New album Foregone out February 2023
- Thread starter TheJestersDoor
- Start date
Hmm, I really like most of the tracks on Colony tbh.
ETI - awesome, top tier album opener
Ordinary Story - classic
Scorn - superb
Colony - classic
Zombie Inc - god tier
Pallars Anders Visa - just an interlude, but nice
Coerced Coexistence - powerful, interesting rhythm
Resin - average, not sure why they played this live so much
Behind Space '99 - much better than the original, but it is weird it isn't a bonus, seeing as CiS '99 is
Insipid 2000 - cool track, good use of Anders' sparse clean vocals
The New Word - average
Man Made God - awesome instrumental
Clad in Shadows '99 - sounds incredible, leagues ahead of the LS version
So yeah. only really two songs I'd consider average or fillers overall. The album as a whole doesn't pack the melodic punch of Clayman, but as a bridge between Whoracle and Clayman it's spot on and there's no tracks on the album I dislike, only two that I find to be lesser than the rest. Although Resin and TNW would be the best songs of any album they released in the last decade.
ETI - awesome, top tier album opener
Ordinary Story - classic
Scorn - superb
Colony - classic
Zombie Inc - god tier
Pallars Anders Visa - just an interlude, but nice
Coerced Coexistence - powerful, interesting rhythm
Resin - average, not sure why they played this live so much
Behind Space '99 - much better than the original, but it is weird it isn't a bonus, seeing as CiS '99 is
Insipid 2000 - cool track, good use of Anders' sparse clean vocals
The New Word - average
Man Made God - awesome instrumental
Clad in Shadows '99 - sounds incredible, leagues ahead of the LS version
So yeah. only really two songs I'd consider average or fillers overall. The album as a whole doesn't pack the melodic punch of Clayman, but as a bridge between Whoracle and Clayman it's spot on and there's no tracks on the album I dislike, only two that I find to be lesser than the rest. Although Resin and TNW would be the best songs of any album they released in the last decade.
ThePhobiac
be at ease
Yeah, I always thought Colony was a successful middle ground between the aggression* of Whoracle and the "fuck jyeah" energy of Clayman, though I'd argue it's better than both because of that. Getting a proper drummer in Daniel and moving Bjorn to guitar so he could do his EVH wankery gave the band a huge surge in energy (and those Bjorn leads are a big part of what makes Colony Colony). The songs are pretty homogenous, but I'd say far more consistent than Clayman's somewhat hit-or-miss diversity.
*Not to say Lunar Strain and TJR weren't aggressive when they needed to be, but Whoracle just felt consistently heavier overall. TJR is pretty laid-back in places.
*Not to say Lunar Strain and TJR weren't aggressive when they needed to be, but Whoracle just felt consistently heavier overall. TJR is pretty laid-back in places.
TJR definitely mixes the folkyness and aggression more than Whoracle does. Whoracle is clearly moving towards a more straightforward heavy metal direction, whereas TJR remains rooted in the folky/death metal beginnings of the band. That's not to say there aren't folky elements in Whoracle - Gyroscope and JST carry that sound over, but then you have stuff like FFTG and Episode 666 which don't sound like they could have come from TJR. Two incredible albums, but there's definitely a progression on Whoracle which logically moves forward on Colony which ditches the folky stuff almost entirely, and then Clayman which cranks the melody dial up to maximum. At this point I wouldn't argue anyone saying the band was evolving, as there was obvious incremental changes to their sound over this period, punctuated by the change in band members in Colony.
I'd agree that Colony has a more consistent overall sound compared to Clayman, but personally I prefer the more varied approach on Clayman and I love pretty much every track on that album - I also prefer the production on Clayman, which for me is the apex of the band's sound in respect to mixing and mastering. I wouldn't argue with anyone saying they prefer Colony, though - two stellar albums worthy of anyone's time, as are TJR and Whoracle.
I'd agree that Colony has a more consistent overall sound compared to Clayman, but personally I prefer the more varied approach on Clayman and I love pretty much every track on that album - I also prefer the production on Clayman, which for me is the apex of the band's sound in respect to mixing and mastering. I wouldn't argue with anyone saying they prefer Colony, though - two stellar albums worthy of anyone's time, as are TJR and Whoracle.
The Grayfox
Nija
What's interesting to me about Colony drum-wise is that Daniel very closely mimics what Bjorn had done on the previous two records. On Clayman, it's very clear that they told him to be himself. There is a dramatic change in style of drumming from Clayman on. In fact, if somebody told me that Bjorn played drums on Colony and just gave Daniel credit, I wouldn't find that hard to believe, because that is exactly what it sounds like.
I wouldn't say I hate any of the songs on Colony or anything like that, but there definitely feels like a lot of filler. It's just that the songs that are good are REALLY fucking good. So good that they almost mask the filler like it's not even there. I consider Colony a great album, but I'm only ever thinking of those strong songs when I say that, almost forgetting that songs like Resin and The New Word are on it. If Colony had to be shortened to a 5 song EP, I could do that. It would be hard to leave off 1 or 2 songs that I do really like, but I could do it.
I wouldn't say I hate any of the songs on Colony or anything like that, but there definitely feels like a lot of filler. It's just that the songs that are good are REALLY fucking good. So good that they almost mask the filler like it's not even there. I consider Colony a great album, but I'm only ever thinking of those strong songs when I say that, almost forgetting that songs like Resin and The New Word are on it. If Colony had to be shortened to a 5 song EP, I could do that. It would be hard to leave off 1 or 2 songs that I do really like, but I could do it.
what's that madlad playing at.
The Grayfox
Nija
It looks like he's just going down the line in all the posts and liking them. Even negative comments 
I don't know. I've had a few interactions with him on Instagram and he even threw me a follow, so I think he's just pretty active on social media.
I don't know. I've had a few interactions with him on Instagram and he even threw me a follow, so I think he's just pretty active on social media.
Fresh interview with Fredrik Nordstrom covering most of his career, about an hour long. It's in swedish but the english subtitles are excellent. In case some of you are interested:
Cool interview indeed. Highlights as I was watching:
- Nordstrom started off with HammerFall and Ceremonial Oath (which he basically calls In Flames). Says they brought in some reference records but Nordstrom told them to get rid of them as they were better than the reference records anyway.
- He didn't understand what these bands were doing at first, as everything was so unstructured.
- Becoming recognised internationally came after he produced ATG's 'Slaughter of the Soul'. He says that the people in these bands (IF, DT, ATG, etc) were all friends and says they were from an affluent area of southern Gothenberg.
- At the time (around 1994/1995) Nordstrom was going through a divorce and basically hyper-focused on work. He says people from abroad started to get in touch, and he didn't understand anything, unaware of why bands would be so interested in him as a producer based on Terminal Spirit Disease and SotS.
- Says ATG preferred his more laid back style, where they'd chill out "hippie style" in the studio and smoke, drink, etc. Says the studio they used for The red Sky is Ours was more strict - they had to pay for the coffee and weren't allowed to smoke.
- Nordstrom notes that he smoked back then, but stopped after he had children as he didn't think it was good for them to have cigarette smoke in the apartment. They originally started smoking in other areas but then decided it wasn't worth the hassle and stopped completely. He starting snusing and still does that.
-After SotS he had a lot more work from all over the world, but got kicked out of the original studio they were working in. He says that was actually his second studio - the first studio was a studio he used to record pop music, and that was the studio the first part of Lunar Strain was recorded in. The rest was recorded in this second studio.
- He then bought a much bigger studio in the city centre. This studio was bought in collaboration with In Flames - although Nordstrom specifies this was only Anders at the beginning. He later moved more out to a smaller studio the countryside, because the whole market turned around and nobody was recording in studios anymore, everyone was recording from home instead, so it seemed unnecessary to have a huge studio. In Flames bought the entirety of the studio he shared with them, which became "Studio IF", and he moved to the countryside in a smaller studio. Mentions Dimmu Borgir, Arch Enemy and Opeth recording at the big studio before he moved. Says that these kinds of bands came to them simply because they liked what they heard from his productions of other bands.
- His new studio was an old bank he converted into a space which was maining for mixing rather than recording. There was a small soundproof bank vault which became a recording area. He says that then things turned around again and suddenly everyone wanted to record at the studio again. He isn't sure why. He mentions recording a record for Nicolas Cage's son, which he rented a studio for (I assume this was Eyes of Noctum). He ended up selling the countryside studio and moving back to the city centre, which he preferred.
- He says recording with Cage's son was an "experience" with bodyguards and mercedes everywhere. Originally he was going to have a trainee produce the record as he assumed they were just a basement band, but it ended up being more than this, so he ended up taking on the project. He says Cage's son was a nice guy, but Nicolas never came to the studio - Fredrik only spoke with him on the phone.
- He doesn't like how songs sound on Spotify, and says that it doesn't capture how the music should sound. He prefers Tidal or actual CDs for sound quality. He also notes that Spotify's influence as a platform reduced recording budgets for bands, so often they would do something like drums in studio, then everything else from home. He's then hired to mix the record based on those recordings. He cites that this leads to a lack of control, without a clear vision from the producer throughout the recording process. He says it can be tricky to fix things when the recording quality isn't very good, but as long as the band is happy at the end then so is he.
- Calls Mikael Åkerfeldt a good guitarist and a singer, smart guy with an interesting taste in music.
- Talks a bit about recording with an orchestra for Dimmu Borgir in Prague for Death Cult Armageddeon, Fredrik says it was an awesome experience. Notes he had to explain things as certain points because the sound engineer didn't always understand. There was some disagreement between Nordstrom and Dimmu on where the orchestra should be placed for a 'metal' production, but Nordstrom's idea was ultimately approved with the backing of the most experienced member of the orchestra. Says it only took one and a half days to record the orchestra parts. He got goosebumps from the opening to Progenies of the Great Apocalypse, and he knew the record was going to be great from the beginning.
- They talk about Bring Me the Horizon, but who cares about that. Does note that they liked and wanted to emulate the Gothenberg sound early on in their career. He talks about Architects and says he was going to 'give it up' if the record they recorded with him wasn't successful, due to how good it was.
- He mentions working on HammertFall's next album, and he'll be producing Obscura's next album in the summer.
- He says that he's more confident these days with the amount of experience he has, whereas in the earlier days he was never satisfied and worried about whether the record was good or not. He does still get anxious, but not to the extent he did back then. He notes that it was his commitment to his work that caused the divorce from his first wife. He says that in the early days when he had his first studio, he worked so much that he ended up in hospital with heart palpatitions. He says back then he was working 17-18 hours a day, 7 days a week, so that he could raise enough money to build the second studio. This went on for a few years before he ended up in hospital and at that point had to calm down a bit. He also says he developed a panic disorder, and says things like this and general anxiety are very common in creative musicians. He says he knows whole bands who have panic disorders. He thinks it comes from never being satisfied with what you do, and focusing on super small details.
- Fredrik says that now he's older he takes more breaks, but even on vacation he'll work an hour a day on mixing.
- He talks a bit about Gus G. He met Gus in Greece and then Gus came over to Sweden, but they couldn't find him a band and even struggling advertising guitar lessons for him to earn some money. He says they decided to just start a band together instead (Dream Evil). After the second DE album Gus got a sponsorship with ESP, and now in the same store where nobody was interested in Gus' guitar lessons, his signature guitar was displayed. He says Gus got his own band and a gig with Ozzy, then moved back to Greece, and it was awkward at this point to record with him, which is why Gus left Dream Evil.
- They talk a bit about the equipment used, which I don't care about, but if you are interested it's about 30 minutes in.
- They talk a bit about Dream Evil. He says that he was told getting a big advance from the record company is the most important thing, as it means they will then work on advertising your band to get their money back. That's how they got going with Dream Evil on Century Media, as he says in adverts they would be immediately placed alongside bands like Arch Enemy, which aided in perception. he compares a record deal nowadays to a "very bad bank loan" and says that bands should look to make money outside of record labels if at all possible. He says a band is a business and needs to be run accordingly. He notes that recording the album is far less expensive than touring, merch, etc.
- He says DE's second album (Evilized) was recorded from start to finish in just 23 days, and says he was a "rotten apple" during the process, which I assume means he wasn't in a great mood. He says he mixes quite fast these days, but that comes from experience and practice.
- Touring with HammerFall after Evilized was released was a good experience, but the smell on the bus was horrible. He says the sound guy had monstrous foot sweat. He says there will be more Dream Evil tours, and they are have finished recording and mixing a new album which will be released on Century Media within the next 6-12 months (from whenever this interview was recorded). He says he doesn't make music for money, but for fun, and that a tour is likely after the new album is released.
- He's asked his opinion on the tightest drummer he recorded with, mentions Anders Johansoon and David Wallen. Also Nils Fjellström.
- He says that in the beginning metal was underground, and he once sat down with In Flames and they wondered when songs with growls will be played on the radio. He said it'd be 20 years, and suggests that was about right as 20 years later they were playing In Flames on Swedish national radio. He says that as soon as a band signs a deal with a record company they are commercial, as at that point it becomes a business.
- Interestingly, he says the entire Clayman album was purposefully rearranged with a "pop" concept, different from their previous albums. The songs were designed with less "Opeth parts" and instead intro, verse, chorus and so on, ideally around three minutes long. He says it went well, but not all music should be like that.
- He thinks music in general is more commercial today, but that an anti-commercial subculture that wants something different will always be there. He says that whilst on a technical level it's far easier to record and mix today, the fundementals of what a band needs to be successful is essentially the same.
Overall a really cool interview, although it doesn't go too in-depth on anything specifically. There isn't a great deal of IF specific stuff in there, but some interesting information:
- Parts of LS being recorded at two different studios.
- People from the Gothenberg scene coming from an 'affluent' area. Explains how Anders in particular was able to own a studio at such a young age with In Flames yet to make any real money.
- Clayman being purposefully recorded as a 'pop' style record compared to previous albums.
- Nordstrom started off with HammerFall and Ceremonial Oath (which he basically calls In Flames). Says they brought in some reference records but Nordstrom told them to get rid of them as they were better than the reference records anyway.
- He didn't understand what these bands were doing at first, as everything was so unstructured.
- Becoming recognised internationally came after he produced ATG's 'Slaughter of the Soul'. He says that the people in these bands (IF, DT, ATG, etc) were all friends and says they were from an affluent area of southern Gothenberg.
- At the time (around 1994/1995) Nordstrom was going through a divorce and basically hyper-focused on work. He says people from abroad started to get in touch, and he didn't understand anything, unaware of why bands would be so interested in him as a producer based on Terminal Spirit Disease and SotS.
- Says ATG preferred his more laid back style, where they'd chill out "hippie style" in the studio and smoke, drink, etc. Says the studio they used for The red Sky is Ours was more strict - they had to pay for the coffee and weren't allowed to smoke.
- Nordstrom notes that he smoked back then, but stopped after he had children as he didn't think it was good for them to have cigarette smoke in the apartment. They originally started smoking in other areas but then decided it wasn't worth the hassle and stopped completely. He starting snusing and still does that.
-After SotS he had a lot more work from all over the world, but got kicked out of the original studio they were working in. He says that was actually his second studio - the first studio was a studio he used to record pop music, and that was the studio the first part of Lunar Strain was recorded in. The rest was recorded in this second studio.
- He then bought a much bigger studio in the city centre. This studio was bought in collaboration with In Flames - although Nordstrom specifies this was only Anders at the beginning. He later moved more out to a smaller studio the countryside, because the whole market turned around and nobody was recording in studios anymore, everyone was recording from home instead, so it seemed unnecessary to have a huge studio. In Flames bought the entirety of the studio he shared with them, which became "Studio IF", and he moved to the countryside in a smaller studio. Mentions Dimmu Borgir, Arch Enemy and Opeth recording at the big studio before he moved. Says that these kinds of bands came to them simply because they liked what they heard from his productions of other bands.
- His new studio was an old bank he converted into a space which was maining for mixing rather than recording. There was a small soundproof bank vault which became a recording area. He says that then things turned around again and suddenly everyone wanted to record at the studio again. He isn't sure why. He mentions recording a record for Nicolas Cage's son, which he rented a studio for (I assume this was Eyes of Noctum). He ended up selling the countryside studio and moving back to the city centre, which he preferred.
- He says recording with Cage's son was an "experience" with bodyguards and mercedes everywhere. Originally he was going to have a trainee produce the record as he assumed they were just a basement band, but it ended up being more than this, so he ended up taking on the project. He says Cage's son was a nice guy, but Nicolas never came to the studio - Fredrik only spoke with him on the phone.
- He doesn't like how songs sound on Spotify, and says that it doesn't capture how the music should sound. He prefers Tidal or actual CDs for sound quality. He also notes that Spotify's influence as a platform reduced recording budgets for bands, so often they would do something like drums in studio, then everything else from home. He's then hired to mix the record based on those recordings. He cites that this leads to a lack of control, without a clear vision from the producer throughout the recording process. He says it can be tricky to fix things when the recording quality isn't very good, but as long as the band is happy at the end then so is he.
- Calls Mikael Åkerfeldt a good guitarist and a singer, smart guy with an interesting taste in music.
- Talks a bit about recording with an orchestra for Dimmu Borgir in Prague for Death Cult Armageddeon, Fredrik says it was an awesome experience. Notes he had to explain things as certain points because the sound engineer didn't always understand. There was some disagreement between Nordstrom and Dimmu on where the orchestra should be placed for a 'metal' production, but Nordstrom's idea was ultimately approved with the backing of the most experienced member of the orchestra. Says it only took one and a half days to record the orchestra parts. He got goosebumps from the opening to Progenies of the Great Apocalypse, and he knew the record was going to be great from the beginning.
- They talk about Bring Me the Horizon, but who cares about that. Does note that they liked and wanted to emulate the Gothenberg sound early on in their career. He talks about Architects and says he was going to 'give it up' if the record they recorded with him wasn't successful, due to how good it was.
- He mentions working on HammertFall's next album, and he'll be producing Obscura's next album in the summer.
- He says that he's more confident these days with the amount of experience he has, whereas in the earlier days he was never satisfied and worried about whether the record was good or not. He does still get anxious, but not to the extent he did back then. He notes that it was his commitment to his work that caused the divorce from his first wife. He says that in the early days when he had his first studio, he worked so much that he ended up in hospital with heart palpatitions. He says back then he was working 17-18 hours a day, 7 days a week, so that he could raise enough money to build the second studio. This went on for a few years before he ended up in hospital and at that point had to calm down a bit. He also says he developed a panic disorder, and says things like this and general anxiety are very common in creative musicians. He says he knows whole bands who have panic disorders. He thinks it comes from never being satisfied with what you do, and focusing on super small details.
- Fredrik says that now he's older he takes more breaks, but even on vacation he'll work an hour a day on mixing.
- He talks a bit about Gus G. He met Gus in Greece and then Gus came over to Sweden, but they couldn't find him a band and even struggling advertising guitar lessons for him to earn some money. He says they decided to just start a band together instead (Dream Evil). After the second DE album Gus got a sponsorship with ESP, and now in the same store where nobody was interested in Gus' guitar lessons, his signature guitar was displayed. He says Gus got his own band and a gig with Ozzy, then moved back to Greece, and it was awkward at this point to record with him, which is why Gus left Dream Evil.
- They talk a bit about the equipment used, which I don't care about, but if you are interested it's about 30 minutes in.
- They talk a bit about Dream Evil. He says that he was told getting a big advance from the record company is the most important thing, as it means they will then work on advertising your band to get their money back. That's how they got going with Dream Evil on Century Media, as he says in adverts they would be immediately placed alongside bands like Arch Enemy, which aided in perception. he compares a record deal nowadays to a "very bad bank loan" and says that bands should look to make money outside of record labels if at all possible. He says a band is a business and needs to be run accordingly. He notes that recording the album is far less expensive than touring, merch, etc.
- He says DE's second album (Evilized) was recorded from start to finish in just 23 days, and says he was a "rotten apple" during the process, which I assume means he wasn't in a great mood. He says he mixes quite fast these days, but that comes from experience and practice.
- Touring with HammerFall after Evilized was released was a good experience, but the smell on the bus was horrible. He says the sound guy had monstrous foot sweat. He says there will be more Dream Evil tours, and they are have finished recording and mixing a new album which will be released on Century Media within the next 6-12 months (from whenever this interview was recorded). He says he doesn't make music for money, but for fun, and that a tour is likely after the new album is released.
- He's asked his opinion on the tightest drummer he recorded with, mentions Anders Johansoon and David Wallen. Also Nils Fjellström.
- He says that in the beginning metal was underground, and he once sat down with In Flames and they wondered when songs with growls will be played on the radio. He said it'd be 20 years, and suggests that was about right as 20 years later they were playing In Flames on Swedish national radio. He says that as soon as a band signs a deal with a record company they are commercial, as at that point it becomes a business.
- Interestingly, he says the entire Clayman album was purposefully rearranged with a "pop" concept, different from their previous albums. The songs were designed with less "Opeth parts" and instead intro, verse, chorus and so on, ideally around three minutes long. He says it went well, but not all music should be like that.
- He thinks music in general is more commercial today, but that an anti-commercial subculture that wants something different will always be there. He says that whilst on a technical level it's far easier to record and mix today, the fundementals of what a band needs to be successful is essentially the same.
Overall a really cool interview, although it doesn't go too in-depth on anything specifically. There isn't a great deal of IF specific stuff in there, but some interesting information:
- Parts of LS being recorded at two different studios.
- People from the Gothenberg scene coming from an 'affluent' area. Explains how Anders in particular was able to own a studio at such a young age with In Flames yet to make any real money.
- Clayman being purposefully recorded as a 'pop' style record compared to previous albums.
That’s very interesting. I can sympathize with this. I’m not in music but I’m I a field that does require creativity, attention to detail, and a lot of work, and is carefully scrutinized at the end of the effort. Basically there is never enough time/money to make it perfect but it’s supposed to be and if I don’t do it then it just won’t be done. I too got heart palpitations and a weird heartbeat, pounding nonstop. I had to scale back at work to survive, purposely “caring less”. Seems to be working… so, strong feels for Nordstrom. Good products but he did sacrifice himself to make it happen it sounds like.
Well, it's good that you realised you need to scale back a bit. It's difficult when you take pride in what you do. Considering what we've heard about IF generally being lazy and lacking focus, it's not hard to see why they and Nordstrom ended up parting ways. Two parties with very different standards when it comes to the amount of effort being put into a project. Although with that said, nobody can criticise IF's commitment to touring, so I guess it was more motivation in-studio. Outside of the studio their drive isn't in doubt, as they've been touring practically non-stop for decades.
Another thing that was interesting to me was the bands initially liked Nordstrom because he was more relaxed on drinking, smoking, etc. But it turned out he was a perfectionistic taskmaster otherwise. They were tricked into having the best worked squeezed out of them.
The Grayfox
Nija
Why did Nuclear Blast just put out a new lyric video for Everything's Gone? Are they seriously doing something for the tenth anniversary of that pile of shit? lol
Xpyro125
Active Member
- Dec 1, 2021
- 565
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The video looks the same as when it first came out. I think they deleted and reuploaded it or something. Couldn’t tell you why though.
I know the chances of this happening are basically slim to none, but I'd love to see a 20th anniversary edition of Used & Abused next year. I ripped the DVDs recently as I realised they were nearly 20 years old and I should probably rip them whilst they're still working, and man, it reminded me how great those DVDs were. Obviously there's overdubbing, but even so, they managed to make STYE actually sound good.
It'd be awesome to see U&A on Blu-Ray, upscaled (in a good way, not in a crappy amateur way) and with additional footage. Ideally of older shows, or at least some other shows from around that time period. Their sets during 2006 were generally a solid mix of the old and new, and it would be immense to have some of the lost pro-shot Wacken footage released from the 90s/early 2000s. It's possible even IF couldn't get the archival Wacken footage, but I'm sure they are sitting on plenty of unseen stuff in their vault that would be a treat for those of us who have been following them from the beginning.
It'll never happen for many reasons, but if only.
It'd be awesome to see U&A on Blu-Ray, upscaled (in a good way, not in a crappy amateur way) and with additional footage. Ideally of older shows, or at least some other shows from around that time period. Their sets during 2006 were generally a solid mix of the old and new, and it would be immense to have some of the lost pro-shot Wacken footage released from the 90s/early 2000s. It's possible even IF couldn't get the archival Wacken footage, but I'm sure they are sitting on plenty of unseen stuff in their vault that would be a treat for those of us who have been following them from the beginning.
It'll never happen for many reasons, but if only.
There's an upscaled version on youtube but the dude who upscaled it decided it would be a grand idea to crop the 4:3 footage to 16:9, which looks terrible.
Anyway I doubt they will ever reissue it, given how people appearing on that dvd largely aren't in the band anymore and dividing the royalties wouldn't make a whole lot of sense when they could film a new dvd instead.
As for Nordstrom, I always found it peculiar how he looks very reserved when talking about the 90s melodeath bands. He doesn't look visibly proud about the results, almost as if he is tip-topeing around not saying anything bad. Given his pedigree you would think he would gladly embrace what made him who he is yet its not the case. And I got that same vibe from him in other interviews over the years too.
Edit: Stumbled upon a really cool piano arrangement of Zombie Inc, in case it wasn't posted in the past few weeks. Same channel also has equally awesome renditions of Heartwork and Slaughter of the Soul.
Anyway I doubt they will ever reissue it, given how people appearing on that dvd largely aren't in the band anymore and dividing the royalties wouldn't make a whole lot of sense when they could film a new dvd instead.
As for Nordstrom, I always found it peculiar how he looks very reserved when talking about the 90s melodeath bands. He doesn't look visibly proud about the results, almost as if he is tip-topeing around not saying anything bad. Given his pedigree you would think he would gladly embrace what made him who he is yet its not the case. And I got that same vibe from him in other interviews over the years too.
Edit: Stumbled upon a really cool piano arrangement of Zombie Inc, in case it wasn't posted in the past few weeks. Same channel also has equally awesome renditions of Heartwork and Slaughter of the Soul.
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To be honest people in that part of the world are just that way. My girlfriend is Finnish and to them, taking pride in something is basically the equivilent of bragging about it, which is considered rude. They're basically low-key about everything and I think Swedes are really similar in this regard. You hear it from the bands of that scene as well - none of them really express great joy or pride in it, they all pretty much just say "we were a bunch of people doing the same music and certain people happened to like it."
Also worth noting that in that interview Nordstrom said he didn't really understand what these bands were doing, and was confused when other bands from around the world were calling and asking him to produce their work as well. He was essentially suggesting that he was kind of winging it (albeit working so hard that he put himself in hospital) and everything happened to turn out really well. From that perspective he may also feel like there's nothing to necessarily be proud of. I'd disagree, but there might be a bit of imposter syndrome going on in regards to how he views his earlier work.
As an aside I also ripped DT's "Live Damage" DVD and... oof, I'd forgotten how much Stanne's vocals had deteriorated during this time period. It's weird how nobody really mentions it or seems to have a blind spot because it's Mikael, but fuck me he sounds rough. He literally can't do any higher register screams and his growls are more like metalcore-ish yells. It's very similar to his vocal performance on DD, but without production to smooth out the edges it just sounds painful to me.
Also, the crowd are shit and the audio and video are regularly out of sync, which is weird. I know it's not the rip either, as I looked on YouTube and saw the exact same thing.
Also, the crowd are shit and the audio and video are regularly out of sync, which is weird. I know it's not the rip either, as I looked on YouTube and saw the exact same thing.
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