|
Erik
Ravn and his compatriots in Wuthering Heights have recorded yet
another great progressive metal album, and in the end of October
it’ll be unleashed to the metal community. We have put a few
questions together for them…
“The Shadow Cabinet” is album number four from you, and
once more I think you’ve delivered a great album, but what kind
of expectations do you have for this album?
Erik
- I
think most people consider our last album as a kind of
breakthrough, at least in artistic terms, so this is sort of the
"difficult follow-up". So my basic hope is of course
that people like the new one as well, so that it wasn’t just
pure luck the last time. Also I hope that some of the endless
comparisons with certain other bands will end, and people will
consider us as a band that sets our own terms - but time will tell,
of course. And a bit of commercial success wouldn’t hurt either,
if the sales would at least cover the recording expenses my
situation would improve a lot...he he.
What do you consider to be biggest different between “The
Shadow Cabinet” and “From the Madding Crowd”? I think
you’ve integrated more symphonic parts as well as put a lot more
on emphasis on harmonies…
Erik
- I
don’t know if there will be a huge difference for the listener.
But to me it’s definitely more fresh and spontaneous, because I
haven’t lived with the new songs for years, waiting for a chance
to record them. So it was quite exciting to do something that
hadn’t been written ages ago. I guess the main difference from
an outside perspective must be that it’s a bit more mean and
heavy. It deals with darker subjects and the music is consequently
darker as well. But the main goal is the same - to have strong
songs that are exciting to listen to.
If you should choose one song, which represents the essence of
Wuthering
Heights
on the new album, which one would that be and why? I would pick
“Carpe Noctem”, which I think captures your style in one song
pretty good…
Erik
- That’s
probably a good choice. Also I think the song "Beautifool"
is a good example. It was the first song we mixed, because it was
very representative. It has almost everything within one song -
acoustic ballad-type stuff, those heavy folk-riffs, speed solos
and a lot of other stuff. I don’t necessarily think it’s the
best song on the album, but it’s definitely very
Wuthering
Heights
- oh yeah, and it probably has some of the more accomplished
lyrics as well.
The trilogy of the lonely wanderer ended with your last album,
so what story are you telling us this time around? Is the album
another concept album, and what does the Raven represent in the
story and what is the shadow cabinet?
Erik
- The
new album displays the shadow side of being human, those dark
forces that rule much of our existence and govern our ways of
behaviour. And it’s about learning to deal with those shadows,
accepting them and maybe even turning them to your own advantage.
So I would say that it’s as much conceptual as anything we’ve
done, but the songs stand on their own - there’s no continuous
narrative as such. There never really was, actually. I think that
whole concept thing was pretty over-emphasized in the past. About
the Raven - well, it’s me, isn’t it? It’s funny - when we
did the song "Tree" on the last album, people had all
kinds of theories that it was about ents and shit - I mean, it’s
called "TREE" - it’s about a TREE...ha-ha! And "The
Raven" is about - you guessed it....! No, seriously, besides
telling a bit about ravens and how they were feared in the past
for their supposed connection with dark powers, it’s about this
character that is sort of a shadow himself - a person with a very
dominant dark side and how people shun him because of it. But it
also says that you shouldn’t always look down on people that are
different - you might not like them, but then be happy that
you’re not like that and leave them alone...at least I think,
that are what it’s about.
On the last album you included a cover version, did you at any
stage of this recording consider doing another one, or wasn’t
there any song that would fit into the concept?
Erik
- We
did one, actually. We recorded "Shadow of a Gipsy" by
Danish progressive rock heroes Ache, but it will unfortunately
only be available on the Japanese CD. And that’s a shame 'cause
it’s such a cool song. It was originally recorded in 1970, but
we haven’t really changed anything, it’s so heavy in the
original version - blast beats and all.
Four albums, limited success – where is
Wuthering
Heights
in 3 years? I mean you could end up having released 4 very strong
albums that outside of power and progressive metal circles have
gone almost unnoticed. Must be very frustrating to get outstanding
reviews and nothing seems to happen for the band… I know both
your management and record labels around the globe do their best
to push the band…
Erik - Good
question - very good. I really don’t know, I hope something will
happen this time. I am getting older, and I guess there’s a
limit to how long you can spend all your time and limited finances
on producing something "for the fun of it". But then
again, quality isn’t something that’s very highly regarded in
this day and age, is it? But of course it’s frustrating to see
what sells and what doesn’t. I guess what keeps it going is the
response we get from the fans - we get a lot of nice emails and
stuff from people who have nothing to gain from telling you that
they like your stuff - they just want to show their support. And
that’s so important. I mean, the business is fucked, we all know
that, and most media are as well (sorry!), but if the fans are
there, I guess we will continue to supply them with metal! But of
course, the more fans, the easier it will be - it all goes in
circles.
The cooperation between you and Tommy Hansen has once more
resulted in an excellent sound on the album; he seems to be
capable to bring your ideas to life. Was there ever any doubt that
he would be producing the album? And how is it to work with such
an “institution” in the Danish metal scene?
Erik - No,
no doubt there. It’s part of the process of bringing the album
to life that I spend some weeks at Tommy’s place, concentrating
on the music without any outside disturbance. We work really well
together and his skills are just amazing. So he’s important,
both technically but also because of the fact, that he makes the
recording such a pleasant experience - which otherwise can be a
daunting task. So as long as there is Tommy to tell bad jokes and
serving rotten herrings, there will be Wuthering Heights
music...hahaha!! But sure it’s strange working with such a
"legend". I mean, I’m such a huge Helloween fan - and
back when we started playing it was always: "when we become
rock stars Tommy Hansen is going to produce our albums" - and
he was this far away divine character. And it’s like, now I sit
with this guy and we tell bad jokes and talk about music and I
know in the back of my mind: "this is the guy that did the
Keepers"...it’s very strange. But most importantly he’s
just so damn good - there is a reason for his reputation.
What do you consider to be the biggest accomplishment for you
and
Wuthering Heights, not necessarily sales wise? What are the strengths and where can
Wuthering Heights
improve?
Erik - I
think it’s quite an achievement that we have now done four
rather good albums without straying from our own path - despite
all the adversity we have faced. That’s at least something -
success would just be a bonus. I think our strength is that we do
not limit ourselves. We will do whatever it takes to deliver our
songs in the strongest possible way, regardless of narrow
genre-definitions. We have never ourselves proclaimed that we are
anything but a heavy metal band, and because of that we can do
whatever we like within the metal framework. But then again, you
can always improve your song writing. I always strive for that
perfect song structure, or that really moving lyric, but I think
there’s a long way until we peak in that respect. I mean, if you
constantly try to improve, you probably will. My goal is to get
that certain flow in the music - like Jethro Tull or Pink Floyd,
that can do really strange, complicated music, and yet it
doesn’t seem complicated because it’s so beautiful and every
note makes sense. And the journey down that road is probably
endless.
I am a huge fan of Nils Patrik, and it seems like it doesn’t
matter with which band he is currently recording, the result is
always top notch. To me he is a match made in heaven for
Wuthering Heights. How is to work with such an outstanding professional?
Erik - It’s
great, because he is so good, yet doesn’t have the attitude of
someone who has been in the business for a long time. He hasn’t
been recording for very long, but he has played in cover bands and
a lot of other diverse stuff for ages. So he really knows what
he’s capable of, but he doesn’t have the huge ego that usually
goes with that. Still, I think I’ve been able to push him
further that ever before - like I always do with people...he
he...it can be tough doing a WH album. And yeah, I think he fits
perfectly in WH, because he can really bring the drama to life -
and I try to give him a stage for showing his great talent and
also his diversity - whereas in some of his other projects it
almost feels like overkill to have a singer like that - sorry...
Anyway, he’s the best there is, and I feel so privileged to work
with him.
On your 2 last albums David Wyatt has created the cover art
work, but this time around you’ve chosen a new direction and
have worked together with Annika Von Holdt. I like the outcome,
which is a bit more gloomy and dark, and the raven is represented.
But why the change and did you feel a change was needed?
Erik - Yes,
it was a very deliberate change. With the music we have tried to
distance ourselves from this whole "fantasy-euro-so-called-power-metal"
thing, 'cause that was never what we were about, and so the cover
had to go in a different direction as well. It didn’t turn out
quite as radical as we wanted - we have these discussions with the
record labels every time - but I think it turned out OK. It fits
the atmosphere of the album and it’s not so typically metal.
With band members involved in other bands and projects it must
be hard to tour? Any touring plans for 2006?
Erik - As
usual, I don’t think we will be able to go on tour as such, we
simply don’t have the funds. But I think there will definitely
be more selected shows. We are quite keen to get out there and
blow the roof off. So our management is working on arranging
something, but I have no details yet.
The opening guitar sound on the European bonus track made me
think: Queensrÿche immediately! Coincidence? Have your ever
considered doing a Queensrÿche cover version; you have in another
interview stated bands like Pink Floyd, Sweet, Helloween and Gamma
Ray as huge influences on your musical career, so maybe they are
more obvious?
Erik - I
don’t know that much about Queensrÿche. I recently bought their
remastered early albums. And it’s great, but not something I
consider an influence. On the last album I had another clean
guitar part that was distinctly Floyd, and there are numerous
other small hints at my heroes to be found in the songs. But
it’s usually just small ideas - like a certain break or a
certain effect, I rarely base anything "important" on
other artists, I try to go with the flow of the single song and
listen to what it demands. But naturally, the way you access song
writing stems from your favourites - I like the complex
storytelling of Roger Waters and the emotional drama of Jim
Steinman, I like the lush vocals of Sweet and Styx, I like the double bass attack and soaring choruses of Helloween
and so on. So that is of course the backbone - but I rarely build
anything on any particular song or stuff like that.
I was wondering – could you name an album, person or event
that has had a huge influence on your life - and why
Erik - hehehe...The
Final Countdown. Seriously, it started it all for me, until that,
I thought heavy rock was just wild men making noise. But if it
hadn’t been that album it would probably have been something
similar, so I don’t know if that counts. Also Martin Walkyier
has been hugely important for me. He really opened my eyes to a
lot of things, and of course set an impossibly high standard of
lyricism to strive for. But maybe the most important thing - I
don’t think I’ve actually mentioned this before, and it will
sound immensely corny - was when I watched the movie "La
Bamba" about Ritchie Valens. The movie is OK, but it was the
concept of this dude always carrying his guitar around, being
totally consumed with rock ‘n’ roll - I wanted to be that guy,
and that was really a turning point. That was when I decided to
become a rock star...hahaha!! And it has worked perfectly, as you
know...HAHAA!!
Which album(s) have put a big smile on you face and has made
you bang your head in 2006?
Erik - Definitely
the works of Onkel Tom. I mean, this guy probably makes more gold
singing German drinking songs than he does playing in Sodom. It’s so fantastically entertaining and cool in every way. But
generally I have a growing respect for the many "silly"
bands out there, because the metal scene could really use a dose
of humour sometimes. Bands like Korpiklaani, Finntroll, Die
Apokalyptischen Reiter, Knorkator and many others that don’t
take the whole thing too seriously and still manage to make great
hit records. I like that. It’s good to have really serious
bands, but a bit of balance in everything is preferable. Oh yeah,
and Terrasbetoni...that is great stuff! It’s like "the best
of Manowar" only in Finnish - gotta love it!!
I thank you very much for participating in this interview and
sharing this information and your thoughts with us - these last
lines are entirely for you. Any final words you would like to
round off with?
Erik - Don’t let them tell you what
music you like - use your own ears. And if you like the new
Wuthering
Heights
- play it loud!
Interviewed
by Kenn Jensen |
