The Lodge @ Emperor Interview

EMPEROR
an interview with Ihsahn

Both the former and the new album covers are depicted in black and green-yellowed shades; our universe was born in chaos, chaos is progressively transformed in order, which ultimately ends up in equilibrium. What is exactly the IX-Equilibrium? Is it somehow related to the nine planets in our solar system and the cosmic dimension that's always accompanied Emperor? Is there a reference to the turning of the millennium, as 1999 has three 9's in it - and 3+3+3=9? Do you also think the forthcoming millennium will bring some changes (perhaps the breakage of the equilibrium in nature/ecosystems)? What would you like to see being changed in our society?
IX is used for different symbolic reasons - concerning the album - of greater and lesser importance; of course for simple reasons like, the album is released in 1999, was mastered on the 9th of January 1999, in 9 hours (coincidental), the album has 9 tracks, etc. Other aspects are revealed by different numbers in combination in the lyrics; it can be linked to many theories, I suppose. In general, the title reflects much of the contents on the album - both musically and lyrically - and the search for the highest balance. And even if 9 is the highest number in our numerical system, we mustn't forget that to every theory there's a paradox, so that's why we use the roman IX. As for my expectations/predictions for the forthcoming millennium, I have not given this enough thought as to say something interesting and cleaver about it in an interview. There are many things that I would like to see changed in society, but in general I would like to see society turning attention to the greater emotional and spiritual values of life, rather than the constant materialistic crave.

In your lyrics, you often express the wish to be at one with Nature. In what way does its power influence your life and worldview? And do you think you could sever your ties to modern society and isolate yourself by leading a life away from all the noise, pollution and double standards of this so-called civilised world? What’s the appeal that lies in the forest for you (perhaps the plenitude of self good-hood)?
I think the relation to - and impulses from - nature makes you realise the presence of something greater and how small man really is. I think many have looked up on the stars, experiencing the natural beauty of that which is not man-made and felt a bit less important to the world as a whole. I think it is important to see things in this perspective at times - even though one might easily forget, as it might teach us to be more grateful for what we have been given. Though it sounds appealing to jump off the modern-life wagon from time to time, I suppose most people (myself included) are too dependent upon the inventions of our time, as we have not learned to cope without them.

Do you believe in a "divine creation" (i.e. that all beings were created by an entity), or do you find the scientific theories that state that life arose as a gradual and slow organization of matter, leading to the first proto-cells with subsequent evolution, to be of a more rational nature? In case you believe in the existence of one such entity, do you think civilization will ever be able to have some kind of contact with it?
That which science can not prove is considered to be paranormal, superstition, divine, etc. Before science gave man the opportunity to fly, this was considered to be witchcraft. Science can answer more and more of the difficult questions, but there are still a lot of questions; and that which created what lies behind the Xs and Ys in the formulas? Science can, to some extent, explain how our senses work, but it can not tell me why and how I feel the sounds, colours, smells, etc. And even if it could, I would still be amazed by these wonders.

You frequently project an image of a sorcerer with your coiled robe and the objects and symbols with which you portray yourself. Why do you choose this imagery? Are you involved within the supernatural sphere?
I believe that my impression of a sorcerer is from 1993 and I have had quite some different visual approaches since then. My interest for Magic has been quite variable over the years and mostly concerned with reading books on the subject. I think my attitude today has much more to do with my spiritual self and less with imagery and effects.

Who is this figure of the Emperor and his empire beyond that turn up in your earlier lyrics every so often and what does he symbolise? Who was the one who came up with the moniker for the band?
I think it was Mortiis who suggested the name Emperor and since then we have used the terms of Emperor and Empire in all symbolic ways that we found suitable for our purpose.

What I really like about Emperor are the almost palpable atmospheres the band can uniquely create, something that one can feel in the air as if they were real. Where do you happen to drawn inspiration to write these symphonic passages? Is it deliberately your aim to carry the listener to mystical or transcendental places with your music?
It is very hard to point out any concrete inspirational sources, as we write music from a mixture of all the influences we get - be that from great experiences of some kind, or simple small things. Playing one or two notes on the guitar can sometimes be very inspiring and open up for a flow of riffs, other times it can make you put your guitar away for a couple of days.

Speaking about the new album again, what can you tell me more about its musical progression? Do you think you have achieved your greatest accomplishment in terms of production, music and lyrics? And how was it to record at Akkerhaugen Lydstudio this time (perhaps a massive leap from Grieghallen)? Tell me about your favourite song on the new album and why?
I think the new album is a bit beyond the terms of Black Metal. We have used a more all-over Metal influence, ranging from strict Heavy to Trash/Death Metal. After finishing an album, there are always things one could have wished to do differently, but I feel we have achieved more of what we wanted - production-wise - with the new studio situation and the pre-work we did for this album. Also, I think we have developed as musicians and both music and lyrics are more mature and of greater variety this time. My personal favourite on the album is An Elegy of Icaros, as I am very satisfied with the song structure and also the dynamic range.

You have lost Alver last year due to practical reasons: has a replacement been found already to fill his boots, or will you just handle the bass in the studio from now on and contract a session bass player for live duties (as with Charmand Grimloch)?
Yes, we have hired a guy called Tyr as a session live bass player. He has no prior involvement in Black Metal, but he's nonetheless a very skilled bassist due to his background in more Progressive Metal.

What is your concept/vision of Black Metal as a whole? Did you ever envision writing music that lacked this otherworldly grip of Black Metal?
Over these last few years I have started to see Black Metal more and more as just another label on music and I care more for how things sounds and what emotional appeal they have, rather than what they're called. The way I see it, most musical genres have some good musical elements and I really hope that I can explore them all in my future musical work.

What does suicide (as a concept) mean to you?
When it comes to an issue like suicide, it is very individual and can not be generalised. And, if someone is in the situation that they consider suicide, I think they can do it without a quick general remark of my subjective opinion.

What can you tell me about Thou Shalt Suffer’s current status? Will the much-anticipated debut be finally released? And how much has the music evolved from its early days as a newborn classical project (will the Trance Journey DS. 666 track be available on this record)?
I have picked up the work again and now I try to score it properly for an orchestra - even though it will be recorded with samplers and synthesizers; it will, hopefully, at least be theoretically possible for a real orchestra to play it. The material has changed very much and the greatest part of it is all new - even the title has changed. I hope to finish the album this year, but I feel like I am repeating myself by saying that.

- You were also to release a Thou Shalt Suffer 7" on Nocturnal Art Productions; since it never became available, are you planning to include it on the album? Speaking of your own studio (Symphonique), what was it that drove you to build it and have you considered working with other artists as a producer/engineer?
There will be no re-releases or "old" material on the T.S.S. album. As for my studio, this is something I have gradually built over the years. I have done a demo for another band there, but I think it will be used only for things I am involved with myself. It is a very useful tool for song-writing and trying out ideas, as you kind of get the studio result straight away.

In the past you were involved in projects like Ildjarn, Wongraven, Zyklon-B and now Peccatum. What do you hold from those collaborations and which was the most gratifying (musically and personally)?
It has of course been interesting to work with other musicians, but I must admit that I do not enjoy having passive part in a band. So, among the above mentioned, it is really Peccatum that has been a real challenge. Peccatum is as important to me as Emperor and also very new and inspiring. Strangling from Within is just the beginning for Peccatum.

To wrap this up, tell me about your projects in the short, medium-run - not only for Emperor, but also for Peccatum and Thou Shalt Suffer.
First of all, we have to work out the upcoming tours for both Peccatum and Emperor and in-between I try to work on the Thou Shalt Suffer album (plus some other ideas). I hope you will enjoy the new album and that you come to see us on tour.

www.emperorhorde.com

© The Lodge, 1999

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