The value of life can be measured in the level of resistance one faces.
It's often when life is particularly hard it feels the most important.
I grew up in Uppsala.
People tend to be surprised when I tell them, but it was under quite normal circumstances.
My growing up was characterized by nature.
Thinking back on my childhood, perhaps it's a bit romanticized,
but it feels like I spent half of it on the mountainsides.
The first thing that happened on a purely personal level was without a doubt,
when music came into my life.
It was through a cassette tape with The Beatles and Rolling Stones that my uncle gave me,
I must have been around four years old.
As soon as I got that tape it became the focal point of my life.
It's what I did, I sat there listening to this tape.
I didn't really have any other interests and it culminated and fully blossomed,
when I was eight or nine, when I came across Metallica and Guns N' Roses.
From that point on, what was going to happen had been determined.
Stardom was never important to me,
the essential notion was that these musicians seemed to have been born to create this music.
They were almost like comic book characters to me.
When Metallica came to Stockholm on May 31st 1993,
I was allowed to go with a friend and his dad.
If there was anything I realized during that concert,
it was that this is what I wanted to do with my life.
In fifth grade I hung out with a guy who had an older sister that was,
open to everything dark and dangerous.
She gave us cassette tapes with Norwegian and Swedish death metal bands.
It was around this time that I started getting interested in playing music myself.
The first band I founded was a punk band,
called Systemslakt, we played Discharge and Mob 47 covers.
There was something that bothered me though,
and it was the lack of seriousness in our approach.
At this point I regarded music as a thing of utmost sincerity,
but at the same time it was just sheer teenage passion.
We began hanging out in the city, got drunk for the first few times,
and started meeting others who were around the same age that were into the same stuff.
One of these nights we met Håkan and Pelle.
It felt predestined really.
They came from the same background,
and shared my hunger to start a real band.
They took these things seriously.
Everything fell into place naturally.
There was this highly creative atmosphere that I'd never felt with other people.
Neither of us could handle our instruments very well but we all had the urge to play.
Shortly thereafter we'd written five songs and decided,
to play live, without giving it much thought.
We just went up and played in our regular clothes.
After a while we decided to record two songs for,
a single so we headed to Necromorbus Studio,
which we held in high regard since bands like,
Funeral Mist, Ofermod and Malign had recorded there.
Bands that influenced us a lot in our early years, not only musically but,
also in their utterly ruthless and intolerant attitude towards black metal.
Music for murderers and psychopaths.
We drew inspiration only from the most fanatical.
That's what came to define Watain;
a very elitist approach to the genre.
We frowned on those who were unwilling to go all the way.
To us, it was about upholding dying ideals.
I believe we've brought back a sense of gravity and at the same time,
a passion that was missing from black metal during a certain period.
Black metal should be kept explosive, burning, toxic, dangerous.
Watain has shaped my personality – my outlook on the world.
Watain has been the vessel I've travelled on through,
life and it's the same vessel I will lay dead upon.
My approach to religion took form in my adolescent years.
Music was a huge factor as well, I always,
suspected there lay something greater beyond it.
I'd focus more on the atmosphere, feeling and,
energy in music rather than what it sounded like.
Religion became a natural space,
to store all the impressions I'd received,
impressions that music was something much greater than merely a material thing.
I've always had an immense feeling of awe for "the other", the inconceivable.
When I started looking for a framework for all of these abstract and,
obscure ideas I found darker world views,
in which I found relief and affinity.
To me, religion has always operated on a subconscious level.
That's where I've worked with it and it's,
always remained in a sealed chamber inside me.
In this space, there has always been feverish activity.
When working on our second album, Casus Luficeri, there,
was something else present besides the three of us.
To me, this became the tangible next step into a more religious viewpoint.
There was something much greater in my life than my self.
All music and art is built upon the channeling of something greater.
In our case it's something holy, a religious reality.
It's up to the listener to decide how to handle the experience.
Man has an inherent and rather distasteful trait to want to know everything,
about anything, but the fact is that what we share is only a reflection.
My only demand is a reaction. If we get none – neither,
positive nor negative, I know we're doing something wrong.
If people react with horror or with joy or with panic –
that's good. And this is precisely how people respond.
Music has magical qualities when the practitioner is capable.
Magic can be defined in many ways, I define it as the discharge,
of power that occurs when the natural and supernatural meet.
Magic is a religious tool with which one can work with the forces one worships.
In a musical context, it's about translating your religious,
experience and communication with the higher powers.
It's about an ambiguous force.
It's about summoning something, clasping it in your hands,
and allowing that power to act according to your will.
In order for the power to work, to become potent and strong,
you must grip your hands so tight that nothing seeps out.
If that were to happen, things can go very, very wrong.
Watain is a rather chaotic platform, though at the same time the,
magical work within Watain has always been clearly defined.
It's about us opening our mouths and letting the gods speak through us.
This is when Watain is at its most important, substantial and most relevant.
The stage becomes a ceremonial war-zone.
It's a celebration of everything we believe in.
Our concerts are when the magic of Watain is the most alive,
for that time it takes over everything we are and do.
The visual elements coupled with the adornments on stage,
are just as important since they are parts of the whole.
The reason why I've emphasized this is because I've always been,
mindful that album covers should accurately reflect the music.
Another big part of it is tradition.
I've always felt that the manner in which,
old black metal records, demos, shirts,
and so on were designed is the ultimate.
I don't think you can push it much further really.
It should look as if it has nothing to with the modern world whatsoever.
Aesthetics have always been extremely important.
It's no coincidence that people say we look like,
dug-up corpses, for we have been in the underworld.
We dwell in places people don't want to be.
This is where we work and it shows, organically.
The symbolic aspects of fire are numerous.
It's such an obvious diabolical element and,
adds chaotic energy, something uncontrollable.
Even if the fires are in a container or on a torch, or,
if we fire-breathe - we never know what it'll be like.
That's a very important reason of why we use fire.
Much has been said about our use of rotten blood at gigs.
It started as a coincidence – the blood we were using putrefied quickly.
Suddenly, concerts became something that took us even further away from,
the world – it reached the audience in a completely different way.
People couldn't defend themselves.
The blood, once part of a life and now of something dead,
represents a twilight state – a borderland between life and death.
Pouring it over yourself or having it thrown at you, it does something to people.
It's a primal thing, a barbarity come to life.
Combined with the visuals – pillars aflame, cadavers on altars, mould -
it became Watain. It became a perfect expression.
The only thing in my life that has ever been crystal clear is Watain.
I think most people search for such an insight.
"This is what I'm going to do with my life".
"This is the reason I was put on this earth".
A big part of our adult lives has been spent touring all over the world.
We have absorbed from all of these places and gradually realized that it's still,
only our own world, the one we've built for ourselves, that we want to dwell in.
It's a world we can respect and feel humility towards, rather,
than one built by others with completely different values.
Had the outside world not been so abhorrent I,
probably wouldn't have cared for the most part,
but there are so many aspects of it that make me want to completely turn my back on it.
Isolating oneself in one's own reality might sound,
limiting to some, but to me that's where true freedom lies.
It's no coincidence we've chosen to live on what I imagine people refer,
to as the breadline, to avoid having to take part in ordinary work-life.
I believe we need this vacuum in order to write,
this kind of music and work with the things we do.
It would simply not be possible to simultaneously live an,
ordinary societal life since the two are not comparable.
It would be outright hypocrisy to be a part of something you oppose.
People are indoctrinated with the idea of,
"do what everyone else does, or you're screwed".
Everything I've done for all of my life has been about opposing this notion.
You will find your own way if you're strong enough –
even if it's fraught with obstacles, it's still your own.
I can easily view Watain as a monument erected to honor the notion,
that we've done everything in accordance with our own principles.
We've done this with complete disregard for what one should or shouldn't do.
We have done many terrible things,
yet it has taken us to a place where we've become free men.
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