I would hope that anyone into the underground of UK extreme metal would by now be at least aware of the numerous activities of one Nattskog. Determindly self reliant and steeped in metal, he has been pouring himself into music for longer than his age suggests and with a real desire to stretch himself musically. With Cavernous Records having recently released compilation of his Garden Of Eyes demos ‘Eldritch Death Metal’ and a split between his black metal project Sykelig Englen and fellow one man entity Glemt out too via Legions Of Darkness, Ave Noctum thought it was the perfect time to see what inspires him.
So please, grab a cuppa or a beer and take a little time out to discover what drives the man onwards.
AN: Greetings Nattskog. I hope this finds you and yours safe and well in this shitstorm of a year.How is the pandemic affecting you? Have you had any upsides to the mess? Are you a big gig goer and if so how is their absence affecting you?
Nattskog: Greetings from the crypt! I lead an extraordinarily isolated lifestyle, primarily revolved around my various music endeavours, writing and hiking. To the end, I have found no change whatsoever other than, as you guessed, the lack of gigs. It is a strange time but one I hope proves fruitful and inspiring for all the miscreants out there!
AN: Oookay. So. By my calculations even after a large cull recently, you have, what, 5 ongoing projects at the moment: Sykelig Englen (black metal), Garden Of Eyes (dark, old school death metal), Ritual Flail (ambient black metal), Hexivoid (dissonant death metal) and Blasphemous Degredation (um… wonderfully fucking noisy war metal?). Have I missed any? We also need to add that you have the record label AHPN, your blog where you review stuff seemingly daily, your constant purchases and the odd vlog. So simple question for us mere mortals: How the… do you manage to organise this in between eating, sleeping and the crap that goes towards generally keeping alive?
Nattskog: That is correct! 6 actually if you include mine and K’s Black-Noise project Violes Par Les Cygnes. I have always been obsessed with Heavy Metal, so I decide between as you stated my various inputs to that glorious genre that I must live it and breathe it. It is not a hobby nor just something “fun” for me, it is my lifeblood.
AN: I presume from all this that it would be fair to call you a bit of a metal obsessive by your social media posts, yeah? How big is your collection of physical albums?
Nattskog: I think that is an excellent complement! I have around 2000 albums of Metal, split between Vinyl, CD and Tape. I play records in all my waking time, so it seems sensible to surround myself with it! I see it as a necessity entirely.
AN: So to backtrack a little, you’re in your very early twenties. Where were you born and what was the first music you remember hearing that you remember? What was the first music that made you want to be a musician? Do you remember the first time you heard a metal band and went “Yes! That’s it!”? How did these formative years lead you down this path into the land of creating extreme metal in addition to listening? Do you listen to much music outside of metal?
Nattskog: I was raised in the UK, by an eclectic blend of Norwegians and English. I first got into Metal aged around 7, due to a band called Dream Evil. This certainly made me start having thoughts about becoming a musician which was cemented when discovering bands such as Kalmah from Finland with their riffs that chilled me to my core. Naturally I delved further into Extreme Metal and decided that was my calling. Reviewing bands (especially underground stuff) inspires me as much as the classics and fills me with pride to be part of an unstoppable force that is Heavy Metal! I do listen to other music, though not too regularly, such as folk, punk and ambient when the mood fits. I think diversity is important for inspiration but shouldn’t be forced and I find 99% of the time Metal is what I yearn for.
AN: Do you have any time for any interests outside of music? I know you’re a bit of a gamer, but do you read much? A bit of the countryside walking that is nice to see so many metalheads do these days? Films? Any of these feed directly into the music (apart from gaming which we will come on to later)?
Nattskog: Ah yes, I wouldn’t call myself a gamer as generally I do not play video games much however my avid love of Bloodborne is an exception to the rule. I hike daily, finding nature perhaps the only thing that comes close to music in terms of catharsis. I love Horror movies too, especially from the 80s and generally watch those every night which naturally inspires my morbid mind!
AN: So what was the last horror film you watched that sparked some musical activity? Do you have any ‘somebody’s horror films you often return to (just for example, the Spanish original .REC a is one of mine)
Nattskog: I am an avid Romero and Fulci fan so I am constantly watching the classic zombie movies. I also have a vast interest and knowledge of mushrooms and fungi so “The Girl With All The Gifts” and it’s use of the cordyceps fungus as means of zombification fascinate me, a movie parallel to the game “The Last Of Us” for those who do not know it. Donnie Darko is one of my favourite movies, one I have a tattoo from actually, which my father also had. Otherwise I love Lovecraftian stuff like “From Beyond” and “Dagon” and Mummy / Egyptian horrors, especially the Hammer ones.
AN: Is it a musical family you come from? I’m guessing no one can get as far as you have without encouragement in learning music so which instrument did you start out on and how? What instruments do you consider yourself competent at now (guitar is a given here…) and how do you fit in practice? Which instrument gives you the most trouble?
Nattskog: Actually I do not at all, while my father was hugely into music (nothing remotely Metal though), both of my parents had a more visual side to their creativity with art degrees. To my knowledge and limited contact with my family due to geography (and being a Metal-hermit), I do not believe there are other musicians. I initially learned clarinet in middle school as I was attracted to the dissonance that is certainly not lacking in my music now! Guitar came in at around age 11 and has been my main creative outlet. As with most guitarists I can play bass fairly competently though would never call myself a bassist like Steve from Death as that man can truly make the instrument sing! Vocals and keys I do to the extent I need, though again, not on a professionally trained level. Thankfully my family supported me doing music thus I was able to have professional guitar tuition for years before I went my own way with the instrument. Drums give me the most trouble, I have a kit but never played drums on one of my records since the first Sykelig Englen demo “Immortal Throne” as it just isn’t my forte, thought recently I started trying again so maybe that will change.
AN: If they have heard your music, what do your family think of the racket you make? 😉
Nattskog: My father never heard more than me learning guitar as he died when I was 14 and my first proper record “Hymns of the Dead” (Sykelig Englen) was in his memory. I also played a cover of “Sabbath Bloody Sabbath” recorded for his funeral that has not seen the light of day since. My mother is hugely supportive and while not to her taste at all, as a creative can appreciate the work and nuance in my “racket” as you put it so well. My grandparents are very tolerant for people of their generation too (at least those whom aren’t festering already) so can also appreciate my disdainful sounds.
AN: Everything you do is predominantly solo work. Is this choice or necessity and if choice why? I know you have played live with a band so how was that? Did you enjoy it? Would you ever see yourself in a band sharing writing duties and with a full permanent lineup for live shows?
Nattskog: I played in bands as a teen and discovered how much I hate being around people for the most part so went solo. I discovered this allowed me to truly see through my ideas to their very ends without interference and preferred it. I do hope to play live more when the time is right but it is a love-hate thing for me, meaning I love the 30-60 minutes of playing live and detest what comes with it. I think when I can do it more efficiently and comfortably (IE with transport such as a car/van it will be more viable to do), though I would never like to become one of those bands you see on every lineup.
AN: How do you decide what is best for each project – do you set about writing for something in particular, or just sit down and see what comes out? A bit of both?
Nattskog: Most of my projects are born of fluke, I will have inspiration that doesn’t fit something I have going already so I will decide to make a new entity. To me it makes sense as whether it be across multiple albums or a single demo, it keeps the train of thought pure and allows me to express all I want to. Anything else would feel like it was impeding my eclectic storm of ideas.
AN: What is your recording setup? Have you had any help or advice in developing your recording skills, which really seem to be coming on.
Nattskog: I have a basic interface and microphones into logic pro. I know very little about recording so the progression is just trial and error really. K who has worked with me on a few releases often helps me with certain elements such as drums and mixing on the new Hexivoid. To me it is a necessary tool but not an interest (production) thus I just practice it when I am in the situation. I don’t have the mixing talents of many solo musicians but hopefully through my restless outputs I will get there!
AN: You really have been growing up, musically speaking, in public putting out demos for consumption by the general public for a good while, sending them out for review etc. All of which can be rough when the bad reviews come in. I know from personal experience that you respond with grace and positivity to constructive criticism so where does both the toughness to take the trolls and the positivity to use constructive criticism come from?
Nattskog: I have utmost conviction in what I do. I don’t do it to please nor get validation, I do it because I need to. If someone hates it, loves it or doesn’t care, so be it! I have too many real world focuses to pay heed to online insults. Constructive criticism is a different game as I believe it to be more useful than a stream of complements in some cases. Anything I put out for the world, people have the right to say what they want, just as I have the right to take it on board or ignore it entirely.
AN: You release most things through AHPN but also collaborate with other underground labels for some physical releases. Is this just ‘whatever comes up’ or do you like trying to work with specific people on specific releases?
Nattskog: I only work with labels who share my views of music and execute things how I think they should be. AHPN is almost a distro for my various deals copies I get sent but also releases things too. Labels like Analog Ragnarok, Legions Ov Darkness, Ancient Entity, MSH, Clobber and so on have really aided my visions growth and I will forever be grateful to their hard work and support! These people are all die-hard Metal maniacs who deserve the respect of the scene, I hope to continue working with them and supporting each other for many years.
AN: Now let’s talk about a couple of your projects specifically.
Firstly, your black metal band Sykelig Englen (what is that… Sick Angel?). This started out as a more DSBM kind of style but had progressed into perhaps a more aggressive but still atmospheric based music. What inspired the movement?
Nattskog: “Sickly Angel”, inspired by Morbid Angel (I think that is a world premiere of the name origin) and actually in Danish contrary to popular belief, when I started the project I was more interested in Mercyful Fate than my own heritage (which remains true to this day) so I went with Danish. The first demo was very Norwegian Black Metal sounding but then the debut record did go more depressive, due to me having a horrendous mental health period following my father’s death and various other things. While I wouldn’t call it DSBM as such as the music is still aggressive (even if in a more introspective and bleak manner) whereas now the music is far more external displeasure with mankind. It’s an eclectic project, I do not plan on ever making the same record twice!
AN: I was very impressed with the shift between “To Walk Among Death & Pestilence” and the last EP “This Hollow Land”, both musically and from what I can gather, lyrically. The subject matter on the EP seemed to be more personal in a way, based on the land and folk lore around your home in Norfolk. Can you expand a little on them and the inspiration? Is this the direction you see the project going in?
Nattskog: “This Hollow Land” was actually inspired by a book my girlfriend bought me for Yule of the same title. As avid fanatics of Medieval culture (and history in general), we explored the castles, ruins and battle-sites of Norfolk which proved boundlessly inspiring! The EP is certainly more the musical direction I plan to maintain for Sykelig Englen as it proved truly inspirational and meditative.
AN: I noticed the esteemed Cult Never Dies stocked this EP on vinyl, which was great to see. How did that come about?
Nattskog: Cult Never Dies owner Dayal has been a friend for a few years and collaborator with Legions Ov Darkness, so when the vinyl came to be around he was more than happy to help distribute for us which was a massive opportunity for me as his reach and merch booth at shows provides benefits I would usually have to do 6 months of touring to come close to. For that and Johnny taking the chance on me, I am hugely grateful and I would like to say how carefully those guys work at supporting Black Metal with such passion that one cannot deny their importance to the UK scene and further.
AN: How did the recent fine split with Glemt come about, bearing in mind your aforementioned isolation? What appeal made it needed to be done. Are you in regular touch with many other musicians?
Nattskog: I have quite a good list of contacts in the scene, local and international. Me and the individual behind Glemt decided it was a good idea. I reviewed his demo in Legions Ov Darkness zine and his ideas and approach suited mine to work together. There are few bands I wish to work with but his was one of them. Fans of Black Cilice will understand why….
AN: Do you have anything upcoming for this band?
Nattskog: I do not have any planned releases other than a repress of the Ritual Flail demo with Analog Ragnarok at this moment, though I am always tirelessly working on music and re-issuing sold out material so do not be surprised if something appears soon after this interview.
AN: Do you have any desire to provide listeners with the lyrics on any releases? Or do you prefer to allow us to explore what we can gather in our own?
Nattskog: For years I have kept my lyrics unpublished. Between the more personal notes and preferring the listener to take what they will from my music, I find it a healthier relationship with those who delve into my music. It just seems the most fitting way to work at this point in my life.
AN: OK, now to Garden Of Eyes, your foul, dank, ponderous and filthy death metal inspired by the game Bloodborne. Now you’re in the know, right? But for those others who aren’t how does seeking the paleblood lead to such pitch black, tar heavy death metal? How does one game inspire such musical devotion?
Nattskog: Garden Of Eyes was born out of Arboretum. Blending Swedish, Finnish and plenty of murky Death Metal from other lands too, I wished to pursue a different direction than the plague theme of Arboretum. Then I started playing Bloodborne and mixing this with my adoration for the works of Lovecraft and it all seemed to fit together beautifully. There are infinite bands inspired by zombies which I love but I decided a new thematic approach would do the scene and myself some good. Bloodborne’s Eldritch atmosphere, cosmic wonders and visceral approach to aesthetics is perhaps as Death Metal as a piece of art can be, so it seems peculiar that more bands haven’t been inspired by it, though since Garden Of Eyes’ formation there has been some! Excluding Tomb Mold due to the bands own statement saying aside from titles and loose concepts they do not derive their lyrics from the games lore.
AN: How would you personally describe Garden Of Eyes in terms of other, musical, roots that you’re drawing on?
Nattskog: Garden Of Eyes could most easily be compared to Swedish Death Metal as I use a Boss HM-2 pedal (like Dismember, Grave, Entombed and basically every other band from Stockholm in the 90s). I do not agree as such, though the guitar tone is borrowed from these titans who are some of my favourite bands, I also blend in the atmospherics of Finnish bands like Sentenced, Krypts and Funebre with more modern grossness such as Undergang and Fetid. Altogether I would say it sounds pretty unique which I always strive for.
AN: You collaborated with label Cryptic Blood for a special very limited tape box set for the last GoE release “Altar Of Despair” which was quite wonderful in proving how a little imagination and a lot of effort despite restricted money can produce a truly special artifact totally in keeping with the band (for those, again, in the know, it is a perfect companion piece to the glorious tin box edition of the game.) What input did you have into this design?
Nattskog: I am glad you enjoyed the box set, having one yourself you can certainly testify that a lot of workmanship from Gary went into this. We agreed a deal for 53 tapes spread between gold, silver and “box” which was a new offer I had never encountered. He came up with some ideas while I added things relevant to the game and together this monstrous little set came together. While I would say I definitely had an input, Gary’s work cannot be overstated as he came up with it and put in the hard work to make a truly special item for the die-hards.
AN: Does gaming influence any of your other bands?
Nattskog: Not at all actually, as I mentioned earlier, I wouldn’t call myself a gamer except for this game. Then again, I did use a Bloodborne sample in an Arboretum song which I should note before someone puts me in my place. That is not to say it won’t again and of course Garden Of Eyes continues to be inspired by Bloodborne.
AN: Do you think Garden Of Eyes will ever grace (or foul) a stage?
Nattskog: I have recently been toying with the idea but the honest answer is I really do not know.
AN: What are you working on at the moment? Which band? Can we expect anything else to round off this year?
Nattskog: Cavernous Records just unleashed a monster compilation of all 4 Garden Of Eyes demos with a brand new track to see the end of phase 1 out with a nice complete package. Otherwise I plan on taking time to refine certain musical attributes and come back stronger than ever but who knows if any random new ideas will come to fruition in the meantime. It wouldn’t be the first time!
AN: Anyway, thanks for your time and patience, Nattskog, we really appreciate it. Any last words?
Nattskog: Thank you to Ave Noctum for hosting this lengthy and interesting interview! It was a pleasure to talk in depth with some questions that actually had a lot of skill behind them rather than some copy-pasted nonsense. I would also like to thank your readers for being so fiercely into Metal that they still bother to read interviews! Lastly I would like to thank the ones who dare check out my music even more so!
So, there you have it. A gent who lives and breathes our music. My great thanks to Nattskog for somehow finding the time to engage so fully with this and being so open and personal in his response.
Check the links below and enjoy delving deeper into his musical crypt.
Questions: Gizmo
Answers and Images: Nattskog
https://www.facebook.com/nattskogjsk
https://www.facebook.com/SykeligEnglen7
https://www.facebook.com/gardenofeyesdeath
https://www.facebook.com/AHPN.Records
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