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With heavy steps they follow
The dark path of remorse and sorrow
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First, dear readers, before we dive in – I must apologize.
This interview with the excellent Thomas Eriksen of MORK was originally supposed to have been published several weeks back, long before the release of his fifth opus Katedralen a few days ago. As the result of an unfortunate mail mishap it is only being published now – sincerest apologies, Thomas. But! In a positive for everyone else, this interview now allows an invaluable glimpse behind the cold, misted shrouds of an album that has now had a few days to truly sink in – an assistance in understanding its mysteries, directly from the mind of its creator.
And what an album it is. Katedralen represents a more confident and honed collection of songs than Mork has ever had, at once immediately recognizable as Mork and becoming the natural evolution of the sound Thomas has been building since the inception of the project. These tracks marry a chilling aura of rising nocturnal demoncy with the storming caliginous fire of quintessential TNBM, rocking like a bastard whilst soaring with unmistakeable grandeur and grimness – the perfectly executed juxtaposition of epic, longing elements against primal neck-wrecking riffage ensure tracks ‘Arv’ or my personal favourite ‘Det Siste Gode I Meg’ (and any others really, they’re all fucking fantastic) will remain seared in your memory for an age. Featuring guest spots from Nocturno Culto, Dolk of Kampfar and Eero Pöyry of the legendary Skepticism, this truly is one of the finest albums you’ll hear all year and deservedly elevates Mork into the upper echelons of the Norwegian black metal pantheon… not that they weren’t there already, of course.
So without further unfortunate delay, read on below. Grab yourself a copy of this ferocious slab of seething obsidian from the great Peaceville Records, and enter the Katedralen. You may never return.
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Greetings, Thomas! It’s an honour to be speaking with you today for the release of Katedralen – in my opinion, the best album you have ever released (which is saying something!). How has the response been so far, and how do you personally think Katedralen stacks up against your previous works?
Thomas: First of all, thank you for taking a shine to the album. All the albums are a part of me, however there is a natural progression going on. Luckily people are able to evolve on many levels. To me this new album is my finest work to date. It feels complete and overall solid. It is of course also the last album in a line of albums that have been created whilst Mork has been evolving.
I’ve read that the conceptual genesis for the album’s title harkens to the very early days of Mork – you were originally going to build an EP around the concept which never happened, but have now decided to bring it back! I believe this concept is solidified in the album’s stirring final track, ‘De Fortapte Sjelers Katedral’ (translation: “Cathedral Of The Lost Souls”). Could you tell us a little more about this concept? What was it about this idea that allowed it to stay with you for all these years, and why did you decide to finally revisit it?
T: Yeah, some ten plus years back, I made up this concept. It was basically a four song idea for an EP, that’s correct. The first being an ambient track to set the feel of a vast desolate wasteland and a chained row of lost souls on a journey. Second track would be about crossing a massive bridge that would collapse into a deep black pit. Third track would be that there’s no way back. Fourth track leads the souls into the huge dark cathedral, where they would dwell in eternity. That’s the story behind it of which it is based upon. Since I didn’t finish it back then, I thought it would be cool to bring back this time around. I was thinking about art and titles etc for this new album and then it just came back and hit me.
Aside from that composition another highlight for me is the epic ‘Det Siste Gode I Meg’, which if I am correct, translates to “The Last Good In Me”. I know you don’t like to talk about lyrics, so I will not ask in detail, but this sounds like a fascinating premise and the way the track unfolds into the wonderfully affecting, layered harsh/clean sung chorus only intrigues me further. What is the story behind this song?
T: This has to be the first song that was created music wise for this album. That happened already whilst I was midway through the recording of the previous album. The epic riff with the clean vocals really hit me hard, when coming up with it. I remember recording it and thinking “damn, I won’t be able to use this for another couple of years”, as I had predetermined what Det Svarte Juv was to be consisting of. Funny how one makes rules for oneself like that. However, the track is a gem. I am very pleased with how it turned out. It is actually our live-guitarist Alex’s fave song now. You are correct regarding me not wanting to talk about the lyrics, but I can tell you that this song roughly depicts the turning point of when the good fades away in you as a person. We are rehearsing this one, so hopefully we’ll be able to take it to the stage in the future.
Speaking of which – your clean singing has always been another great aspect of the Mork sound, you have an excellent grasp of melody. I know that you developed your clean vocals in a pre-Mork project (I’ve seen some clips!), and now they’re really growing into the Mork sonic palette – I’d like to hear more! Could we see these vocals utilised even further in future albums? Perhaps even an all-acoustic and clean sung neofolk Mork tune, or something like that?
T: Thanks. Well, I am a musician and artist at heart, so I am open for most genres and ways of doing things. However I have found my comfort-zone within Mork, after spending the last decade almost only doing that. But it feels good to come to the point when I can include even more elements into Mork’s music. To me there are no rules anymore, other than the obvious which is to maintain the spirit of Mork, which basically is mine. I suppose you’ve heard the acoustic Burzum track? Who knows what happens in the future. I am always creating on a whim without any specific plan.
Mork albums all have their own feel and flavour, and each progresses from the last – Katedralen is no different. Given that this is the fifth Mork album, and you have been the creative force behind it the entire time – how do you personally note that Mork has developed from that debut album Isebakke until now? Has this development been a conscious thing on your behalf?
T: When I decided to create Isebakke, I was determined to make as primitive and nekro music as I felt comfortable making. Which in a way sets a frame and a pre-set mould. So the first couple albums was a but strict and straight forward Black Metal works. However there are elements here and there even on those two albums that hints to something more. To put it simple; I have been widening my horizons more and more for each of the albums up to present day. Ending up really not giving a shit about what expectations or pre-set black metal rules that would be out there. This is my music and I do what I wish. Absolutely a relieving and freeing state of being.
You’ve already released an official clip for the record’s third track, ‘Arv’. How was the shoot? Was there anything special about the location it was shot, or anything noteworthy about the experience for you?
T: The video was shot entirely at the Fredriksen Fortress of Halden. Inside a bunker type structure and outside on top of the fortress. It was shot during really cold times and I can tell you that it was even colder inside that bunker/fort thing. Grueling experience, but very cool as well. The video was done by our friend John Heramb of Gray Gull Productions. I actually kept the torch for a long while in case someone would want to have it. But as I left it outside, it broke in half one day, and I just threw it over the fence.
As many may know (and if not, everyone should check it out), you’ve recently been doing a very successful project – The Thomas Eriksen Podcast, with some incredible interviews! Fenriz, Vicotnik, Gaahl, Silenoz, Havaard and many more have all been guests… it’s been a fantastic listen. How has it all been for you? Any hints as to who you may be speaking with in future episodes?
T: Yes, everyone should check it out. This is something I do for free, and do not make any earnings from it. Other than a few cents off YouTube, perhaps. It is fun though to see people writing shit comments and criticizing, when I provide them these episodes free of charge. But, people are idiots. It’s been a cool journey doing this the last year or so. I released episode number 24 last night, which was featuring the talented Jannicke Wiese-Hansen. If it hadn’t been for covid, there wouldn’t be a podcast. I figured I’ll try this thing once and for all, and it turned out quickly good in the end. I know a lot of people and peers, so it’s all great and relaxed conversations. I’ve been told by close friends of Gaahl that has stated that our episode together is the most candid and open interview he’s ever done. And I think I’ve achieved that with most of my conversations, which is a cool thing. There are more guests coming up, but I hold the cards close to my chest.
Speaking of noteworthy guests – there are also some great guests on Katedralen! Nocturno Culto returns once more, and you also have Dolk of Kampfar and (this one is the biggest surprise for me) Eero Pöyry of the legendary Skepticism. What is the story behind Eero becoming involved? Was he aware of your work with Mork before coming on board?
T: The story goes that when I discovered Black Metal, or tried to dive deeper into what this was all about, I also discovered other “extreme” genres. This has to be back in 2001 or so, shortly after catching a live Mayhem show. I came across Funeral Doom, and I think Skepticism was one of the first and only names I checked out. I came across a sound clip of ‘Sign Of A Storm’ off their debut and that touched me in ways I’ve never felt before. An overwhelming feeling of loneliness and hopelessness that has stuck with me in my memory ever since. Fast forward to when creating the “title track” of the new album. When deciding to end the track with that eerie yet beautiful melodic riff, I figured it really reminded me about Funeral Doom. And when the theme is a cathedral, pipe organ is an obvious instrument to include. That’s when I remembered Skepticism from discovering it back in my earlier days. What got me to reach Eero is the fact that the band The Deathtrip happens to be signed to the same label as them. I recorded bass on the last The Deathtrip album, by the way. Well, I reached out to the label, which is Svart Records I believe, and got a hold of Eero. Later I travelled to London to catch a rare Skepticism show at Finfest and also went out for a nice dinner with Eero, where we discussed his involvement. Great circle for me as both an artist and person.
It has been noted that in your personal life you don’t just listen to black metal, instead appreciating a wide variety of music. So, a question – if you could have absolutely any artist that you admire come to guest on the next Mork album, living or dead, from any genre of the music spectrum… who would it be, and why?
T: Oh, that’s a hard one. I tend to think of guests a bit spontaneously or when a track calls for it. Well, since it’s more a fantasy; perhaps to be able to have Paganini on would be interesting.
As we know, touring and playing shows has been quite difficult of late – a shame, because I am really quite hoping that Mork makes it down here to darken the shores of Australia one day! Have you been missing shows? Where is your favourite place to have toured so far?
T: Touring and traveling has become a big part of my life which I truly do enjoy, so that’s rough these days. We would play all over the world, as long as people would like to see Mork. I remember when sitting at lunch in Izmir, Turkey, before our show there and the promoter talking about setting us up with a gig in Tel Aviv. I am disappointed that never came to be, but perhaps in the future. This far highlights has to be our trip to Los Angeles, Las Vegas and San Diego. You know what, most trips and shows have been great experiences for me.
If I may be so bold here: with True Norwegian Black Metal being close to my heart since the mid-’90s, it is my opinion (and that of many others, I’m sure) that Mork is among the absolute best of the last decade, carrying the torch forward into the current era and only getting stronger and stronger. And you’re not just carrying that torch of and for yourself, but with the entire spirit of the past in its flame – via sound and your work diving into history with guests on your podcast, you’ve almost become a kind of ambassador for TNBM in the modern age. A strange thing to say, I know. How do you feel about that? Do you think TNBM is timeless? Where do you see it heading in the future?
T: Wow, that’s quite a load on my shoulders. Thanks a lot for the praise and confidence. However, I do not feel that I am such. I merely create music I have inside of myself and live my life my way. I was never around in the early to mid 90’s, as I was at school age back then. So if I am sharing the experiences or mindsets of the early artists of the genre, I have no idea. I am living it now, you know. To me it is about being in solitude and just extracting these feelings and atmospheres within me. Of course I have been listening to the great works of these people, but that’s it. I think Black Metal is something universal that everyone can experience. As long as there is a human race, there will be dark sides of things. The Norwegian element is of course something special, and I do believe it will remain. At least as long as I am still here.
And finally – what are your upcoming plans for Mork? Do you have anything lined up that we should know about?
T: Can’t wait to unveil my massive structure in March, the album, that is. Hopefully we can be able to play more shows. If we don’t get to travel to you guys, we will most likely try to host more live-streaming shows. The one we did back in May in Halden was a success, as I see it. 30-40 thousand onlookers, which we interacted with, was a great but strange experience.
Keep an eye out on the Mork Instagram and Facebook, as well as the podcast. The internet has taken away a lot, but I have to admit it has provided a direct transmitter to the supporters out there.
Sincerest thanks once more for your time, Thomas! Congratulations on another triumphant addition to the Mork canon. Any parting words or wisdom you’d like to leave with us all?
T: Thank you for the well thought out questions on here. And for the interest of course. Black Metal may be about sitting in a cave somewhere being nekro and hating all, but without exposure no-one will get to hear or see it. Keep the black flame lit and seek out Katedralen when it’s on the horizon.
Katedralen is available now via Peaceville Records.
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Purchase Katedralen on CD, LP or digitally HERE.
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