Tom G. Warrior | Only death is real

This interview has been published on Radio Metal the 17/06/2019.

“Tomorrow, my career may be ruined. Can you imagine that?”: the day before the Requiem performance at this year’s edition of the Roadburn Festival, metal legend Tom G. Warrior was tense, and understandably so. The expectations were high, to say the least: a unique event, the concert was to be the grand outcome of a project he started thirty-three years ago when Celtic Frost was at its heights. Entitled Requiem, the piece, composed of “Rex Irae”, from 1987’s infamous Into The Pandemonium, “Winter”, the closer of 2006’s Monotheist, and a central part composed for the occasion, had never been played live before. The performance promised to be historical, involving Warrior’s band Triptykon and an orchestra, the Metropole Orkest,  and without a safety net.

This interview took place the following day, just a few hours after the Requiem was completed and hailed by a packed venue. Still in the heat of the moment, Tom went back on the genesis of this long-term undertaking. Majestic, rife with emotion, a musical marriage of heaven and hell, the Requiem is more than a music piece. It’s a distillation of a more than three-decades-long career that forged contemporary metal and a chiaroscuro take on death. Literally, on the death of several of Tom’s colleagues and friends, including Celtic Frost’s Martin Ain. And figuratively, on death as the inexhaustible muse, always tightly weaved into Warrior’s creative process: the Requiem is creation and destruction, life and death made one. We also talked about his numerous other projects: the Requiem might have been taken to an end, but Tom G. Warrior still has a lot to offer…

Tom G Warrior-Shelley Jambresic

© Shelley Jambresic

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Misþyrming | Sound and fury

This interview has been published on Radio Metal the 07/07/2016.

Is Iceland the future of black metal? Considering the amount of fascinating records released by the local scene (Svartidauði, Wormlust, Sinmara…) these last few years and the enthusiasm it stirred, it may indeed be. And that’s what legendary Roadburn festival’s programmers must have been thinking as well: not only they added quite a few Icelandic bands to their prestigious line-up, but they even picked newcomers Misþyrming as the “artist in residence” of their 2016 edition, following nothing less than Enslaved or Neige from Alcest.

So it’s during Roadburn that I managed to catch three members of the band for an interview a few streets away from the agitation of the festival, despite their (very!) tight schedule: in three days, they would play up to six sets with different bands and musicians combinations, the highlight being the Úlfmessa (Icelandic for “wolves mass”), during which no less than ten musicians would appear on stage. We took advantage of this flurry of activity to talk about many aspects of the Icelandic black metal scene, from its functioning to its influences to its… consanguinity.

D.G., H.R.H. and, T.Í., who play in Naðra, Carpe Noctem, and NYIÞ on top of Misþyrming, display just as much enthusiasm as control, and just as much humility as ambition. One thing is certain: this is just the foretaste of all they have to give.


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