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INSISION are one of
those delightful surprises you get to hear every now and then. Their debut Beneath the Folds of Flesh consists of
previous demo material plus three new songs and was released by Wicked World anno
2002. Back to the Grave met Carl Birath and Roger during their coming to
Portugal with SUFFOCATION, DEMENTOR and DISGORGE. The night was young, starts
were shining and the astral gathering finished at 4 a.m. Some of the
mightiest Swedish words are now revealed unto thee. BTTG – Hello, Carl and Roger. According to a million
interviews and other related information, INSISION were created as a response
to the eminently melodic Swedish Death Metal scene. Would you care to
elaborate on that? Carl – I wasn’t in the band when INSISION actually started, back in 1997. It started with two different bands fusing together to become one and that became INSISION. BTTG – And these were ILDOOR and –
Carl and Roger – EMBALMER. Carl – At that time, the melodic scene started to rise, it was a new
genre getting more melodic, more mainstream music, so that means INSISION
went the other way around. We stayed on the course, we stayed Death Metal and
I think that’s why we used that as a ‘commercial line’, because these days,
if you think of Swedish Death Metal, it has to be melodic. BTTG – Of course. It are IN FLAMES –
Carl – Yes, IN FLAMES, AMON AMARTH, all that crap. I mean, we don’t want to be compared to them, because it’s completely different music, it's a completely different attitude, everything about it. BTTG – Do you think there is some sort of rivalry
between the melodic bands and INSISION? Roger – We respect the other guys and the music they play. Carl – They play good instruments, but they don’t play like we do.
There is no real rivalry. Roger – The main reason why we play what we do is the fact that we
listen to this music. We listen to DEICIDE, SLAYER – I never really listened
to much melodic metal. BTTG – Should you have been born in America then? [Laughs] Carl – [Laughing] – No, not
really! We were proudly born in Stockholm, Sweden! But I mean, most of the
melodic bands come from Gothenburg, don’t they? You’ve got IN FLAMES, from
Gothenburg – BTTG – That is why they call it “the Gothenburg
sound”. Carl – “The Gothenburg sound”, exactly. I think Stockholm has never been famous for any real hard Death Metal throughout the years. Of course, you’ve got DISMEMBER, AT THE GATES and all of that – but that’s different. That is old school and this [INSISION] are maybe… not the new school, but… BTTG – It does not sound Swedish at all!
Roger – The Gothenburg scene is not bad. Carl – And we have no problem with them, but when we talk to people,
we just want to broaden their minds, so that they understand that Sweden is
not all about melodic music – it is also about brutal music! Not necessarily
“American brutal music”, but you can make it the Swedish way as well. Roger – When we write riffs, we write the riffs that we like. Even if
it is a melodic riff, so long as it’s a good riff, we take it, because
everybody knows we aren’t necessarily going to play melodic DM. Carl – If your heart beats twice faster [mimicking in a rather funny way]: ta-tan-ta-tan – BTTG – Is that some sort of Swedish code?! [laughs] Carl – [Laughing] – Yes, I
suppose so!! BTTG – Tell me, Carl, how do you pronounce your name Birath?
Carl – [uttering something like]
«Beerot». BTTG – So that is 100% Swedish, it isn’t taken from some Lovecraft
novel, is it?
Carl – Yeah, everybody keeps asking me if that is my nickname or
something! But no, that’s my last name. My name is Carl «Birot». Roger – It’s not usual in Sweden. There aren’t that many people called
Birath. BTTG – Okay, so back to business. Could you tell us
why you decided to leave AZATOTH and join INSISION? Carl – l left AZATOTH because they weren’t dedicated enough. The guitar
player started to be like [quoting]:
“Oh, we have to keep it slow, I can’t find new paths in Death Metal, I can’t
do new stuff”. I said: “Of course you can!”, but he kept on “Oh, I am 22
years old, I can’t do it anymore, blah blah blah”. And then the drummer said:
“Hey, you have to skip all this Satanic stuff, because it doesn’t work on the
mainstream” and I said: “That will never fucking happen, man! We will do it
my way or that’s the highway for you guys!” BTTG – Do you feel completely free
in INSISION?
Carl – In INSISION I have no restrictions at all. BTTG – I heard Roger was the reason INSISION got
more brutal, more technical, more straightforward in its complexity. Is that
true? Roger – I don’t know… BTTG – I know you spend like 20 hours a day
practising (a tiny winy wee bit of exaggeration!) – Roger – Yes, I practice pretty much, basically. I always write these
riffs – in the beginning, it was very much – Carl – Florida Death mid-tempo! Roger – Yes and no. It was pretty old school. I played in another
group before joining INSISION, called DISFIGURED and we split up because the
guys were not dedicated, they didn’t want to practise and stuff like that.
When I started in INSISION, in 1998, I started by working with the drummer.
He would follow my riffs and I told him what I wanted to achieve. I don’t
know, it’s like – Carl – When Roger joined the band, of course things started to happen!
Songs became so much more technical – I mean, [turning to Roger] I don’t even remember who played guitar before
you! I think it was Johan “the Monkeyman”. BTTG – [Laughs] Carl – Yeah, that’s his nickname in Swedish. So things got more brutal with Roger, because he has all these riffs in his head and he listens to a lot of jazz stuff, very technical shit, so when he joined the band, of course he did it his way. Thomas and he worked together like “the hand in the glove”, really tight and really good. BTTG – Would you say Roger is very demanding to the other band
members?
Carl – No, not really! Roger – Nah, I am totally laidback in the band. I am a very laidback
guy BTTG – I see it is just the reputation – not the profit!
Roger – [laughs] Well, so
much for the reputation! I don’t think I should demand anything out of the
guys. I just show the riffs and asked them if they are cool with them. I
always ask them if it's right, I don't like to control the bands. You can’t
work that way. BTTG – So there is an atmosphere of «creative freedom»…
Carl – Yes. Everybody gets their own chances to say what they think. Roger – Carl has done some riffs too. BTTG – Do you play an instrument, then?
Carl – No, not really. It’s in my head. And I go around and show them to the guys and they will play something. “Like this?”, “Yeah, yeah, yeah, exactly like that! Maybe we throw in a little bit of this…” “Ooooh yeah! That would be great...” BTTG – There are a couple of things I would like to
ask you about the band’s name. The first one is: why did you decide to
baptise your music after such an incisive name?
Carl – Cut them open and expose the guts! [Laughs] Roger – And that’s why I think «Insision» is a good name. It’s
something that comes underneath our skin. BTTG – My second question actually has to do with
the way you spell «Insision», with an «s» instead of a «c». Roger – Sometimes, it’s two “ss” – on the posters. [laughs] Carl – That is their fault! BTTG – You have deliberately chosen to misspell
«Incision» for «Insision», allegedly because the logo looks better that way.
In all honesty, I can't see much of a difference! Please comment… Roger –Yes, that was mostly for graphic reasons. We didn’t do the logo. I think it was a past guitarist or something that did the logo, and he felt like doing it with an «s» and it looks good, so…That is all there is about the logo! BTTG – With Promo
2000 you got yourselves a deal with Earache/ Wicked World. The world has
changed since then (though it still has not been impaled) – Carl – [Laughing] – You’re
right, it hasn’t. BTTG – What would you say are the main advantages in
being in Earache? Are you satisfied with their promotion so far? Carl – You get major exposure, it’s a big name and of course everybody knows Earache! I mean, 10-15 years ago, they were THE label. If you bought something from Earache, that was gooood! Everything was good. You got NAPALM DEATH, CARCASS, MORBID ANGEL, AT THE GATES – you just name it and it was there! BTTG – Yes, but you can’t live from the past… Do you
think the present Earache is pretty much the same? Roger – We have got a good contact with them. Carl – Right now, they are trying to sign more brutal bands. I think
Earache tried once to take in different bands, some really shitty bands, some
hardcore shit – but they understood that it won’t work, because that is just
gonna bring their reputation down and right now they are trying to go back
and sign more brutal bands, which is good. Actually, we were one of two
Swedish guys signing to Earache, after AT THE GATES and THE HAUNTED, now that
I think of it.
Roger – It was good. It is the same as Beneath the Folds of Flesh, actually. BTTG – Right, that album features your demos plus three news songs,
am I correct?
Roger – We worked pretty slow writing new material after Revelation of the Sado God, because
members kept coming and going, but it was a good time. Carl – I remember when I joined the band – it was only Roger and
Thomas. Daniel was just stopping the band and I remember coming down to the
rehearsal room and saying: “Are there only two of you guys?! Don’t you have a
bass player as well?!” And they said: “No, no, he isn’t here right now.” And
I go “Why isn’t he here, man? If you’ve got to rehearse, everybody should be
here!” It is all about dedication. If you want something, you have to work
for it together. Roger – [To Carl] But you
can’t just stop because you are only two guys! You’ve got to continue. Carl – They were actually doing everything themselves, with guitars
and drums. The tracks from Promo 2000
were made just by Roger and Thomas! BTTG – Would you say that the current line-up is ideal in stability
and for the future?
Carl – You mean this line-up right now? We’ve just changed our drummer!
And we kicked out the guitar player, the one with the dreads. But the line-up
right now is only me, Roger, Daniel (bass player) and the new drummer Marcus.
Roger, Daniel and I are a steady basis. Marcus is a new member, but… he is a new member. We’ve worked with him one month before this tour, so
he is considered a member, but still not, if you know what I mean… BTTG – He is still in a transitional period. Carl – Yes, a transition. We are still working with him and finding
out new stuff and how he is as a person. I mean, Roger, me and Daniel, we’re
like mates – we’re having the same goals all the time and that’s the core of
INSISION, I think. We want a steady ground. If you’re not part of the
solution, you’re part of the problem. And, if you’re part of the problem, you
are not in this band anymore. Roger – It is pretty hard to find members in Stockholm these days,
because there are mostly MALMSTEEN-type guitarists and stuff, guys who want
to solo for one hour. And when it comes to riffing, it’ll have to be fast and
technical and that is pretty hard to find. Carl – But we have to keep up, because we can’t spend a whole year
teaching a guitar player how to play our stuff. It’s technical, but he has to
learn it… rápido! BTTG – [Laughs] Carl – I mean, he has to learn really fast, because we’re not pulsing nor taking a stop to say: “Okay, one year off.” Because we have to do it NOW, while the pot is still burning. We can’t just stop – BTTG – And you also have commitments to the label…
Carl – Yeah, of course. We have been busy with our new record and we want to go out and play. We are a live band. BTTG – Rumour has it that you were preparing a video. Is it ready?
Carl – I think it’s done! I haven’t seen it yet, though. [laughs] Roger – We have done it before we came on tour, but now the producer
is going to do the storyboard. Carl – The band is playing and then you get the storyboard while
something is happening in the video. I haven’t seen it yet, but hope it will
be good. I had a few ideas. And it is on the song It Did Not Come to Heal, from our new album Revealed and Worhsipped. BTTG – When and where will we be able to see it?
Carl – Hopefully very, very soon. It will be on the website, of course
for free. It’s DM, you shouldn’t charge people huge amounts of money. You
will probably be able to download it from there, and it will also be put on a
DVD, maybe it is broadcast in some local channels. Hopefully it’s gonna
crush!! BTTG – Back to Beneath
the Folds of Flesh… I think it is some sort of a concept album. Carl – It depends on how you look at it, but yes, kind of. The second one is more theme-like. BTTG – What are the main topics of your
predominantly dark and introspective lyrics? It is an investigation on the
inner-self, on your alter ego… Carl – That’s probably it, I mean, Lord Satan has always been the main
figure in my life, mainly because of my abstract way of thinking and looking
at life from different angles. Beneath
the Folds of Flesh is about Lord Satan as well, still as you told me,
it’s also about alter egos, looking for the inner-self, anguish, sorrow,
hatred – BTTG – The dark side of life?
Carl – Mostly, yes. BTTG – Would you say Lord Satan is the dark side of
Life or a dark side of Death? … Or a bright side of Death? Carl – For me, it’s everything. I have got a personal view on this
“Satanism”, but it’s really hard to explain. I can share it with you, but I
don’t really care if you believe in this as I do. As a human being, you can
always change your own way of thinking. The problem today is that everybody
is having these ideal guidelines about how we should believe in stuff, like
organised religion – BTTG – There seems to be a manual for everything –
Carl – Right, a manual. You have to follow it, do it in a certain way… Well fuck that shit! I don’t care about if you don’t like it or if you do like it. If you like it, it’s good for me. If you don’t like it, then fuck off! It’s only about ME. Me, me, me, me, me, me, me. ME. Personally. About what I think. Because, when we die, we die alone. It doesn’t matter if you’re with people in a sect, you’re still going to die alone. BTTG – Are you not afraid of exposing yourself through lyrics?
Carl – People can misinterpret my words the way they like. As I said, I don’t really care. I mean, you can look at a lyric and say: “This is what he thinks about it.” If you ask me, I can explain to you: “No, no, no! This was a Summer day in whatever year, I was sitting on my porch – BTTG – In 1942 or something –
Carl – [Reporting in radio-style]
“1942. The Germans are coming over the hill." Bombardments and shit like
that [Laughs] But back to the
lyrics… you can view it in different angles and, if you like, that’s good.
For me it’s personal. When I sing on a stage, it’s just… personal stuff. And
I identify myself stronger with the stuff that I’m signing and the music that
INSISION are playing. But it’s not like I’m opening myself on an intimate
basis. This is an intimate connection between me and the band. BTTG – What is the song-writing process in INSISION
like? Is there a direct connection between music and lyrics? Roger – I write the riffs and he [Carl] writes the lyrics without
hearing them. When we put it together, we try to work it out the best way it
feels. Sometimes I change things in the riffs, sometimes Carl changes the
structure of the lyrics. Carl – Sometimes, if I want to do an extra line, I’ll just tell Roger
to keep the riff a little bit longer, because I have to put this line in it.
Or else, I would destroy the lyrics. Roger – Lyrics are like an instrument. They are important as well. Carl – And sometimes it is really the other way around. I could change
some part, but I’m not going to fuck anything up, I’m just going to replace
it with another part instead. BTTG – And where do the other band members fit into in the writing
process?
Roger – They can say whatever they want, after we have presented them
the basics. Carl – Roger and I have a good connection as far as what we think
‘good’ goes. We meet in the rehearsal room and get along fine. Daniel has
been doing a lot of riffing for the album as well, coming up with a lot of
suggestions and stuff. He wrote The
Unrest on the new album completely on his own. He is really into old
school stuff. BTTG – One of the things I like about INSISION is
your preoccupation with lyrics being structured, something more than the
usual brutal gore theme and stuff. So, where do you draw your inspiration
from in order to write such lyrics? Carl – This might sound silly, but… from daily life, from just being a human. I mean, it’s hard to be a human! We’re the crap on Earth. We can create stuff and will still be destroying each other. We are totally THE crap on Earth, man! Everyday you have a struggle inside or with other people around you. I want to be released from all this – that’s where I drawing the Hatred from – and maybe the Love as well. I mix it all together and have thought: “Bang! There goes.” BTTG – Extremer is more brutal. Does this apply to
the extremer feelings only or is there some room for mid- Carl – Mid-tempo stuff? [Laughs]
If it’s good, it’s good! Roger – If it’s a good song, we take it, no matter if it is mid-tempo
melodic stuff. And we have our own catchy moments. Carl – Of course! You want to remember what you hear. You can always
be brutal – all the way~, but if you can't remember the song, what’s the
point?! The lyrics want to come through, everything has got to come through,
it has got to stick to your head. When it does, then you know that you have
made a point. When someone goes over it and says: “All riiiight, I like this
part. Uuuh yeah!” – if you can do all that, then it’s good, you have
succeeded in entering the person’s brain. Roger – That feeling is great. BTTG – I suppose that is where you are really… incisive!
Carl – We cut them open and splash, shut it again and it sticks. BTTG – You were talking about Man in general. You
have already referred to the Human Race as ‘a failure’. Will a healing ever
be possible? Carl – No. there is no hope. Really none. We are all gonna die a
horrible death – BTTG – Self-inflicted –
Carl – Yes, self-inflicted.
And we are all going to die and come to Hell. That’s it. There’s no question
about it, really. BTTG – Now I offer you between a choice of
nightmares: the present world order and the complete and utter eradication of
humankind (and that includes you and me and your beloved ones and your
enemies as well). Carl – Yes, it’s a choice of nightmares! I’ll go for total annihilation. Still, the paradox is really strange, because now I’m sitting right here, I’m enjoying myself right now – I love this beer! I love talking to you guys – BTTG – Guys?!
Carl – Oh, guys and girls. [Ironical] I’m really sorry. BTTG – [Laughs] Carl – But I mean, I’m enjoying myself right now, still if you look at it in a broader perspective, of course the Earth would be much better without us humans. But still, at the same time, I love the fact that we are infesting this Earth. As a creature, Man is so fucked up from the start! We could be sitting here, talking about this for hours – there are many points of view on this one. Total annihilation would be great. BTTG – One of the things I have noticed in your
theoretical world – you cannot help noticing it – is that Lovecraft seems to
be a huge reference. What do like so much about his work? His style of writing?
The way he builds tension? Carl – Yeah, that’s it. I remember the first time I came across
Lovecraft: I went to the library and I got this book, I took it home and I
read it and never returned it, because it was so good! I took my library card
and [funny ripping noises] – and
I’m never going back there! For me, I like the way he focus on the person.
He’s not writing “They were going…”, he’s writing: “I was standing there, all
alone, in the middle of the night”, building the tension up. Especially
because he has written in the 1920’s to the mid 1930’s and that was brutal in
those days. You got other ghost and chain shit. Lovecraft is the guy that was
talking about astrohorror, things that come from out of space – BTTG – He was ‘somewhat’ futuristic. Probably
writing at the beginnings of science fiction (due exception be made on Jules
Verne). Carl – Maybe he was writing
at the beginning of science fiction. BTTG – There were also major references such as
Huxley, Orwell. Do you identify yourself or any of your theories with Orwell
or Huxley’s view of the world? Would you like the idea of having a ‘Big
Brother’ controlling you? ]Laughs]
Not the TV programme, all right? Carl – No, not really. BTTG – Basically, it wouldn’t allow INSISION to even
exist. Carl – No, that wouldn’t be possible. We would be killed, shot right
away. But as with literature in general… you open a book, read it, like it or
dislike it – because disliking
something is still liking, do you know what I’m saying? “This is so ugly, so,
its so good!” Do you know that feeling? BTTG – Something that stands out for being different
and hopefully coherent. Now for coherence: Do you think the general artwork
conveys the lyrical and musical message of the band? Carl – Which one? BTTG – Let us start with Beneath the Folds of Flesh, the one I am more familiar with. Carl – That one was strange. We were looking for an artist to do the artwork, but as usual when it comes to other people handling your stuff, they usually screw up, so we had a deadline to choose an artist and a cover, but when we chose that cover, I think we just looked at it and said: “Yes, that’s it.” The face has got different eyes: one is sad, the other is more chaotic. But otherwise, it’s pretty clear. So I think that, for that record and that kind of lyrics, the artwork worked fine.
Carl – This is more the kind of thing we were looking for back then as
well. Roger – Everything went rather fast. We had to choose one cover, and
we had two days for that. Carl – [making funny
neck-twisting noises] But yeah, this is what we like. Digital stuff is
not much my thing. We wanted to make it painted, because that means that the
person has put effort there. BTTG – But you also put effort if you are working
digitally. Carl – Yeah, yeah, yeah, but still you have all these tools that make
it so easy for you, like working with layers and stuff in Photoshop. It’s
much easier. When it’s made by hand, sweat and thinking – it takes many more
days to finish an oil painting than a graphic image. So we’re really pleased
with this one. Mike Usher did a good job! BTTG – I was talking about the possibility of this
being an abyss or a black hole, but come to look at it closer, it seems there
is something coming out of it that will be revealed in all its (un)splendour and worshipped. Carl – Yes, it’s the beginning of something that will come out. That’s the message we want to put across. I was
talking to Mike and had this tribal thing in mind, only like silhouettes of
the devils put together as a circle – a complete circle. I just told him
about that and he said: “I can do it.” He did it in another way, still it
looks really cool. BTTG – Are you satisfied with Beneath the Folds of Flesh? You intended for a flat sound, so is
there anything you would like to change now? Roger – We wanted an analog sound on the first album and the fact that
it is a first album is always difficult for those who don’t have experience
in a real studio, so it’s always different. I am satisfied with it. Carl – [matter-of-factly]
It's a good first album! It worked
really good. BTTG – In between demos, promos and full-lengths,
INSISION hit several different studios. What could you say about each and the
work ethics? Which one did you use for Revealed
and Worshipped? Roger – When we recorded the MCD, we recorded it in Necromorbus, a
small studio in Sweden, like a demo-studio. We knew the producer and it was
pretty cheap, so we went there. For the Beneath
the Folds of Flesh we chose Berno studio, in South of Sweden, because it
had a good reputation: DERANGED had recorded there before, so… BTTG – And they are still producing there, right?
Carl – Johan produced it, the guitarist. Roger – They are pretty laidback guys, easy to work with. But we
wanted an analog sound and there aren’t that many analog studios in Sweden.
We chose it for the analog component. Carl – For Revealed and
Worshipped we chose a completely different sound – not the sound, but the
studio! This time they used digital stuff, but still we had a trick up our
sleeve: they took the sound and put it down to analog with a tape recorder,
they compressed the sound and we took it back and recorded it as a master
tape. BTTG – Which studio was it this time then?
Roger – Soundlab. It belongs to Mieszko, of NASUM. It’s in Sweden, down South. Mieszko plays in a band called NASUM, a grindcore band currently in Relapse Records. BTTG – And what do you make of the experience in this studio?
Roger – It was very good. We could work there after he had gone home,
with solos and stuff. Carl – I could do all the vocals by night time. Roger – We work better at night, so Carl and I just stayed there until
after 3 o’clock in the morning, took some beer and… Carl – Yeah, it was cool. It worked really fine. Mieszko was a really
good producer, he helped us out a lot and he’s also very professional: he
would start working at 9 o’clock – eight hours straight – and then he says:
“Here are the keys. You can work on your own. Meet you in the morning.” BTTG - You have played with numerous well-known bands by now. Which concerts were the best in your opinion? Did you happen to demystify the aura around any of the people involved? I mean, people you may have thought 'evil' turning out to be nice folk, the sort of thing. Carl - This
Gig was actually one of them. We have had a lot of good gigs down the years.
For me, one of the best gigs was down south of Sweden in a town called
Linköping. That time was with VOMITORY, CORPORATION 187, NCO, and SATANIC
SLAUGHTER among others… It was not just a great gig because of the bands we
played with but first and foremost because of the feeling and everything
around… I truly felt like I was on another planet that night. Other gigs that
have been truly great are, of course nearly all gigs with mighty SUFFOCATION
and also the tour with DECAPITATED and the short turn with THE BEZERKER. I
never get really disappointed in people as I actually know that there is
always a bit of image going on in this kind of music (as with all kinds). You
can't go around looking like you do on the band photos every day - that would
just be exhausting. I mean, what you do in band pics/ recordings and
interviews are capturing a special mood and moment - A thought in time…
That's what I'm talking about… Ahh now I'm
getting tired… Next Question. BTTG - We are straight out of the concert, so what did it feel like playing for an audience of Portuguese people with Latino blood on their veins and energy beyond their skills, enough to stagedive? What did you think of the venue? And what does it feel like to co-headline this particular concert with SUFFOCATION, one of your own reference bands? Carl -
Feels great. I mean, SUFFOCATION are fucking amazing man… And today we got
some stage diving, witch feels great…. You don't have that anymore in Sweden.
The audience here are well over expectations, I mean hey we never played here
before… we have …let's say 10 out of a 100 that ever heard us before I guess
and still we got some heads banging and people going berserk, mosh pit and
all. They showed us what they where made of and hopefully we pleased them
with our show. BTTG - Now that we are sitting here, looking at the river Douro and all those lights reflected upon the water, what impression did Porto leave on you? The Euro-hype must surely not have passed you by! Carl - I
really like this city. It reminds me of Sweden really. Parts of our OLD TOWN.
Really lovely. And what a view, hey?? Niice! [Slight
interruption in the interview - continued via email] BTTG - Did you notice there was a Swedish couple holding the Swedish flag during your performance? Carl -
Haha, I saw that a couple of days ago when watching the video take of it….
Haha. I had been in contact with the lady in that company and she had been
surprising her boyfriend with this consort telling him they were going to
only watch the football, but then when in Porto telling him that hey,
surprise, one of your fave bands are playing tonight come' on lets go. I met
them afterwards and they where really satisfied. BTTG - This was also the second DISGORGE band you played with - this time, it were the Americans, not the Mexicans. What would you point out as the main differences between the two bands? Carl -
First up is the obvious and most different thing: this DISGORGE is from USA
and the others from MEXICO - that is a biiiiig difference. The Mexicans are
more like us, dirty rotten death metal heads while this DISGORGE are more
mmmm… Well dressed and clean…. But also really nice guys. Musically
US-Disgorge has a cleaner and straightforward sound, whilst the mex's are
rougher and reeking haha… ahh they are two completely different bands I
promise you. Both mentally and
musically, without backstabbing anyone. BTTG - Why do you make such a point of not playing covers live? Carl - Why
try to do something that someone else already did much better? It's like
being 8 years again and dress up for your parents and mime for your fave
rockstar. We do our own stuff. That is it. BTTG - I have this impression that INSISION members have parallel activities within/ without music, like Daniel being into B-Movies. What about the band as a whole? Carl -
Hmmm, right now Daniel is into writing his books and I'm into the Stockholm
scene, trying to get it together and Roger is doing session in a band called KILLAMAN. BTTG - You once said: "Black Metal is image instead of lifestyle". Wouldn't you agree that the image is also important in a band who wants to be successful (the exception makes the rule)? What is your general opinion on Black Metal? Carl - Did
I say that… ahhh. Well it's partly true anyway, at least today. Of course
there are lots of people living the life of DEATH and Black but you also got
the other way around. I listen to
black metal but in my opinion it's dying, really it's getting watered down
and everyone is trying to sound as the old bands: you get millions and
millions of them and they all sound the same… it's too bad. Hopefully things
can turn around. BTTG - Speaking of which (or maybe not)... one of the fathers of BM has recently passed away: Quorthon. What were reactions like in Sweden upon his death? Carl - It
was a loss but I haven't seen any major talk about it really. And in the same
time I found out whilst on tour. It's too bad that he had to go. He meant a
lot to the Swedish BM/Metal scene… BTTG - Last but not least, I thank you (Carl and Roger) for your time and answers. Keep working hard with INSISION. Any last words/ wishes?... Carl -
Thank you Morgana for a pleasant Interview. Hopefully we'll be back again
with a full line-up and a longer set list. To break your necks. To all you
fans of DEATH METAL take your sorry Asses to http://www.insision.com And
check it out… Let the
flag of DEATH METAL WAVE HIGH!! Over and
out Carl and
Roger INSISION / PORTO 2004 By Morgana - Back To The Grave June 20, 2004 Hard Club continued by E-mail on August Photos – Insision 2004 |
