupidest fucking show of all time (laughing). They might as well call it ‘Conan and his Friends’. I watched one episode and before I watch another one I would rather go backwards on stilts in the Gobi desert, drinking Coors lite (laughing).
OD – When this tour is completed, what will be happening for Enslaved for the remainder of the year and can we see you at any of the festival’s coming up next year?
GRUTLE – We will be doing some Summer festivals for sure and will be heading over to America and Canada with some dates in Japan also. It’s a lot of travelling but a great way to see the world. Hey, I’m not complaining, I’de rather be doing this than anything else.
Enslaved ‘E‘ is out now via Nuclear Blast. You can order your copy here. For more information please visit this location.
Oran O’Beirne
© overdrive.ie 2017/2018.
