I was introduced to the cosmic splendour
of VEMOD by Reinier Vlemmings of Aurora Infernalis in January 2013. I feel I
want to highlight here how Reinier's annual autumnal festival in Arnhem (NL) has been,
since its inception, the pulse of underground black metal at its best, consistently
featuring the most meaningful of the up-and-coming bands: in short, a true connoisseur. We share a particular fondness for deeply emotional, contemplative, atmospheric
Norwegian black metal; exactly what Vemod can be described as. I cannot
recommend enough their full length “Venter på Stormene” (2012) on Terratur
Possessions, but you also must do yourselves a favour in seeking out their split
single and two demos single, the first of which goes back as far as 2004. Vemod
is primarily an artistic and spiritual endeavor which happens to be expressed
through the boundless language of music. When this is the case, time-space
loosens its constraints... Preserving personal and artistic freedom in the
truest, most profound, life-enhancing sense, means everything to an artist (and
I humbly include myself in this broad sphere), so it is utterly appropriate that this interview with Jan Even Åsli
(Vemod, One Tail, One Head) should take many months to materialize.
Your
words & lyrics resonate with those unutterable yearnings that forged my
heart and soul since memory can recall. People like us, dreamers, are not
interested in being the center of attention (our time is often spent looking
inwardly) yet, even speaking to a few souls is enough reward for an artist,
isn’t it? Have you ever felt vulnerable in sharing, ever had any doubts?
I have had doubts, many times, but never
in the moment of creation itself. The expression is formed in some kind of
isolated naivety, where there is no doubt or fear. There is just an
overwhelming sense of certainty, necessity, urgency - the work has to be done.
It is an outburst of honesty. Then, when the ecstasy of the moment has passed,
and the work enters a new phase, you realize you have stripped your heart naked
for everyone to see. This, of course, makes you extremely vulnerable.
It hurts to be "attacked" at
your most personal. This work comes from the very center of my being and that
is why it is almost dangerous to let it out, it has this ominous sense of
personal risk. This is just part of the deal when you choose to share with the
world, to throw yourself out there. Who knows where the path goes? You just go.
Those moments you speak of makes it all worth it, and I have experienced enough
of that to remain firm in my belief. And to be challenged is course healthy,
you grow, you mature, you question yourself and you question your world. At
times it is a painful and exhausting process, but most of all it is a rewarding
and valuable process.
In the end you go through it all because
of the belief that someone out there feels the same way. It is not for
everyone, but it is for someone.
Someone will connect. And that is powerful.
Overwhelming
mystical experiences occur naturally when we are truly at one with Nature, of
which our planet is a mind-boggling manifestation: experiencing on a deeper
level its multifaceted, contrasting and often ruthless sides, ultimately shows
that Nature is beyond (the abstract ethical concepts of) Good and Evil. I
personally consider this realization to be a big stepping stone towards
spiritual freedom: is this perhaps more easily comprehensible for the
Scandinavians, who are more accustomed to the harsher face of nature?
No, I doubt it, although I do not really
know. I never lived anywhere else, so it is hard for me to make a comparison. I
would think this is like most other places: most Scandinavians, myself
included, grow up safely sheltered from nature, and especially its harsher
sides. If any, only a very few live close enough to nature for it to make a
difference to their worldview. I may be wrong of course.
That said, nature is there for anyone to
see if you wish to experience it. I grew up with nature on my doorstep, so I
had the choice, I could seek into it if I wanted to. And I did, but my
relationship and my experience with nature has been more contemplative and
meditative rather than being closely exposed to any of its harsh and brutal
realities, if you follow me. As a modern human being you will most likely play
the role of distant observer whether you like it or not. I must say I have come
far with just that, so I will not complain. It may be enough to have those
experiences you speak of, and they can really make a difference in ones life.
It is difficult to say what it means to
be truly at one with nature. I think something as simple as just being in or
around a natural landscape - seeing, feeling, being - can do wonders to a
person. Is it the same as being truly at one with nature? I would not know, but
it might provide that space which is so sorely needed in our crowded lives. Overwhelming
mystical experiences, whatever they are, do occur, and they grant new
perspectives and are capable of transforming lives. We should take good care of
them.
In risk of sounding utterly pretentious:
music, and the deep experiences related to it, makes me, somehow, feel deeply
connected to nature. I cannot explain it properly, but I have thought about
many, many times. There is a yearning expressed through music and art, and it
often seems to be some kind of quest to establish a connection with the beyond,
or a realigning with nature on a deeper level. As modern-day human beings we
often feel alienated from nature either we want it or not, but does it have to
be that way? We are part of nature too. Some revitalize this union by leaving
the urban centers to live in the woods or by the sea, others turn to religion,
and again others create art.
If
we look above us and into the cosmos, things become even more
awe-inspiring! Man has observed the sky
since the beginnin: planets, stars and cosmic events delivered cryptic messages
from gods upon which depended his survival. How terrifying it must have been to
witness a solar or lunar eclipse! I guess that watching the northern lights at
a very young age must be an overwhelming experience even today: Michel Langevin
of Voivod told me how witnessing that spectacular but strange event on his own
marked his life in a very strong way. Where does your love for the cosmos stem
from?
Good question! I have no idea to be
honest, but I was a curious child. I grew up in a literary home, where the
shelves were filled with books on all kinds of topics, along with vast amounts
of fiction. I was constantly encouraged to learn and explore whatever
interested me at any given time, and I am certain that from this I developed a
great love for knowledge and mystery alike. I spent a lot of time alone (I
never went to kindergarten), and this may have enabled to me to look deeper
into myself at a younger age. It certainly gave me a lot of time to ponder and
dream, and since I often did this in the nearby forest, I think the line
between inner and outer, matter and spirit, was obscured from early on (perhaps
it is so for all children). This was where the magic happened. These were the
golden moments of my childhood, and somehow I managed to keep a certain hold of
this feeling, first and foremost through music and other art forms, but also
the pursuit of more scientific knowledge. This is what keeps me going, and I
think a love for the cosmos is a fundamental element of this journey.
I had many wonderful experiences with
the aurora myself, and I can confirm your suspicion. I remember being afraid of
it, actually, as a child. I think we attached some kind of imagined lore to it,
which involved having to run away and find shelter from, in order not to get
"burned". Or something along those lines. My imagination was rather
fantastical in those days. I have had many spellbinding meetings with the
wintry fire since then, and especially one in particular points itself out,
just a few years ago. It was mid November, and I was up north, visiting my
family and working on papers in peace and quiet. I was stepping out in the
front yard, just to draw some fresh air before going to sleep, and I saw some
faint flashes across the night sky above. I decided to stay outside for a
while, to see if I could catch another glimpse of it. Then, as I stood there,
looking up, tea in hand, music in mind, the firmament above was slowly and
carefully painted before my eyes, with masterful strokes by some invisible
hand, forming abstract shapes and figures in gracious icy splendour. Within
minutes it changed, from a calming and comforting play of light and shadow to
an intense and exhilarating drama, as the sky above began to transform. Slowly,
then rapidly, with swirling motions, the light seemed to form a vortex which, with
breathtaking intensity, was spinning around itself directly above me. I
remember the distinct feeling of the experience, as if I was lightly pulled
from the ground and upwards, then sucked into the whirling heavens.
It lasted for only a few minutes, and my
feet were of course firmly rooted on the ground the entire time. Still, it was
a powerful and awe-inspiring encounter with a fascinating and beautiful natural
phenomenon. It was also one of several sources of inspiration for the word
"Virvelhimmel" (whirling heaven or sky), which occasionally shows up
in Vemod lyrics and other texts I have written, as well as being a very likely
title for the next and upcoming Vemod album.
It
is deeply human to associate the real world and the metaphysical planes with
the abstract concepts of Darkness and Light in an effort to grasp and explain
the cosmic cycles of Life & Death, yet the ancient Greeks invented the
scientific way of reasoning! Today we still look up to the stars, seeking
comfort from their cold silence, longing to return to our “home”, but I
personally embrace science as an essential, exciting companion along my
spiritual quest: do you use the images
of stars and far away galaxies mainly as philosophical metaphors, or are you
also fascinated by what they actually are, how they formed and so on?
Oh, yes, absolutely! I love science.
Enough to spend eight years fumbling around at university. My mind seems to be
better equipped for the humanities, but the natural sciences still remain a source
of endless fascination and wonder. I do not always understand everything, far
from it to be honest, but that makes it all the more alluring. My knowledge of
astronomy is basic at best, but it is one of those things I can nerd my way
deeper into if I have a free night to spare, and the right mood is there.
I like to apply both the scientific
approach and the emotional approach and I think they are both valid and
necessary to grasp the world we live in. I see no reason to let one push away
the other. It seems to me like a good idea to make use of the great tools they
represent.
The use of stars and cosmic imagery in
Vemod is almost obvious, seemingly inescapable, given the nature of the music,
the lyrics and the depths we touch upon through the experience. I believe it
also enhances the sense of wonder and awe explored in the music. The stars are
such vibrant symbols, in their inexhaustible depth and inspirational energy,
endlessly layered with myth, magic and mysticism. Philosophical metaphors,
perhaps, but just as much catalysts of atmosphere, simply too great and
powerful not to make use of.
The
flesh inexorably grows old, but our soul is a flame that must be fed for as
long as we breathe, and Music is an inexhaustible banquet! For some it is just
mere entertainment, for many it is part of a sexual ritual that eventually
extinguishes itself, however, for some Music is an ocean where a spiritual
journey keeps unfolding, unpredictably and endlessly. How are preparing
yourself for a life that will demand more and more attention from you as time
goes on, through responsibilities such as establishing a family, work, social
duties and so on?
Wow. Well, I guess this is the question
I should be asking myself right now, and not being confronted with it in a
Vemod interview, ha! I wish I had a straight-forward and concrete answer to
this, that I could unravel my grand and utterly genius master plan for the
future and share it with you right here and now. Unfortunately, I do not have
such a plan.
I have never had a career in sight, I
have simply followed my heart, to whatever extent possible. (Cliché, yes, I
know.) At times feeling somehow guilty for doing so. Most of us feel the
pressure at some point, the expectations of the surroundings of living a life
of normalcy and conformity, and it is not always so easy to resist. I have often
wavered, and still do, but then again, there are many ways to lead a good life,
and who am I to know which the best is? Quite possible, there is no way to
tell, and maybe there is no such thing as the best way.
I just know that I want to fill my days
with music and art to the best of my ability. I am not always very successful,
so this is something of a process, a goal or a motivation, to see the art in
the small things, every day. It seems if one manages to do this, all the other
duties and responsibilities will be easier to handle. On the other hand, I know
that one should not take anything for granted, and that everyone may face
difficulties and burdens seemingly so heavy you give up on all dreams one might
have. Such times are tough, and they come to you no matter what, but it is
precisely then when you will need those dreams and that art the most. It is so
hopelessly difficult when you are in the middle of it, but so inexpressibly
rewarding when you come out on the other side.
At the end of the day, maybe it is best
not to plan too carefully anyway. I make no predictions. The future is a
mystery to me, and in a way I like it that way.
In
another interview you mention welcoming “economical ruin” as a possible
consequence of pursuing your goal with Vemod, which is spiritual in nature. Can
you see yourself remaining true to your inner “child” in your adulthood,
continuously marveling at the manifold paths in front of you?
Well, even though that was said with a
touch of irony, there is always a balance between fear and curiosity towards
the future. Through times of distress, Vemod has functioned as a retreat to
regain clarity and a sense of essence, a sort of haven in the midst of whatever
emotional turmoil might be raging. I feel quite certain it will continue to be,
as music in general, really. In addition to this, there is also the purely
positive, explorative and creative side of it, which is often spontaneous and
free-flowing, and that is equally important. They are degrees of the same
essence, so I believe the music covers the whole spectrum of life.
My point is that I absolutely see myself
marveling at everything ahead, mostly because there is really no choice. It is
too central to the life experience to ignore or leave out, and it will find a
way, whatever happens. I know there will be times both good and bad, but still,
I cannot really wait to delve deeper into music and life.
“To
Raise Among the Stars”! When I listened to Vemod and saw its physical dimension
on stage, for some reason I imagined you came from the more sparsely inhabited
north of your country, and I was right (Jan was born in Namsos, nearly 200Km north
of Trondheim, aka Nidaros). You have a vision and a depth of perception that is
not easy to develop if you grow up in a large city: although one can gaze at
the sky from a window or take a walk in the park, light pollution mostly veils
the spectacle of the firmament. Humans are not yet fully adapted to urban life,
and our consequent neurosis is palpable. The thought that some urban people
live their lives without having any meaningful relationship with nature, busy
as they are to make money and have a career, is truly unconceivable… What is
your relationship with the wilder side of Norway, and the modern world?
Well, as everyone else, I grew up highly
domesticated, but still it was not completely urbanized. As a child, nearby
forests served as the ultimate playgrounds, as a teenager they were sorely
needed havens and hideouts when times were tough. As a result I have close
emotional ties with nature. Growing into adulthood it has remained a sanctuary
of utmost importance: a place to seek comfort and calm in times of difficulty
and hardship. Some time alone out here, away from everything, even if only for
a short time, letting silence sink in, is therapy like no other.
The modern world? Well, happens to be
the world we all live in, and while it surely has problematic aspects, which it
has had through all times, it has a wealth of wondrous and wonderful ones too,
which I am determined to explore and make the best of. I do not subscribe to
this conservative, traditionalist, anti-modern view that seems to be trending
these days, and it does not make sense to me to blame "modernity" for
every problem in our world, while seeking comfort in some highly romanticized,
utopian "past" (such constructs are often used to legitimize
questionable views and attitudes as well).
Urban life has its positive sides,
surely. What makes it problematic in the long run is of course the noise, pollution,
the mindless speed and stress. Certain situational circumstances made me unable
to travel much before my bands became active live entities, so I am only now
beginning to form an impression of the life in the bigger city (as you may
know, our biggest cities in Norway can barely be termed big cities at all by an
international standard). I do not feel I can judge it too harshly when I know
so little about it, although I am naturally drawn to rural and less crowded environments.
The older I grow I also seem to be more
and more drawn to music that cultivates calm and clarity, and as such can serve
as an antidote to the destructive distractions (stress, noise, etc) we are so
often exposed to living our lives. I would like to work towards implementing
more of the feeling being in nature gives into the music I create. I am very
grateful to those artists that are capable of doing that. I feel that has
potential to be a stepping stone to establishing a meaningful relationship, as
you put with, with nature, and with your fellow human beings and the world as
well.
As
artists, we recognize that “feeling” is something that has a fleeting degree of
intensity but it is an intrinsic part of our essence: at times it seems to
desert us but when it flares back, it’s the most beautiful, mind-blowing,
enriching experience! If we let the flame burn, it can take us anywhere... When
creativity is in free-flowing mode, the feeling that art “creates itself” is
staggering. As vessels we have a great responsibility to make it manifest in
the best possible way: finding the balance between capturing the purity of
emotion through an instinctive thought/act, and the subsequent filing-work
aimed at making it as true to its intended meaning as possible, is a complex
task. Do you approach it with preoccupation and intensity or with a serene and
laid back attitude?
How wonderfully put! I very much feel
the same way. I have been obsessed with the "concept" of feeling since
I read about it in an interview with Ted of Darkthrone in some zine in the late
nineties. I was around twelve years old (way too young) and thought: "Yes,
that's it!" I have contemplated what you describe above ever since. The
mystery of it deepens as for every year that passes by, but so does its beauty.
What is this sensation that no word can accurately describe? Where does it come
from, and what does it really represent? Well, part of its wondrous quality is
the fact that it goes beyond language. We can only hint at what it is in a
conversation. Through music, however, it can be communicated, and even
understood at an abstract level. Music can even make us feel at one with it,
for brief moments and or for longer periods of time, when we let ourselves
immerse completely and surrender to its power. Those are rare and precious
experiences, and it surely is a driving force for me. The feeling drives me,
guides me, and all other artists, towards that which is hidden beyond. It
enriches music as it enriches life. It is a gift beyond comprehension.
Do I approach it with intensity or
serenity? Well, a bit of both. It demands both, I think. It is like inspiration
- it will come easier to you if you actually work, rather than sit around and
wait for it. At the same time you cannot force it or bend its will - one must cooperate,
be one with the flow, and then it often comes naturally. You know, all the
things I have learned in life, demanded work, effort and time. Music being the
prime example, I guess. I am a horrible musician, and I struggled long and hard
to gain the skills I needed to do the things I wanted to do, but I did it. And
with this work, inspiration came along, eventually.
The
fact that northern people are “cold” is a commonplace stereotype: you often refer to the concept of “fire”,
which seems to be part of your “being”. You are a creature who welcomes and
embraces opposites, therefore this openness is perhaps one of the elements that
makes you feel separate from the more one-sided stance of black metal, which
focuses on the dark side? I see BM as one of the most fertile grounds for
boundless spiritual and philosophical research because I do not see any
separation in the opposite, but not many share my views on this regard.
Yes. I am often put off by displays of
narrow-mindedness, even if these philosophies are elaborate and articulate. A
lot of the attitudes held in (extreme) metal culture are often such that I
cannot always relate to them, but it is not a homogeneous "movement",
and there are a lot of very interesting and even constructive approaches to be
found as well. That is how it always is, everywhere.
I see what you mean, just look at
Dødsengel for example - boundless indeed. They transcend all genre specifics
yet everyone agrees on their black metallic essence. Personally I like to focus
more on "music" rather than "black metal", so the questions
about what black metal is or can be become irrelevant to me. You are completely
right, though, but I think it goes for music at large: it is an infinite arena
for all kinds explorative journeys. You just have to use it the right way. It
is a matter of honest intention and establishing a bridge between worlds.
Outside
Norway there is a widespread understanding that “true black metal” is about
Satanism. Those who were there at the very beginning have always gone out of
their ways to explain that Satanism wasn’t in the picture at all when it all
started. So what is it exactly that encapsulates BM for you, given that the
Nidrosian collective declared its mission to restore black metal to its former,
truer meaning?
Referring to my answer above, I am
certainly not the right person to ask. I have an outsider perspective when it
comes to these topics, and while the discoursive movements back and forth are
interesting to behold and observe, they are not very important to me
personally. I can only speak for myself, of course.
I
can relate to your approach where technique becomes redundant in pursuing
feeling and emotion in their deepest, most genuine form, and with both One Tail
One Head and Vemod you can freely apply this artistic philosophy. Yet, Vemod is
clearly the ideal vessel to embark on all sorts of creative adventures: do you
see yourself soon needing to widen and refine your technical skills further in
order to be able to be more expressive, or your plan is to allow yourself
complete freedom by “going with the flow”, so to speak?
A bit of both, perhaps? I have never
been a technical musician and most likely I never will be either. However, I do
need certain skills to be able to communicate my dreams in music. Ideally, I
would like to work towards a point where music is an all-encompassing craft,
melting all these seemingly divided elements into one. An open gate. I have
realized that creating such an environment will require work, and lots of it.
With that as an overarching goal, there
are many skills I would like to attain, or improve in various ways. Lately I
have been developing an interest in different aspects of the production, and
find myself doing research in many directions. Perhaps as a result of always
having been dependent on the skills of others, which can be limiting at times. Also,
the vast landscapes of sound modification and sound design absolutely
fascinates me, and would very much like to do some deeper exploration there. My
approach to music and composition is very textural, as can already be heard on
'Venter på stormene', so I have much to learn and gain from those fields. It is
the totality of the various elements combined that matters to me, so the single
lines themselves are just there to support the whole, and that makes technique
for the sake of technique rather redundant.
When it comes to the actual playing of
instruments, I expand when I need to. My skills have been basic all along, but
I feel I always made the best out of it. And along the way, with all the
projects, there has been so much rehearsing, and of course you develop, even if
it is not a conscious act. It is bound to happen when you simply play, and
spend time with your instrument. However, it feels like I am drawn to
experiment with other instruments, rather than just improve my guitar playing.
It is important to me to keep the enthusiasm of exploration and expansion.
In the end it is all emotion and
atmosphere. Again, honest intention is the most important, everything else will follow naturally.
Vemod’s
live rituals contrast greatly with OTOH by presenting on stage the
intellectual, nobler side of man, while the latter represents powerfully our
primordial, feral state. At Prague Death Mass you seemed to achieve a far
higher level of abandonment during the Vemod performance, showing a very
intense connection with the music: how scary and energizing is it to face a
crowd with something so intimate, something you have been accustomed to
interiorize for such a long time?
The experience is both horrifying and
ecstatic at the same time, as most profound experiences are. My belief in this
music is so strong that the work always has my full attention, fueling it with
intention. I think that goes for the other members as well. We deliver our
part. But in live performances there are other factors at play. There is a
synergy created between music, band, audience, and also space, time, mood and
atmosphere, and all of it matters and contributes to the whole of the
experience. The sum can definitely be greater than its parts, but it is a
collective effort and again, intention from many directions is needed.
That said, there are many ways to
achieve magic. There is no one way, no "correct" or "best".
I believe perfection is fiction, so I am very open to the various ways that
these events play out. I like to observe how the endless combinations of the
different elements change the feeling of the whole. It is a fascinating
process. The desired levels of intensity will always be reached, simply by
being attentive to the work and present in the moment.
The
Key is a powerful symbol: it’s baffling how many different portals it can
open… Do you think that Vemod in its
performance art aspect is already affecting its own creative future?
I think the live dimension and how it
all unfolded did introduce some change in the way I think about Vemod, but it
is more of an expansion than a change as such. It made me think in broader
terms, and it gave a whole new arena to creatively express ourselves in. I
think that creative energy will feed back into the craft itself eventually,
although exactly how it will play out is still unknown to me. As I said, I like
it that way.
After a year with these selected live
events, I feel the Vemodian universe to be enriched and deepened by the
experience, and I am looking forward to new endevours. We are already working
on some new projects, quite different from what we have done so far. Time will
tell what shall manifest.
A
curiosity: your live drummer is Cameron Warrack, of Canadian duo Sortilegia.
Logistically not the easiest choice, but worth it from what I saw! It makes
sense that, alongside your creative companion E. Blix, you chose to hook up
with someone on the other side of the world: no space-time barriers with Vemod…
Except from the mentioned distance,
Cameron is truly perfect for us. He is rock bottom solid, energetic and
powerful, yet there is an almost meditative quality to his performance, which I
find to be rare and precious. And of course he is a good friend, so it adds to
the collective spirit as well which is just as important as anything else. We
owe him a great deal.
Perhaps it really does make sense. No
space-time barriers.
Photos featuring VEMOD and OTOH taken at Aurora Infernalis V, Prague Death Mass II and Caledonian Darkness Pt.1
