Interview with Frost from "Deadnoise" magazine by Colin Conway

In the past few years, the band has taken a slightly different approach. I hear a bit of VoiVod influence on a few parts. What newer influences did you bring into the music?

On every new album, Satyricon has taken a slightly different approach. There are major differences between all of our albums, and this time with "Rebel Extravaganza", we have yet again, made an unpredictable and uncompromising album. I guess you can hear some VoiVod influences here and there, as well as references to Hellhammer, Black Sabbath, and Bathory, but our main influences are not musical ones. What influences the musicmaking of Satyricon is mainly the will to create, to make the kind of music that we, ourselves, want to hear. "Rebel Extravaganza" is a title that reflects the controversy, and at the same time, the extravaganza of the band which also fits our music very well. It's very non-conformative, but with style and splendour.

After hearing "Intermezzo II", I was beginning to think that the band was going in a completely different direction, like on the fourth track, "Blessed From Below". How did this song come about and do you intend on playing that style in the future?

This is a bit interesting really. I know a lot of people are thinking like you did: if we present one song on an album that clearly sticks out, then people seem to think that this one track is indicating the future direction on the band. The same thing happened with "Megiddo" after hearing the remix of "Dawn Of A New Age", seemingly everybody thought that Satyricon was going industrial, or even techno! We didn't even make that song. It was Apoptygma Berzerk doing it with basis in a Satyricon track. And so it says in the booklet, but still, people were ignoring all facts, thinking that we were turning non-metal. After "Intermezzo II", I know some magazines wrote that our next album would be an industrial album, or contain purely electronica. We have never said anything like that, but why as us? People always know what's best themselves. Anyway, concerning "Blessed From Below", I'm not completely sure what Satyr had in mind making that song. What matters is that it makes my flesh crawl, and therefore I like it very much. Still, "Blessed From Below" was an experiment, and even if both Satyr and I think it was a successful one, it is not certain whether we will do something like that again or not. If so, that would be on a MCD, not a full-length, since we are doing our experiments on mini-albums. Experimenting on mini-albums is quite common because of the dynamic format, when will people learn that?

In between the albums "Nemesis Divina" and "Rebel" you recruited Richard Cabeza from Dismember, who he had left to join Satyricon full time. Did he play any live shows and what exactly happened to him?

Richard Daemon did not get to play any live shows with us as intended since he just vanished all of a sudden. He was just going on a short trip back to Sweden after living in my apartment for a while, and he never came back.

On "Nemesis Divina", you had Nocturnal Culto of Darkthrone playing bass under another name. What happened with him?

Kveldulv was a full-time member of Satyricon for some time, but he didn't have the sky-high ambitions that Satyr and I had with the band. He didn't feel too comfortable playing live and rehearsing all of the time, so he moved to a little place far from Oslo. He was fed up with living in a city and it is very important for him to be out in the nature.

"Rebel" was initially supposed to be released by Moonfog, how exactly did the deal with Nuclear Blast come along?

"Rebel" has been released by Moonfog in Scandinavia, by Spinefarm in Finland, and by Nuclear Blast throughout most of the world outside of the Nordic countries. We were looking for better distribution for our album, and we wanted to cooperate with a company that could support more live activities, that is why we began cooperation with Nuclear Blast. They gave us the best offers.

You were involved with Zyklon-B (now Zyklon) some years ago as well. How did that come about and have you been involved with any other projects?

Zyklon-B was a project that Samoth started, and the intention was to create some really extreme Death Metal that actually was all about death, destruction, and murder. Samoth was playing in Satyricon back then, hence it was quite natural to ask me to do the drums. He also thought that I would like the concept, which I did. Apart from Zyklon-B, I was playing with Gorgoroth, but it is only Satyricon for me now.

Your drum technique on the new album has greatly improved and the blast beats are some of the fastest that I have yet to hear. Were/are triggers used and any help on your playing?

Triggers are used on a few of the fast double bass drumbeats to make them sound as smooth as possible. But, apart from that, there is no other triggering, it's acoustic drums. No kind of "cheating" is involved. Boy, am I tired of that question.

Lately, some Norwegian Black Metal bands have been changing by adding electronic elements to their music, such as Dødheimsgard, and others such as Ulver who now make music nothing but electronic. Even Satyricon has done a few songs like that. Do you see this as an upcoming trend?

Fewer and fewer of the bands having played Black Metal for some years, are still playing Black Metal. Probably because of the musical taste of people naturally changes over the years, or because they want to seek out new musical fields, and there are other reasons as well. So I see that former Black Metal bands drift away from their original music genre, mostly into more electronic based music or into other kinds of metal. But, there are also bands that continue to develop within the frames of Black Metal such as Darkthrone, ourselves, and Mayhem to name the most significant. . // . //
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