Hail brothers! Where do the roots of 1349 come from? Why “1349”?
It was Ravn’s idea back in the day to name the band after the year the bubonic
plague hit Norway and took the lives of 2/3rds of it’s population. It was chosen
because it’s suitable link to our music’s raw, brutal nature.
First of all, we know the perfect works you’ve done so far. So what do
we expect in the future about 1349?
Aural Hellfire as we like to put it. That is what we do and what we aim at
continue doing, in our way. New impulses are interesting though, as we strive to
be at the top of our game. We always try to be creative and to bring new
dimensions to what already is done, however: It will be some very fierce, brutal
elements on the next album too, that’s for sure.
What’s the story of your last EP: “Dodskamp” and its cover? And what was
the contact with the government about this?
We were asked by the a Norwegian organisation called Innovation Norway if we’d
be interested in a co-operation with them + Munch museum. The angle was to be
one out of 4 artists, representing a musical genre in combination with (Norwegian
painter) Edvard Munch’s works. I chose to work with the painting «Dødskamp» (which
translates to «Death struggle») and wrote sort of a soundtrack to this macabre,
brilliant piece of art.
What is your approach to criticism and reactions?
They can be necessary and might contribute to something new or improvement. It
comes down to the receiver a lot, in the event that one is open to criticism
given. I feel it’s generally important to be a good listener, even though some
are just in it for the hell of trolling in the century we live in. There’ll
always by polarized opinions on what we do- we are aware of that. Personally, I
tend to try to be objective to feedback. On the other hand: It might also depend
a lot on the source and motives behind critics given. In the end, it is of most
importance that we are satisfied and contempt with what we do.
Norway is the “Castle of Black Metal”! What do you think about Norwegian
Black Metal and its future?
I haven’t really followed the scene well enough lately to give an accurate
status-report on that. There are some interesting things here and there, so what
I can say is that the genre as such seems to be very much vital, very alive
still. The historic portfolio speaks volumes for itself, but if new bands can
contribute to developing & pushing it forward, I think that’s awesome. Every now
& then something interesting emerges, so the future seems positive in that
Are there any groups and names you like in the Norwegian school?
Many of the old ones, obviously. As mentioned, I don’t really follow the scene
on a day-to-day basis, but for instance you have bands suchs as Dødheimsgard
(DHG) that are pushing boundaries. I must also add that I really liked
Immortal’s last album, thought that had a great sting to it that the musical/metal
world is in the need of nowadays.
How important is “Lucifer” to your music?
I like to think of the question at hand as sort of a source, a source that we
extract tonal shadows from to incorporate in our art. A dark endless sea of
darkness and eerie vibrations in which the mind can wallow in, an endless
abstract silent black void. Only here can the other side, another dimension be
reached and entangle ones spirts with musical artifacts… Which in turn gives way
to our art.
Thank you very much for your answers. Finally, what would you like to
say to your Turkish fans and Extreminal family?
There will be masses, congregations soon… rituals if you will. See you there.